Chapter XXXII: Appendix: B

THE PLOTS OF TCHAIKOVSKY’S CHIEF OPERAS

1. _The Oprichnik._ The Oprichniks were a band of dissolute young noblemen, the chosen body-guard of Ivan the Terrible, who swore by fearful and unnatural oaths to carry out every command of the despot they served. Sometimes they masqueraded as monks and celebrated “black mass.” In reality they were robbers and murderers, hated and feared by the people whom they oppressed. Andrew Morozov, the descendant of a noble, but impoverished, house, and the only son of the widowed Lady Morozova, is in love with the beautiful Natalia, daughter of Prince Jemchoujny. His poverty disqualifies him as a suitor. Natalia’s father promises her hand to the elderly boyard Mitkov. While desperately in need of money, Andrew falls in with Basmanov, a young Oprichnik, who persuades him to join their community, telling him that an Oprichnik can always fill his own pockets. Andrew consents, believing it to be his only chance of revenging himself upon Prince Jemchoujny. The Lady Morozova is a high-minded, religious woman. Andrew, anxious to relieve her poverty, takes her money which he has borrowed from Basmanov. His mother refuses to touch what she knows to be the fruit of robbery and murder, and implores her son not to associate with the hated Oprichniks. Andrew, who is devoted to his mother, promises to respect her wishes. Afterwards the desire for power and vengeance prevails, and he consents to take the oath of the Oprichnik band. The first sacrifice demanded of him is the complete renunciation of his mother and Natalia. Lady Morozova is now heart-broken, deserted by her son and hated by the populace, who insult her in the public square as the “mother of an Oprichnik.” She is about to take refuge in the church, when Natalia flies to her for protection. She has escaped from her father and her middle-aged suitor Mitkov. Prince Jemchoujny appears on the scene and orders his rebellious daughter to return to her home. His chidings are interrupted by the arrival of the Oprichniks, awakening terror and hatred among the people. Andrew catches sight of his mother, whom he has not seen for many days, and rushes to embrace her, when the sinister theme of the Oprichniks is heard in the orchestra, reminding him of his vows. Lady Morozova turns from her son, disowns him, and solemnly curses him as an Oprichnik. In the last act Andrew, unable to abandon Natalia to her fate, resolves to marry her in spite of his vows. But Prince Viazminsky, the leader of the Oprichniks, cherishes an old grudge against the family of Morozov, and works for Andrew’s downfall. He breaks in upon the wedding-feast with a message from the Tsar. Ivan the Terrible has heard of the bride’s beauty, and desires her attendance at the royal apartments. Andrew, with gloomy forebodings in his heart, prepares to escort his bride, when Viazminsky, with a meaning smile, explains that the invitation is for the bride _alone_. Andrew refuses to let his wife go into the royal presence without his protection. Viazminsky proclaims him a traitor to his vows. Natalia is carried off by force, and the Oprichniks lead Andrew into the market-place to suffer the death penalty at their hands. Meanwhile Lady Morozova, who has relented, comes to bless her son on his wedding-day. She enters the deserted hall, where Viazminsky, alone, is gloating over the success of his intrigue. She inquires unsuspectingly for Andrew, and he leads her to the window. Horror-stricken, she witnesses the execution of her son, and falls dead at the feet of her triumphant enemy.

2. _Vakoula the Smith_, afterwards known as _Cherevichek_ (“The Little Shoes”), and finally republished as _Les Caprices d’Oxane_. Christmas Eve. A moonlight night, in the village of Dikanka. Solokha, the witch, comes out of one of the huts, and is joined by the devil. They decide to fly off together. The witch goes to fetch a broomstick, and the devil in his monologue sings of his hatred of Vakoula the Smith, because the latter has drawn a caricature of him upon the church wall. He invokes a snowstorm. Solokha reappears, and they elope together, stealing the moon and stars as they go, and leaving the village plunged in darkness. Vakoula is making love to the beautiful daughter of Choub the Cossack. To-night Choub is going to supper with the sacristan, and Vakoula will take the opportunity of visiting his sweetheart, who, however, remains deaf to all his entreaties. Meanwhile Choub loses his way in the darkness, and after wandering round in a circle finds himself at his own hut. Vakoula mistakes him for a rival lover, and drives him away from his own threshold.

