M.P. Mussorgsky's opera "Khovanshchina"

“Khovanshchina” is an inexhaustible palette of riotous colors, furiously bringing down all its power on the viewer and leaving no chance to stand, to stay on their feet, so that all attention is riveted on the stage from the beginning to the very end of the opera. Taking as a basis for the work the ambiguous events of the first Streltsy rebellion 1682, Modest Petrovich Mussorgsky put all his originality into music, reflecting in the sound both the raging crowd and calm islands of the mind in the midst of raging passions with confident strokes of composer talent. Unfortunately, the work was not performed during the author's lifetime, so he never found out what influence it had on his contemporaries, and how it sunk into the soul of the admirers of his talent, being a reflection of the rebellious inner world of Modest Petrovich...

In a letter dated 1872 and addressed to V.V. Stasov, Mussorgsky wrote: “I ask you to consider this epistle in the order of numbering No. 1, for there will be successively other epistles, tastes and starters of different, but on the subject of archery. May this be the memory of our new work, dashing work. From that moment, painstaking work on the opera, full of heavy creative torment and throwing, began.

Characters:		Description
Prince Khovansky	bass	domineering and cruel archer chief
Prince Golitsyn	tenor	inconsistent and many-sided rival of Khovansky
Andrei	tenor	son of Khovansky, prince
Shaklovity	baritone	closest assistant to Princess Sophia
Dositheus	bass	philosophic sage-schismatic
Martha	mezzo-soprano	faithful and brave companion of Dositheus
podyachy	tenor	clerk in charge of communication between the government and the people

Summary

"Khovanshchina" shows terrible events a relatively short time period in 1682, the time of a wild and eventful streltsy rebellion and seizure of power, led by Prince Khovansky, the head of the streltsy troops. Another contender for the throne is Prince Golitsyn, a European man who, at the same time, clings to antiquity. Both princes, hating each other, are trying to make an alliance in the face of new strength in the face of the young Tsarevich Peter. In their plans, they also rely on the help of the schismatic Old Believers, led by Dositheus. But Khovansky's plans were not destined to come true. During the feast, he is invited to a council, supposedly on behalf of Princess Sophia, and then Shaklovity stabs the prince with a dagger. Golitsyn is sent into exile as having not justified his trust. Streltsy troops, accused of rebellion and accompanied by weeping wives, are to be executed, but Peter pardons them. Dositheus, after long, heavy deliberations, decides to call on the Old Believers to burn themselves. Martha and Andrey Khovansky walk together into the fire. With the appearance of Peter's troops, only charred ruins remain.

Performance duration
I Act	II Act	III act	IV - V Act
50 min.	40 min.	50 min.	50 min.

A photo:

Interesting Facts

• As is known, Mussorgsky did not have time to finish Khovanshchina, and the more valuable is the work of the Soviet musicologist Pavel Lamm, who managed to restore the full original text operas. The opera has undergone numerous editions by various composers: ON THE. Rimsky-Korsakov, I.F. Stravinsky in collaboration with M. Ravel, B.V. Asafiev, D.D. Shostakovich.
• Mussorgsky very meticulously and carefully studied the plot and the characters of all the characters, giving each one his own specificity and originality. Being a supporter of the “Pushkin school”, he unraveled the psychology of people, sat at night over historical documents, creating whole, complete images from disparate passages. At the same time, he repelled not only from the “historicity” of the character, but also deeply revealed him. inner world, his experiences, supplementing them with his creative imagination.
• There was an opinion that the opera is a joint fruit of two composers: N.A. Rimsky-Korsakov and M.P. Mussorgsky. Allegedly, Modest Petrovich made only a raw, unfinished thing, and Rimsky-Korsakov designed and gave it a finished look. The son of Rimsky-Korsakov mentions this in his memoirs.
• Interestingly, in the 20s of the last century, the work was considered religious, a kind of “pathetic tragedy of faith”. Naturally, such blasphemous views were subsequently rejected.
• F. Chaliapin, starting from November 12, 1897, was the most famous performer of Dositheus. For the first time, Dosifei's aria was performed by him at the Moscow Private Opera by S.I. Mamontov. Then in 1911 in St. Petersburg, on the Mariinsky stage, and in Paris, he sang at the first foreign production at S. Diaghileva.
• Mussorgsky specially created a special notebook, which he called "Khovanshchina". It is known that the idea of ​​the opera belonged to Stasov, and Modest Petrovich dedicated this work to him. In a notebook, the composer kept written data from the books he read, concerning events of interest to him and historical figures. Initially, there were nine main sources, but then the composer expanded his knowledge in this area so much that he stopped making records, keeping everything in his head.
• P. Lamm's opera was divided into 5 acts, where the 4th was divided into 2 scenes. Mussorgsky, on the other hand, wanted to make 6 paintings, which would be equal in value to the acts.
• Modest Petrovich independently wrote the libretto of the opera, constantly consulting with Stasov on all issues. At the same time, he was extremely exacting in his approach to the quality of the text, repeatedly correcting and redoing the already finished material.

