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Ruslan and Lyudmila (Russian: Руслан и Людмила, romanized: Ruslán i Lyudmíla listen ⓘ) is an opera in five acts (eight tableaux) composed by Mikhail Glinka between 1837 and 1842. The libretto was written in Russian by Valerian Shirkov, with minor contributions by Mykola Markevych , Nestor Kukolnik , and the composer based on ...
The Finn finds Ruslan and resurrects him with magical waters. He gives Ruslan a ring which will break Ludmila's spell, but tells him that he must first save the city from its attackers. Ruslan returns to Kiev, Chernomor still in tow, and leads the city's warriors to victory. Ruslan touches Ludmila's face with the ring and she awakens.
Portrait of Mikhail Glinka by Karl Bryullov, 1840. Mikhail Ivanovich Glinka (Russian: Михаил Иванович Глинка [a], romanized: Mikhail Ivanovich Glinka [b], IPA: [mʲɪxɐˈil ɨˈvanəvʲɪdʑ ˈɡlʲinkə] ⓘ; 1 June [O.S. 20 May] 1804 – 15 February [O.S. 3 February] 1857) was the first Russian composer to gain wide recognition within his own country and is often ...
The overture finishes with a virtuoso coda for the full orchestra. The piece is frequently paired in performance with Tchaikovsky's " 1812 Overture ," which also quotes "God Save the Tsar." In Russia, during the Soviet era , the imperial anthem was replaced in both pieces with the chorus " Glory, Glory to you, holy Rus'!
The premiere is successful, but Glinka is still not entirely happy with the libretto: "Rosen wrote the wrong words". [4] When the tsar learns that Glinka's opera Ruslan and Lyudmila is based on a subject by Pushkin, he sees it as sedition. This is a bitter experience for Glinka, but he is comforted by the support of "the progressive Russian ...
Quartet; Russian translation by Vsevolod Rozhdestvensky: Vocal: 1828: Скоро узы Гименея: Tu sei figlia: for soprano and piano: Italian words by Metastasio; Russian words by Pyotr Ilyich Tchaikovsky: Vocal: 1828 or 1829: Come di gloria al nome: Come di gloria al nome: for soprano, alto, tenor, bass and string orchestra: Vocal: 1829
It has been confused with the closing chorus of Glinka's opera A Life for the Tsar, possibly due to both beginning with the same word glory (славься), but the two works are unrelated with the latter being derived from an old Polish folk song (though the operatic music, too, has been suggested as a candidate for a Russian national anthem).
Reminiscences de Lucia di Lammermoor: 1835–36 S.397 Based on the Sextet Marche et cavatine de Lucie de Lammermoor: S.398 Intended as part of the Reminiscences (S.397) but separated by the publisher [14] Lucia di Lammermoor: Valse à capriccio sur deux motifs de Lucia et Parisina: 1842 S.401 Combines motifs from Lucia di Lammermoor and Parisina.