The second act shows the interior of the witch’s hut, where Solokha is making herself smart after her ride through space on a broomstick. The devil comes out of the stove and makes love to her. They dance the _Gopak_, while little imps emerge from every nook and cranny in the form of crickets and beetles. A knock is heard, and the devil hides himself in an empty sack. Enter the Headman of the village. Another knock, and the Headman, who does not want to be caught with Solokha, disposes of himself in another sack. This time the sacristan comes in, and the same ruse is enacted; and, finally, Choub appears on the scene and, at a fourth knock, he too takes refuge in a sack. The last comer is the witch’s son Vakoula. He is so wrapped up in his love troubles, that he picks up the sacks in an absent-minded way and carries them off to the smithy. In the scene that follows the villagers are singing Christmas carols in the village street. The moon has returned to its place. Oxana, who is among the singers, catches sight of Vakoula and cannot refrain from teazing him a little more. She tells him she will marry him if he will bring her the Tsaritsa’s own shoes. Vakoula goes off in a temper, taking the sack containing the devil and leaving the others in the road. The children peep inside and discover the Headman, the sacristan, and Choub.

In the third act Vakoula goes to drown himself in the forest pool. He puts the sack containing the devil at the edge of the water. The evil spirit offers to give Oxana to the smith in exchange for his soul. Vakoula consents, and will sign the contract in his blood. The devil lets him go for a moment, and Vakoula overpowers him in turn. He makes the devil promise to take him to the Tsaritsa, and they take flight for St. Petersburg. A room in the Palace: the herald announces a victory of the Russian army. The Zaparogue Cossacks are summoned before the Tsar. The Cossacks dance a _Gopak_. Vakoula takes the opportunity of begging for the Tsaritsa’s shoes, which are granted to him. The devil takes him back to his native village. Christmas morning: Vakoula finds Oxana bewailing his supposed loss. He consoles her with the shoes, and she consents to become his wife.

3. _Eugene Oniegin._ Madame Lerin and the old nurse are making preserves in the garden of a Russian country house. From indoors a duet is heard. Tatiana and her sister Olga are singing to the accompaniment of a harp. The peasants appear on the scene, carrying the last sheaf from the harvest fields. National songs and dances. The announcement of guests creates a considerable commotion in the quiet country household. They prove to be Lensky, a young neighbour, fresh from a German university, and Oniegin, a dandy from the capital, on a visit to his friend. Madame Lerin and the nurse retire to prepare supper. The young people saunter in the garden, Lensky with Olga, Tatiana with Oniegin. Tatiana is shy at first, then falls in love with the stranger. In the second scene Tatiana is sitting in her room by moonlight. The old nurse comes to scold her for not being asleep. There follows a long, confidential talk between them (recitative with soft accompaniment based on Tatiana’s theme). When her nurse has gone, Tatiana sits dreaming of her love for Oniegin. How will he guess her secret, unless she reveals it herself? In her innocence of the world she resolves to write him a love letter. She begs the nurse to convey it to Oniegin. The old woman hesitates, but cannot refuse anything to the child of her heart. Reluctantly she departs on her errand. The third scene takes us back to the garden. Oniegin meets Tatiana. He cannot appreciate the directness and sweetness of the girl’s nature. Jaded and world-worn, Tatiana seems to him insipid and provincial, while at the same time he finds her forward. He thanks her coldly for her letter, assures her he is not a marrying man, and gives her some cynical advice as to the wisdom of acting with more maidenly reserve in future. Then he leaves her, crushed with shame and disappointment.