Famous arias and numbers:

Introduction "Dawn on the Moscow River" (listen)

Choir "The swan is swimming" (listen)

Marfa's aria "The Baby Came Out" (listen)

Aria of Shaklovity "The Archer's Nest Sleeps" (listen)

Final chorus (listen)

Historical accuracy in the images of the characters of "Khovanshchina"

“What a vast, rich world of art, if a person is taken as the goal! You run into unusual, completely unexpected tasks, and not by force, but as if by chance it is done.

“M.P. Mussorgsky. Literary heritage»

In "Khovanshchina" Mussorgsky conveys historical realities through the eyes of those directly involved. A people who "cannot check with their own eyes what is being cooked out of it." The suffering side, which, under any reigning ruler, remains in the same place where it was - at the bottom, hopeless and dark. That's what connects the leitmotif runs through the entire musical narrative.

images

• Prince Khovansky - according to the recollections of people who knew him - a man "famous mainly for his defeats and complaints about him by his subordinates." Frivolous, intoxicated with power and cruel, not considering anyone's opinion;
• Prince Golitsyn is an inconsistent, explosive person, quick-tempered and many-sided. But at the same time - poetic, not devoid of a peculiar charm and subtlety. An extremely complex image, contradictory and dual;
• Podyachy - fictional composite personality, which has no name and specific historical prototype. The representative of the commanding class, so unloved by the people. Two-faced, fussy and slippery type, fawning only before the force, adapted to any conditions of existence;
• Prince Andrei, the son of Khovansky, is a character who was supposed to show the complex relationship between father and son. Due to lack of time, the author did not give him important role at the opera
• Shaklovity - the composer boldly recorded the closest assistant to Princess Sophia as the only compiler of the denunciation of the Khovanskys. In the interpretation of the author, this character does not have a specific display. Rather, it can be presented as the embodiment of a blind historical force;
• Dositheus - the book "The Life of Archpriest Avvakum" served as the background for creating the image of a schismatic. She was a kind of muse, but the composer did not blindly copy the image shown in the Life. In the opera, Dositheus is much softer than his predecessor Avvakum, closer to the people, more noble and exalted;
• Marfa - light lyrical image, permeated with the features of a harsh nationality. Soulful and confident, Martha is a completely fictional character. Helps Dositheus in his political struggle /

Auxiliary characters of the opera

• Emma - Khovansky's concubine, is, in fact, his slave;
• Varsonofiev - an adherent of Golitsyn, does not have his own opinion on any issue;
• Susanna, Pastor, archer Kuzka, minion Golitsyn;
• three unnamed archers;
• Moscow diverse alien people, archers, schismatic Old Believers, slaves of Khovansky, people.

sticking to historical events, Mussorgsky added quite noticeable distortions to the opera historical facts, but only to help better understand the dramatic collisions taking place at that time. So, in addition to the main characters, fictional secondary characters were added, which help to better understand the composer's intention and greatly enhance the effect on the viewer. The key figure in the development of the plot is the people - as driving force, which sweeps away everything in its path, unstoppable and crushing all obstacles, but at the same time bonded to power. In addition, the composer was quite free with the time frame and added to what was happening on the stage those actions that would happen only much later - in 1689. In order to emphasize the horror of lawlessness and show the impossibility of influencing what is happening only to one person, such a merger of temporary events is fully justified and only proves the skill of Mussorgsky, who managed to harmoniously combine different periods stories with the life of the main actors.

Opera (folk musical drama) in five acts; composer's libretto.

Action time: 1682.

Location: Moscow and its environs.

Characters:

Prince Ivan Khovansky (bass), Prince Andrey Khovansky (tenor), Prince Vasily Golitsyn (tenor), boyar Shaklovity (baritone), Dosifey (bass), Martha (mezzo-soprano), assistant (tenor), Emma (soprano), Varsonofiev (bass), Kuzka (baritone), first, second and third archers (two basses and tenor), Streshnev (tenor), Susanna (soprano), archers, schismatics, hay girls and Persian slaves of Prince Ivan Khovansky, Peter's "amusing", people, fugitive Moscow people, supporters of the Khovanskys.

