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Books > Arts & Architecture > Music > Western music, periods & styles > Classical music (c 1750 to c 1830)
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Bewitching Russian Opera - The Tsarina from State to Stage (Paperback)
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Bewitching Russian Opera - The Tsarina from State to Stage (Paperback)
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In Bewitching Russian Opera: The Tsarina from State to Stage,
author Inna Naroditskaya investigates the musical lives of four
female monarchs who ruled Russia for most of the eighteenth
century: Catherine I, Anna, Elizabeth, and Catherine the Great.
Engaging with ethnomusicological, historical, and philological
approaches, her study traces the tsarinas' deeply invested interest
in musical drama, as each built theaters, established drama
schools, commissioned operas and ballets, and themselves wrote and
produced musical plays. Naroditskaya examines the creative output
of the tsarinas across the contexts in which they worked and lived,
revealing significant connections between their personal creative
aspirations and contemporary musical-theatrical practices, and the
political and state affairs conducted during their reigns. Through
contemporary performance theory, she demonstrates how the
opportunity for role-playing and costume-changing in performative
spaces allowed individuals to cross otherwise rigid boundaries of
class and gender. A close look at a series of operas and musical
theater productions-from Catherine the Great's fairy tale operas to
Tchaikovsky's Pique Dame-illuminates the transition of these royal
women from powerful political and cultural figures during their own
reigns, to a marginalized and unreal Other under the patriarchal
dominance of the subsequent period. These tsarinas successfully
fostered the concept of a modern nation and collective national
identity, only to then have their power and influence undone in
Russian cultural consciousness through the fairy-tales operas of
the 19th century that positioned tsarinas as "magical" and
dangerous figures rightfully displaced and conquered-by triumphant
heroes on the stage, and by the new patriarchal rulers in the
state. Ultimately, this book demonstrates that the theater served
as an experimental space for these imperial women, in which they
rehearsed, probed, and formulated gender and class roles, and
performed on the musical stage political ambitions and
international conquests which they would later enact on the world
stage itself.
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