The second act opens upon a ballroom scene. It is Tatiana’s birthday. Oniegin, whom Lensky has dragged to the dance against his will, amuses himself by flirting with Olga. The complimentary couplets sung to Tatiana by the elderly Frenchman Triquet are a favourite number in this scene. As the ball progresses Lensky, mad with jealousy, loses his self-control and insults Oniegin. The latter now feels some qualms of conscience, but the hot-headed youth forces a challenge upon him, and he consents to fight. The party breaks up in consternation. The second scene is devoted to the duel in which Oniegin kills Vladimir Lensky.

Some years are supposed to elapse between the second and third acts. A reception at a fashionable house in Petersburg. Oniegin is seen standing apart from the guests, in gloomy reflection. He has returned home after a self-imposed exile. Remorse for Lensky’s death haunts him, and he can find no satisfaction in love or folly. All the guests are impatient for the arrival of the acknowledged belle of society, Princess Gremin. When she comes on the scene, Oniegin recognises Tatiana, transformed into a stately, gracious woman of the world. Her husband is elderly, but distinguished, handsome, and devoted to his beautiful young wife. Oniegin’s chilly egotism is thawed, and he falls passionately in love with the woman he once despised. The last scene takes place in the boudoir of the Princess Gremin. She is reading a letter from Oniegin, in which he declares his love. This communication throws her into a state of agitation, and, before she can recover herself, Oniegin breaks in upon her in person. In a long, impassioned duet he implores her to have pity and to fly with him. With some of the rake’s vanity still left in his nature, he cannot at first realise that she can resist him. Tatiana respects and honours her husband. At first she tries to punish Oniegin for the past. Then she struggles between duty and reawakened love. Finally, with a supreme effort, she breaks away from him at the very moment when she has confessed her true feelings. When the curtain falls, Oniegin, baffled and despairing, is left alone on the stage.

4. _The Maid of Orleans._ A village festival at Domrémy. Thibaut, Joan’s father, and Raimond, her lover, appear upon the scene. Thibaut says it is no time for dancing and singing; a maid needs a man to protect her, and therefore he wishes Joan to marry Raimond. She is silent, but finally confesses that she has chosen another destiny. Her father is angry and reproachful. A fire is seen on the horizon, and the tocsin is heard. Old Bertrand comes in. He speaks of the desperate state of the country and the approach of the English army. Suddenly Joan rises up and speaks with prophetic inspiration. She feels the hour for action has come, and bids farewell to her birthplace. The angels appear to Joan and incite her to heroic deeds.

Third act. A field near Rheims. The meeting of Joan and Lionel. They fight. Joan overcomes him, and stands above him with her drawn sword. At this moment she catches sight of his face, and falls in love with him. He returns her passion. Dunois comes upon the scene, and Lionel tells him that he wishes to join the French army. Dunois is delighted that such a great leader should come over to France. He leads him away in the King’s name. Joan collapses, and discovers she is wounded. Second scene. The coronation of Charles VII. The King announces to the people that Joan has saved the country. Her father declares that she has been supported by the powers of hell, rather than the angels of heaven. No one believes him. Lionel and Dunois are ready to do combat on her behalf. The Archbishop of Rheims asks her if she is “pure.” She believes herself a sinner in intention, and will not reply. All leave her. Lionel comes to console her in her abandonment. She turns from him in indignation, as from “her worst enemy.”

Fourth act. The forest. Lionel pursues Joan. At first she flees from him, then suddenly yields to their mutual passion. They hear the English trumpets in the distance. Joan refuses to escape. She is taken prisoner, and Lionel is slain. Second scene. Rouen. Joan is led to the stake. For a moment she loses courage, but is sustained by a chorus of angels. She is bound to the stake. A priest offers her a wooden crucifix. The faggots are lighted.