ACT I

Moscow. Red Square. Stone pillar and copper plaques with inscriptions on it. On the right is the scaffolding booth. The orchestral introduction - "Dawn on the Moscow River" - paints a picture of the awakening of ancient Moscow: the bells are heard for matins, the call of the archer's trumpet (offstage). The curtain rises slowly. On the stage, the heads of churches are illuminated rising sun. Gradually, the whole stage is illuminated by the sun. A folk melody flows like an endless stream. This symphonic picture is one of the masterpieces of Russian music. It is often included in the programs of symphony concerts as an independent work.

Life begins within the walls of the Kremlin. Archers wake up - first Kuzka, then others. The Podyachy enters, he goes to his booth and sits down in it. The boyar Shaklovity appears. He is a protege of Princess Sophia. He has "an important order" for the clerk. He guesses: to scribble a scammer - and looks forward to making money on this business. Shaklovity warns of the punishment that awaits Podyachy if he let it slip. That moment hesitates, but in the end, rubbing his hands in anticipation of the payment, he agrees. Shaklovity dictates an anonymous denunciation to Peter about the Khovanskys: the head of the Streltsy, Ivan Khovansky, planned to put his son Andrei on the throne and, for this purpose, incites a rebellion. The clerk is in fear of having to write this. He is mortally afraid that "prince (Khovansky. - A.M.) will know everything, the prince will not forgive me ... "Behind the scenes, a chorus of approaching archers is heard ("Goy, you military people, you, archers are remote, goy, walk, you walk merrily"). Archers pass and leave. Shaklovity continues to dictate his denunciation. At last the deed is done. The scammer leaves. The stage is filled with strangers. The clerk, meanwhile, hides the purse; he feels his way, under the counter, counts the money, glancing not without fear at the strangers. They are bewildered by the pillar that appeared overnight in the square. On it the inscriptions, but due to their ignorance they cannot read them. They turn to the Podyachy to read them. He rudely refuses them. Then they raise the booth in which he is holed up and carry it to the post. The podyachy in fear calls for help and promises read the inscription, it turns out that this is a memorial pillar that the archers erected as a sign of their recent victory: on it are the names of those objectionable boyars whom they executed.

Meanwhile, the sound of trumpets is heard. So the archers greet their leader - Prince Ivan Khovansky. Prince Ivan Khovansky enters. "The tread is smooth, he holds himself arrogantly; behind him are archery colonels and Moscow guests" - this is how the composer explains the mise-en-scene. The prince addresses the crowd: “Children, my children! Moscow and Russia (God save!) in a great pogrom...” Streltsy praise the Bolshoi, as they call Khovansky.

Prince Andrey Khovansky and Emma, ​​a girl from the German Quarter, appear from the depths of the stage. Andrei tries to hug Emma, ​​but she resists. Emma accuses him of killing her father, exiling her fiancé, and not even taking pity on her mother. Martha, a schismatic, Andrei's recent lover, stands up to Emma's defense ("So, so, prince! You remained faithful to me!"). Andrei is indignant and rushes at Martha with a knife, but she also snatches a knife from under her cassock and deflects his blow. Behind the stage, the choir (people) sings a doxology to Prince Khovansky Sr. (“Glory to the swan! Glory to the big one!”). Prince Ivan Khovansky enters. He is amazed to see Andrei, Martha, and also Emma, ​​who he himself liked. And now father and son converge as rivals: the father orders the archers to grab Emma, ​​the son stands up for her defense. The father angrily orders to take Emma and take her to their chambers. Then Andrey brings a knife to Emma: “So keep it dead!” he shouts. At this moment Dosifey enters, he stops Andrey's hand. Emma kneels before Dositheus, her savior. Dositheus orders Martha to take Emma to her house. When they leave, Dositheus turns to the Khovanskys: "The time has come." This mournful monologue of his paints the appearance of a stern and proud old man. The exclamation of Ivan Khovansky: “Archers! .. Quickly! To the Kremlin!” - calls on archers to defend Moscow and the Orthodox faith. Dositheus in a mystical impulse lifts up a prayer to the Lord.

ACT II

The office of Prince Vasily Golitsyn, chancellor and favorite of Princess Sophia. The situation, as the composer explains, is in a mixed taste: Moscow-European. Late evening. Candelabra are lit on the prince's desk. In front of the viewer is a garden and a beautiful lattice on stone pillars. Evening dawn. Prince reads love letter from Princess Sophia. He is tormented by anxiety, overcome by fear of the future.

