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The 18th century in Russia witnessed some of the most historical artistic developments that include the coming of different operas. These operas slowly and steadily took over the credential through out the world for being the best.
One of these operas to take the name of Russia on the international charts include Kirov Opera. This opera came into being when the empress Catherine II issued an imperial edict saying that Russian Theatre should be not merely used for comedies and tragedies, but it should also be known for carrying for operas. This decree of hers on June 12, 1783 was passed on to the Russian company that was performing in the specially built Bolshoi (Stone) Theatre. It envisaged the ‘production of a one or two serious operas and also the two new comic operas per year. Therefore, this date is also considered as the starting point in the history of the beginning of Kirov Opera Company.
A few of the Russian works that appeared on the Petersburg stage, such as Orpheus and The Coachmen at the Travellers’ Inn by Yevstigney Fomin, The Miller, the Wizard, the Liar and the Matchmaker by Mikhail Sokolovsky and The Carriage Accident by Vasily Pashkevich caught the elements of the Russian musical and dramatic style that later on were developed among the works of the great opera composers of 19th century.
A life for the Tsar and Ruslan and Lyudmila were a few of the great Russian operas that combined true art with genuine accessibility. These operas marked the birth of classical Russian opera. Thus, after the success of these operas in Russia, there came A Life for the Tsar that opened the Kirov Theatre on October 2, 1860.
It was Edward Napravnik who dedicated over half a century to the Kirov
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About Kirov Opera
The most renowned -known operas at Kirov include The Stone Guest- Dargomyzhsky in 1872, Judith that opened in 1863, Rogneda that was launched in 1865 and Satan that opened in 1871 by Serov. The most popular were Rimsky-Korsakov’s operas, Boris Godunov (1874), Khovanshchina (1886) by Musorgsky, Prince Igor (1890) by Borodin, The Demon by Rubenstein and all of Tchaikovsky’s operas (Charodeika being conducted by the composer himself). The specialty of all these operas was that the magnificent Russian operatic works were all premiered at the Mariinsky Theatre (Kirov). It was somewhere at this time when a great opera company emerged at the Mariinsky Theatre. The various talents of Osip Petrov, who initially sang the roles of Susanin, Ruslan, Farlaf, the Miller and Ivan the Terrible helped in flourishing the Russian operatic art to blossom. While he performed on stage for almost half a century with Anna Vorobyova-Petrova, Maria Stepanova and Lev Leonov, these singers later on, were succeeded by a younger generation of singers including Yulia Platonova, Mikhail Sariotti, Fyodor Komissarzhevsky, Ivan Melnikov, Fyodor Stravinsky, Yevgeny Mravin, Maria Slavina and Nikolai, Medea Figner, etc. However, the 20th century came with a difference. The operas at the Mariinsky Theatre had accompanied innovative attempts for staging unified productions. It had combined music, drama, painting and choreography. With time, the style of operas changed. Some of the new operas were performed at the Kirov Theatre. Some of these include Prokofiev’s satirical comic opera Love for Three Oranges in 1926, Berg’s expressionistic Wozzeck in 1927, Strauss’ Salome in 1924 and Der Rosenkavalier in 1928. The tradition of Promenade concerts accessible to all was restored in the 1991-92 season, their rich and varied programmes intending to draw the widest possible audience. The theatre’s symphonic concerts are now firmly established. Now, the Kirov Opera Company and Symphony Orchestra are performing at international festivals including those in Baden-Baden, Salzburg, Rotterdam, Rome and Mikkeli by staging rich and varied programmes to draw the widest possible audience.