5. _Mazeppa._--First act. First scene. Kochoubey’s garden, where his daughter Maria, after parting with her girl friends, sings of her love for her father’s guest, Mazeppa. Enter Andrew, a young Cossack, who has loved Maria from childhood. He knows her secret passion for Mazeppa. Kochoubey and his wife come into the garden with their guests, including Mazeppa and Iskra. The former asks Kochoubey’s consent to his marriage with Maria. Songs and dances take place during the discussion. Mazeppa insinuates that Maria cannot marry anyone but himself, and her father indignantly orders him to leave the house. He does so, but first wrings from Maria the confession that she cares for him more than for her parents. Second scene. Kochoubey’s house. Maria has fled with Mazeppa. His wife bemoans the loss of her child, and instigates her husband to vengeance. He promises to denounce Mazeppa to the Tsar. Andrew undertakes to lay his complaint at the foot of the throne.

Second act. A dungeon in the castle of Bielotserkovsky. Kochoubey is imprisoned there, because Mazeppa has treacherously impeached him at Court before he had time to lay his own grievances before the Tsar. This scene contains a dramatic moment, in which Kochoubey is confronted with Mazeppa’s tool--Orlik. In the second scene Mazeppa gives orders to Orlik for the execution of Kochoubey on the following day. Then Maria appears. Love scene with Mazeppa. She does not know the full extent of his cruelty and treachery, and still cares for him, in spite of her vague forebodings. Her mother appears on the scene, and reveals the terrible destiny which awaits Maria’s father. Mother and daughter hurry away to try if they can save Kochoubey. Third scene. The place of execution. The populace are waiting to see the death of Kochoubey and Iskra. Dance of a drunken Cossack. Procession to the scaffold. Maria and her mother arrive at the moment when the axe falls, and the former loses consciousness when she realises that it is too late to effect a rescue.

Third act. Symphonic sketch, “The Battle of Poltava.” The deserted garden and homestead of the Kochoubeys. Andrew appears. All day in the battle he has striven to meet Mazeppa, and slay him in single combat, but in vain. Now he has come to take a last leave of the spot where he and Maria spent their happy childhood. Enter Mazeppa and Orlik. Andrew reproaches the former for all the misery he has brought upon Maria, and challenges him to fight. Andrew is mortally wounded. Then Maria wanders in. Her misfortunes have upset her reason. Mazeppa tells her to follow him, but she refuses, and he abandons her to her fate. She sees Andrew, but does not fully recognise him. She takes the dying Cossack in her arms, and sings him to his last sleep with a childish lullaby. The peasantry, attracted by the noise of the fight between Mazeppa and Andrew, now arrive upon the scene. Maria starts up suddenly, and, with a mad laugh, throws herself into the stream.

6. _The Enchantress_ (“Charodeika”). First act. The banks of the Oka, near Nijny-Novgorod. National customs. Kouma Nastasia appears outside her inn and welcomes her customers. A boat comes down the river. The Prince--son of the Governor of Nijny--is returning from the chase. He drifts by, and Kouma remains pensive at the river’s edge. She is in love with the Prince. The Governor and his Counsellor, Prince Mamirov, suddenly appear on the scene. The latter, who is the representative of respectability and decency, detests Kouma. He has compelled the Governor to come and see for himself what a gang of disorderly characters meet in Nastasia’s inn. The people are very agitated at this arrival, and wish to remain near Kouma in order to protect her from violence. But she begs them to retire. Then she puts on her best attire and goes out to meet the unexpected guests. The Prince immediately falls a victim to her charms. He accepts a cup of wine from the beautiful innkeeper, and gives her his ring in return. Kouma, not contented with her victory over the two men, is seized with a desire to humiliate Mamirov, and asks him to join in the mummers’ dance. He refuses, but the Governor--now completely under the spell of Kouma Nastasia’s beauty--orders him to do so. Mamirov dances amid the laughter of the spectators.