Enter nobleman Varsonofiev, slander of Prince Golitsyn. He informs the prince that a "Lutherian priest" is persistently asking him to come. The prince orders to invite the pastor. The pastor turns to Golitsyn with a request to intercede for Emma. The prince refuses: "I cannot enter into the private business of the Khovanskys." Then the pastor moves on to another topic: to allow a church to be built in the German Quarter ("one more, only one"). This request throws the prince out of balance: "Are you crazy or something, or have you gathered courage; you want to build up Russia with pickaxes! .." The pastor leaves with nothing.

Varsonofiev enters again. This time he announces the arrival of the "witchcraft". It was Martha who came under the guise of a fortune-teller. Klevret prepares everything necessary for divination. Begins central stage this action is a divination scene. The famous aria of Marfa “Secret Forces” sounds. She predicts to the prince that disgrace awaits him. The superstitious Prince Golitsyn is in turmoil. Fearing that the fortune-teller will blurt out what she told him, he tells the servant to drown Martha, but Martha hears everything and hides in time.

Suddenly, Prince Ivan Khovansky appears (“And we are without a report, prince, like this!”). A dispute ensues between Golitsyn and Khovansky about the rights and dignity of their own and the boyars (“We have now lost our places,” Ivan Khovansky throws an angry reproach to Golitsyn. “You yourself settled us, prince, leveled us with a servant”). In the midst of their squabble, Dositheus appears; he gets between them; the princes stand motionless, turning away from each other. Dositheus interrupts their dispute (terts “Princes, subdue your anger”). He persuades the princes to reconcile. At the back of the stage, Chernoryastsy (schismatics) solemnly pass with books on their heads (such is the composer's remark), they are accompanied by a crowd of people. Dositheus points to them as an active force (“You, boyars, are much more in words, but who does it”). The schismatics sing: "To shame, to shame." Their choir sounds like a fanatical anthem. Golitsyn angrily exclaims: “Split!” Khovansky, on the other hand, bravely: “Lubo! With us and old packs, Russia will rejoice!”

Martha suddenly runs in and, barely catching her breath, rushes to Prince Golitsyn with a plea to have mercy on her. Dositheus turns to her with words of consolation. She recognizes him and then tells how Golitsyn's servant tried to strangle her (by order of the prince), and how she barely managed to escape - fortunately the Petrovites arrived in time. The mention of the army of Peter and the fact that it, it turns out, is already very close, plunges the princes into shock. Shaklovity enters. Turning to the princes, he says that the princess (Sofya) ordered them to be informed that their plot had been discovered: in the Izmailovsky village, a denunciation was nailed that the Khovanskys had encroached on the kingdom. When asked by Dositheus what Tsar Peter had said, Shaklovity answered: “He called me “Khovanshchina” and ordered to find it.” Behind the scenes, the voices of the Petrovites are heard.

ACT III

Zamoskvorechye. Streletskaya Sloboda, opposite Belgorod, behind the Kremlin wall on the Moscow River. In the distance, in front of the viewer, is a strong wooden wall made of huge beams. A part of Belgorod is visible across the river. Time for noon.

The action begins with a choir of schismatics - as in the second act (they sing their same fanatical hymn). Their singing is heard first from afar (behind the stage), then they appear on the stage, pass towards the gate and again leave the stage. This procession, like the first time, is a demonstration of the spiritual strength of the Old Believers.

The stage is empty; Martha stands out imperceptibly from the crowd. She sits down on a mound near the house occupied by Khovansky. Martha reminisces about her unhappy love; she is going through the betrayal of Andrei Khovansky (her beautiful lyrical song “The Baby Came Out”) sounds hard. Dosifey comes out of the house where Khovansky now lives. Martha stands up to meet him and bows before him. Dosifey consoles her (duet “Oh, my killer whale, be patient a little”). In a mystical mood, Marfa “sees” how the schismatics are burning at the stake. Dositheus admonishes her: “Burn!.. It’s a terrible thing!.. Not the time, not the time, little dove.” He takes her away, comforting her at the same time.

With opposite side scene appears Shaklovity. He mourns the fate of Russia (“The Streltsy Nest Sleeps”). Awakened drunken archers indulge in violent reckless fun. Streltsy wives run into the stage and pounce on their husbands (“Ah, cursed drunkards, ah, inveterate kolybnikovs!”).

Behind the scenes, the cry of a frightened clerk is heard; he seems to be calling for help. Here he comes, out of breath. “Trouble, trouble…” he shouts. - Reiters (hired Peter's horsemen. -A.M.) close; they are rushing towards you, destroying everything!” The shooters are stunned. They call Khovansky (chorus “Dad, dad, come out to us!”). Prince Ivan Khovansky is shown under the canopy of the tower. The archers ask him to lead them into battle against the raiders and soldiers of the Peter's regiments. But Khovansky tells them: “Tsar Peter is terrible! Go to your houses, calmly wait for the fate of the decision!” He himself leaves.

ACT IV

Picture 1. A richly furnished refectory in the mansions of Prince Ivan Khovansky on his estate. Prince Khovansky at the dinner table. Peasants for needlework. The girls entertain him with songs - a lingering round dance (“Near the river, on a meadow”), a lively dance (“Hayduchok”) and a majestic (“Floating, swimming swan”). But the third song will be the last in this picture, and before ... Enter the minion of Prince Golitsyn. He warns the prince that he is in danger. The prince is angry and surprised: who can threaten him on his estate? He demands that he be served mead, and orders the Persian girls to dance for him (an oriental-style ballet number is performed).

Shaklovity enters. He tells Khovansky that Sophia is calling him to a secret council. The prince at first rests - he is offended by the princess: “Now, probably, other advisers will serve her,” he says, referring, of course, to Prince Golitsyn. But in the end he orders to give him clothes. The peasant women call him again. And when the prince leaves the chamber, Shaklovity's mercenary kills him at the door. He falls dead with a terrible cry; the peasant women run away screaming. Shaklovity laughs.

Picture 2. Moscow. Square in front of St. Basil's Cathedral. Newcomers from Moscow are crowding, examining the external view of the cathedral. Enter Raiters, armed with swords and spears; they line up in rows with their backs to the cathedral and push the crowd to the other side. Raters on horseback are shown, behind them, as Mussorgsky writes, a rattletrap, also accompanied by riders. From the words of Dositheus it becomes clear that Prince Golitsyn is being taken into exile. Martha enters. She informs Dositheus that the raiders are ordered to surround the schismatics in their holy skete and kill them without mercy. Dositheus orders Marfa to take Prince Andrei Khovansky; The elder tells Martha to love the prince as she loved. Martha is ready to “receive from the Lord in fire and flame the crown of eternal glory!”

Andrey Khovansky enters; he is very excited. He is angry with Martha and is now looking for Emma. Martha tells him that the raters have taken her away and that soon she will embrace her fiancé in her homeland (whom he - Andrei - expelled). Andrei is indignant; he threatens Martha to gather archers and execute her, a traitor, as he calls her. These threats indicate that Andrei does not know what happened, and Marfa tells him about the murder of his father and that he himself is being searched all over Moscow. Andrei does not believe her and blows his horn, calling the archers ...

Behind the scenes, a large cathedral bell rings. Archers come out; they themselves carry the instruments of their execution - chopping blocks and axes. They are followed by their wives. Andrew sees this. Now his eyes were opened to everything that had happened. “Save me,” he prays to Marfa, and she hurriedly leads him away. Preparations are underway for the execution of archers. They kneel before the chopping blocks. At this moment, behind the scenes, the rude "amusing" (Peter's) regiments are heard. The choir of archers and their wives prays for the execution of their persecutors and for their salvation. Peter's trumpeters enter the stage, followed by Streshnev as a herald. And at the moment when the archers no longer have any hope, he announces to them that “the kings and sovereigns Ivan and Peter send you mercy: go to your houses and pray to the Lord for their sovereign health.” The archers silently stand up. Heading towards the Kremlin Preobrazhensky Regiment Peter.

ACT V

Pinery. Skit. Moonlight night. The orchestral introduction depicts, according to the composer, “the noise of the forest on a moonlit night, now intensifying, then subsiding, like a surf of waves” (from Mussorgsky’s letter to V.V. Stasov dated August 6, 1873). The thoughtful Dositheus enters; his movements are slow. He mourns, realizing the doom of the schismatics and his responsibility for their fate. And now he calls for everyone to burn at the stake for their faith, but not to surrender to enemies. Chernorizians and Chernorizks leave the skete and go to the forest; they sing: "The enemy of men, the prince of this world, rise!" Martha arrives, then Prince Andrey Khovansky. After Martha saved him from the Petrine people, they reconciled. But now their death is inevitable, and Martha asks Andrei to prepare for it. Trumpets sound. Andrew groans - it's hard for him. Martha is resolute - she is not afraid of burning. The schismatics, filled with faith, ecstatically sing: “Lord of glory, come to Your glory.” Marfa lights a fire with a candle. And when, breaking through the forest thicket, the guards of Peter burst into the clearing, they see the schismatic sketes, engulfed in flames. Andrey, whom Martha dragged with her into the fire, also burns in the fire. Dositheus also dies in the fire with his flock. Outsiders come out. They look at the fire and mourn for Russia: “Oh, dear mother Russia ... Who will console you, your dear, calm you down now? ..”