Second act. The garden of the Governor’s house. His wife is discovered, deep in thought. Her maid Nenila is near at hand. The Governor’s wife is jealous, because her husband now spends all his days with Kouma. She vows to revenge herself. Mamirov fans her smouldering wrath. Enter the Prince, who perceives that his mother is in trouble and tries to console her. They enter the house together. The Wanderer comes upon the scene, and Mamirov orders him to report upon everything that takes place in Kouma’s inn. Then the Governor himself arrives. He is full of his passion for Kouma Nastasia. There follows a stormy scene between husband and wife. The Governor returns to Kouma. The Wanderer reveals to the Prince the real reason of the quarrel between the Governor and his wife, the son swears to avenge his mother’s wrongs and to kill Kouma, whom he has never seen.

Third act. Kouma’s house. Evening. The Governor tells Kouma he loves her, but she does not respond. He threatens her, but she declares she would sooner lose her life than yield to him. He goes away in anger. Kouma’s uncle warns her that the young Prince has sworn to avenge his mother, and is coming to kill her that very night. She sends all her friends away and remains alone. She would rather die by the Prince’s hand than accept the Governor as her lover. She puts out the light, lies down on her bed, and awaits the end. The Prince comes, creeps to the bedside, draws the curtain aside, and drops his dagger, spell-bound by the beauty of the woman. A lengthy duet. The Prince becomes wholly entranced by Kouma’s charms.

Fourth act. A dark forest on the banks of the Oka. The cave of Koudma the Wizard. The Prince comes on the scene, attired as for hunting. He inquires of Koudma whether all is now ready for his flight with Kouma. He departs with his huntsmen. Enter the Wanderer, bringing the Governor’s wife, disguised as a beggar-woman. She has come to ask the wizard for some fatal spell to destroy Kouma. The Wanderer flees in terror, and the Governor’s wife enters the cave alone. A boat arrives containing Kouma and her friends. They land, leaving her alone to wait for the Prince. The revengeful wife approaches Kouma and offers her a refreshing drink, into which she drops the fatal poison. Kouma drinks. The Prince returns and rushes to embrace her. All is ready for their flight, but the poison has already done its work--Kouma dies in her lover’s arms. The Governor’s wife confesses her guilt, and the Prince in despair repulses her. Enter the Governor in search of the fugitives. He cannot see Kouma, and believes she is being hidden from him. Maddened with jealousy, he hurls himself upon his son and kills him. His wife curses him as a murderer. The body of the Prince is borne away and the Governor remains alone. A terrible storms breaks over his head. Overcome with remorse and terror, he falls down in a mortal swoon.

7. _Pique Dame._ First act. First scene. The Summer Garden in Petersburg. Spring. Chorus of nurses and governesses. Some of the “golden youth” of the capital appear on the scene. They speak of Hermann’s extraordinary passion for gambling. Enter Hermann and Tomsky. The former talks of his love for a distinguished girl with whose name he is not acquainted, although he often meets her in the street, accompanied by an old lady of forbidding appearance. Enter Prince Yeletsky, who announces his engagement to the very girl in whom Hermann is interested. Hermann is depressed because his poverty is a hindrance to his suit. While the sight of Liza always awakens his best feelings, that of her grandmother fills him with a vague horror. Tomsky tells him a tale to the effect that the old Countess possesses the secret combination of three cards, which accounts for her extraordinary luck at the gaming tables. Hermann, in his morbid mental condition, believes himself destined to acquire this secret at any price. A terrible thunderstorm still further upsets his mind, and he begins to realise with horror that he is capable of committing a murder. He resolves to put an end to himself, but not until he has declared his love to Liza.

Second scene. Liza and her young friends are amusing themselves with singing and dancing. The governess appears on the scene, and the merry party is broken up. Liza is left alone. She is not in love with her fiancé, for her imagination is entirely occupied with the mysterious young man whom she so often meets out of doors. Suddenly Hermann appears before her. He threatens to kill himself on the spot if she will not listen to him. Just as she has gathered courage to drive him away, the old Countess comes in, alarmed by the commotion in her grand-daughter’s apartment. Liza conceals Hermann. The sight of the old Countess brings back his _idée fixe_ of the three cards. When Liza has succeeded in calming her grandmother, and has induced her to return to her room, she goes back to Hermann with the intention of dismissing him; but in the end his passion prevails over her scruples.