Something fatal weighed on Modest Mussorgsky, perhaps the most brilliant Russian composer: none of his operas was completed by him. "Salambo" remained unfinished, "Marriage" was completed and orchestrated by M. M. Ippolitov-Ivanov, "Boris Godunov" underwent two author's editions and, nevertheless, had to be finalized by N. A. Rimsky-Korsakov, and in our time, D. D. Shostakovich; " Sorochinskaya Fair» completed by Ts. A. Cui. Khovanshchina, exceptional in its artistic merits, is no exception in this list of unfinished creations: it was also completed on the basis of the author's materials (he completed the last act and orchestrated the opera) by the infinitely caring and noble N. A. Rimsky-Korsakov.

"Khovanshchina" is an outstanding creation not only musical, but also literary. The libretto of this opera, unlike Mussorgsky's other operas, does not have a literary source and is entirely written by the composer himself, and this is done in a literary sense no less talented than the music of the opera. Mussorgsky became interested in the period Streltsy uprising and church schism back in 1870, that is, when he was working on Boris Godunov. The composer was advised to write an opera about this era in Russian history by V. V. Stasov, to whom Mussorgsky dedicated the opera. Their correspondence is an invaluable source of information about the progress of work on this masterpiece. The composer shared with Stasov the smallest details of the plot when he developed it. Here is just one example of their correspondence: “The introduction to Khovanshchina is almost ready, the dawn at sunrise is beautiful, brought to the point where the denunciation is dictated, i.e. with a little sketch of Shaklovity. The working out is fair, you will measure six times and cut off once: it is impossible otherwise, such is something sitting inside that pushes you to strictness. Sometimes you rush, but no, stop: the inner cook says that the soup is boiling, but it’s too early to serve it on the table - it will be liquid, maybe you’ll have to throw some more root or salt; well, the cook knows his business better than me: I'm waiting. But if you only get soup on the table, you will eat your teeth ”(from a letter from Mussorgsky dated August 2, 1873).

The stage fate of the opera has always had strong influence ideological considerations. the opera was rejected by the management imperial theaters, when N. A. Rimsky-Korsakov, having completed it, first proposed for staging in 1883. The incident with her, which is told in the memoirs of Mark Reizen, an outstanding performer of the part of Dositheus, is indicative. In 1928, the singer toured in Sverdlovsk (now Yekaterinburg) and was supposed to sing Dosifey in several performances. “On the eve of the third performance, all the tickets for which were sold, I was suddenly informed,” the singer recalls, “that Khovanshchina had been canceled and the performance would be replaced by another. The directorate of the theater told me that among the city and surrounding residents, it turns out, there are many Old Believers. And now, a performance in which one of the pages of the history of the schism is recreated and one of central figures which the head of the schismatics, for them was a source of not only musical emotions... The rumor about "Khovanshchina" quickly spread, and the next day crowds of bearded men were drawn to the box office of the theater... The management found itself in a situation where almost the entire hall was purchased by believers . The question of anti-religious propaganda was acute in those years, in those remote places - in particular, but here - what kind of "anti"? .. It was considered for the benefit of "Khovanshchina" to be excluded from the repertoire for some time. And in our time, every production of "Khovanshchina" in Russia turns into an act not only artistic, but also, to a certain extent, political.

A. Maykapar

Mussorgsky did not complete his last opera. The finale remained unfinished, the instrumentation was not made. The work was completed by Rimsky-Korsakov.

The path of composing to the stage was difficult for censorship reasons. The church forbade the depiction of religious strife on stage. After a series of performances on private and provincial stages with a very mediocre performance, a historical premiere took place at the Moscow Private Mamontov Opera (1897, Chaliapin as Dosifei), who played big role in the stage history of the composition.

In 1911 "Khovanshchina" was staged for the first time on the imperial stage in St. Petersburg (conductor Coates, director Chaliapin, soloists Chaliapin, Ershov, Zbrueva and others). In 1913, the Paris premiere of the opera took place with the help of the Diaghilev entreprise, revised by Stravinsky and Ravel (conductor Cooper, director Sanin).

The essay is very popular all over the world. A new edition was carried out in 1959 by Shostakovich. Among the productions recent years performances by Covent Garden (1963), La Scala (1967), Vienna Opera (1989, conductor Abbado), Hamburg Opera (1994, director Kupfer) and others. In 1995, a new production at the Bolshoi Theater (conductor Rostropovich, director Pokrovsky).

E. Tsodokov

RECORDING OPERA TO MP3

Prince Ivan Khovansky, head of the archers ... ... A. Krivchenya (bass)
Prince Andrey Khovansky, his son…………………V. Piavko (tenor)
Prince Vasily Golitsyn………………………………A. Maslennikov (tenor)
Shaklovity, boyar………………………………V. Nechipailo (baritone)
Dositheus, head of the schismatics………………………A. Ognivtsev (bass)
Martha, schismatic…………………………………I. Arkhipova (mezzo-soprano)
Emma, ​​a girl from the German Quarter……………T. Sorokina (soprano)
Undertaker……………………………………………………G. Efimov (tenor)
Varsonofiev, close associate of Golitsyn…………Yu. Korolyov (bass)
Susanna, old schismatic………………………T. Tugarinova (soprano)
Kuzka, Sagittarius……………………………………… Yu. Grigoriev (baritone)
Streshnev as the herald of Peter………………………A. Fedoseev

Chorus and Orchestra of the State Academic Bolshoi Theatre. Choirmaster Alexander Khazanov. Conductor Boris Khaikin

DISCOGRAPHY:

CD - Le Chant du Monde. Conductor Khaykin, Ivan Khovansky (Krivchenya), Andrey Khovansky (Pyavko), Golitsyn (Maslennikov), Dosifei (Ognivtsev), Martha (Arkhipova).

Philips. Conductor Gergiev, Ivan Khovansky (Minzhilkiev), Andrey Khovansky (Galuzin), Golitsyn (Steblyanko), Dosifey (Okhotnikov), Marfa (Borodina).

L.D. Conductor Abbado, Ivan Khovansky (Gyaurov), Andrey Khovansky (Atlantov), ​​Golitsyn (Marusin), Dosifey (Burchuladze), Marfa (Shemchuk).

Illustrations:
V. Surikov "Morning of the Streltsy Execution" 1881
K. Korovin "Hay girls of Prince Khovansky". Costume design for Mussorgsky's opera "Khovanshchina"

KHOVANSHINA

Folk musical drama in five acts (six scenes)

Characters:

Prince Ivan Khovansky, head of the archers Prince Andrei Khovansky, his son Prince Vasily Golitsyn Dositheus, leader of the schismatics Boyar Shaklovity Martha, schismatic Susanna, old schismatic podyachy Emma, ​​a girl from a German settlement Pastor Varsonofiev, close associate of Golitsyn Kuzka, archer 1st archer 2nd archer 3rd archer Streshnev, boyar

bass tenor tenor bass baritone mezzo-soprano soprano tenor soprano baritone bass baritone bass bass tenor tenor

Archers, schismatics, hay girls and Persian slaves of Prince Ivan Khovansky, Peter's "amusing", people.

Location: Moscow.

Action time: 1682.

PLOT

Red Square in Moscow. It's getting light. The boyar Shaklovity, a protege of Princess Sophia, dictates a denunciation to Peter: the head of the archers, Prince Ivan Khovansky, planned to put his son on the throne and establish the old order in Russia. At the pillar that the archers put up in memory of their recent victory,strangers stop; they learn with horror about the brutal reprisals against the boyars, who were objectionable to the archers. Meanwhile, the archers greet their leader, Ivan Khovansky. There is also the son of Prince Andrei, who pursues Emma, ​​a girl from the German settlement, with his love claims. The schismatic Martha, Andrei's recent lover, comes to her defense. This scene is caught by the returned Ivan Khovansky. He himself liked Emma, ​​but Andrei is ready to kill her rather than give her to his father. The knife brought over the girl is imperiously removed by Dositheus, the head of the schismatics.

The office of Prince Vasily Golitsyn, chancellor and favorite of Princess Sophia. The prince is immersed in gloomy thoughts, he is overcome by fear of the future. Martha, who appeared under the guise of a fortune-teller, predicts disgrace to the prince. The superstitious Golitsyn is in turmoil. To keep the prophecy a secret, he tells the servant to drown the fortune teller. But Martha manages to escape. Opponents of Peter are gathering in Golitsyn's house. The conversation between Golitsyn and Khovansky - hidden rivals who hate and fear each other - turns into a quarrel, which is stopped by Dosifei. He urges them to humble their arrogant pride, to think about the salvation of Russia. An excited Martha runs in. She talks about the attempt on her life and the miraculous salvation that came from the Petrine people. The conspirators hear the name of Peter with alarm. But even more terrible is the news brought by Shaklovity: Tsar Peter found out about the conspiracy, branded him Khovanshchina and ordered to put an end to him.