Second act. Third scene. A fancy-dress ball. Prince Yeletsky pays his addresses to Liza, who does not respond. Hermann is among the guests. At the sight of the Countess the insane longing to possess the secret of her luck comes over him again. In a _tête-à-tête_ with Liza he implores her to let him visit her that night. She tells him how he may gain access to her room unperceived.

Fourth scene. The Countess’s bedroom. Hermann appears through the secret door. He hears steps, and hides himself again. The old Countess returns from the ball. She goes into her boudoir, and presently reappears in her night attire. She is tired and cross, and complains that in her youth parties were more amusing than they are now. She dismisses her maid, and falls asleep humming to herself an air from an old-fashioned opera. Hermann awakes her. She is so terrified that she dies suddenly, without having revealed her secret. Liza appears, and can no longer conceal from herself that Hermann only made love to her in order to carry out his mad scheme.

Third act. Fifth scene. Evening. The barracks. Hermann alone in his quarters is haunted by remorse. In his terror he rushes from the room, but is met on the threshold by the apparition of the Countess showing him the three cards. Sixth scene. Liza is waiting for Hermann near the Winter Canal. Midnight strikes, and Liza in despair is about to do away with herself when he appears on the scene. At the sight of her his madness subsides, and he thinks only of his love for her. But he soon begins to rave about the three cards, and no longer recognises Liza. In despair she throws herself into the Neva. Seventh scene. Hermann at the gambling tables. He wins on the first two cards shown him by the ghost of the Countess. When it comes to the third card no one will venture to stake against him except Prince Yeletsky. Instead of the expected ace, Hermann turns up the queen of spades, and loses all his winnings. The apparition of the Countess appears to him once more, and he stabs himself in a fit of madness.

8. _Iolanthe._ The blind daughter of King René of Provence lives among the Vosges Mountains under the care of her nurse Martha and her husband Bertrand. In order that she may not realise her blindness, the King has forbidden the word “light” to be used in her presence. The girl is sad without knowing why. Her friends bring her flowers and try to amuse her, but in vain. She falls asleep in the garden, and is carried into the castle by her nurse. The King arrives, accompanied by the famous Moorish physician, Ebn-Khakya. The latter says he must see Iolanthe, even in her sleep, before he can pronounce an opinion as to her sight. After a time he informs the King that she can only be cured by a great desire to see; therefore she must be made conscious of her condition. The King refuses to follow this advice. Robert, Duke of Burgundy, and the Knight, de Vaudemont, come by accident to the castle. The former has been betrothed from childhood to Iolanthe, and is now on his way to King René’s court in order to woo his future bride. He has never seen her, and is in no hurry to wed. They see the notice which warns them that it is death to enter the castle grounds. But Vaudemont catches a glimpse of the maiden asleep on the terrace, and is spell-bound. Robert tries to make him leave these haunts of witchcraft, but he refuses, and the Duke goes to summon his men in order that he may carry off his friend by force. A duet between Vaudemont and Iolanthe. He does not realise her blindness until she asks him, “What is light?” He breaks through the atmosphere of secrecy in which she lives. She knows she is blind and longs for light. King René is horror-stricken, but Ebn-Khakya reminds him that now her sight may be restored. To stimulate her desire, René declares Vaudemont must be put to death unless her blindness is cured. Iolanthe is prepared to undergo any pain to save Vaudemont, whom she loves. The physician leads her away. Robert of Burgundy returns with his men. He recognises King René, and begs to be freed from his obligation to marry his daughter. The King consents, and promises Iolanthe’s hand to Vaudemont. Her girl friends arrive on the scene and announce that the cure is successful. Iolanthe appears with bandaged eyes. Ebn-Khakya takes off the handkerchief, and her sight is restored. The opera concludes with a hymn of thanksgiving.