Streltsy Sloboda in Zamoskvorechye. Marfa is having a hard time with the betrayal of Prince Andrei. Dositheus gently consoles her. Awakened drunken archers indulge in violent, reckless fun. He is interrupted to death by a frightened scoundrel. A misfortune befell: mercilessly beating the inhabitants of the settlement, Peter's reiters (hired horsemen) are approaching. The shooters are stunned. They ask Khovansky to lead the regiments into battle. But, fearing Peter, the prince calls on the archers to submit and go home.

Golitsyn's servant warns Khovansky, who has taken refuge in his estate near Moscow, that his life is in danger. Khovansky flares up with anger - who dares to touch him in his own fiefdom? Shaklovity appears with an invitation from Princess Sophia to a secret council. Khovansky orders to give himself ceremonial clothes. However, as soon as the prince leaves the chamber, Shaklovity's mercenary strikes him with a dagger.

Peter also dealt with other conspirators: Prince Golitsyn was sent into exile under escort, the Reiters were ordered to surround the schismatic sketes. Only Andrei Khovansky does not know about the collapse of the conspiracy. He does not believe Martha, who informed him of this, and blows his horn in vain, calling his regiment. However, seeing the archers going to the execution, Andrei realizes that everything is dead, and in fear asks Martha to save him. Archers are already bowing their heads over the blocks, but in last moment boyar Streshnev, sent by Peter, announces a pardon decree.

Glade in a dense forest. Moonlight night. Dositheus mourns alone; he is aware of the doom of the schismatics and his responsibility for their fate. Filled with courageous determination, he appeals to the brethren with an appeal to burn in the fire in the name of the holy faith, but not to surrender. The schismatics are ready to set themselves on fire. And when, breaking through the thicket, the soldiers of Peter burst into the clearing, they see the schismatic sketes, engulfed in flames. Together with the brethren, Andrei also dies, whom Martha carried into the fire, dreaming of uniting with her beloved in death.

The opera shows the fate of the Russian people in the period immediately preceding the reign of Peter I. Recreating episodes of the struggle of the reactionary forces of old feudal Russia against progressive aspirations young Peter, the composer connected it with the conspiracy of the leader of the archers Ivan Khovansky, who was supported by the schismatics. The idea of ​​the opera is deeply tragic. As a sensitive artist, Mussorgsky felt the inevitability of the death of the old order, but he saw that Peter's reforms did not bring relief to the people either. Wide social background, the true color of the era, bright characteristics historical figures and different layers people make "Khovanshchina" an outstanding work of art.

In "Khovanshchina" Mussorgsky's melodic gift manifested itself with particular force. The opera is replete with smooth, freely flowing melodies, often close to drawn-out peasant songs. Along with convex, acute individual characteristics main characters great place in the opera are occupied by choral scenes depicting various groups people - archers, schismatics, Moscow people. With amazing skill, the composer conveys the diversity of continuously developing events.

The orchestral introduction "Dawn on the Moscow River" paints a symbolic picture of the awakening of ancient Moscow; .the bell ringing is heard for matins, the call of the archer's trumpet; the folk melody flows in a wide, endless stream of songs.
The first act shows the complex relationships between different strata of the people. Episodes quickly replace each other, creating an atmosphere of anxiety, anxiety. Many simultaneously occurring events are united by music. While Shaklovity is dictating the Denunciation, a cheerful dance song of the Moscow people "Once upon a godfather" is heard, then the choir of archers "Goy you, military people"; the last song, close to the old soldier's tunes, breathes strength and violent prowess. This wide scene closes with the chorus "Oh, dear Mother Russia," a sad thought about the homeland. A powerful increase permeates the scene of the meeting of Khovansky, in the center is the solemn majestic "Glory to the Swan". In the tercet, against the background of Emma's desperate exclamations and Andrei's excited exclamations, Martha's smooth, restrained speech, full of passionate lyricism, stands out. The mournful call of Dositheus "The time has come" draws the appearance of a stern and proud old man. The schismatic choir "God, banish the words of slyness" is close to genuine Old Believer melodies.

The second act consists of two sections. In the center of the first is Martha's divination (the spell "Secret Forces" and the prophecy "You are threatened by disgrace"), his music is painted in ominous, sometimes mystical-mysterious, sometimes hopelessly sad tones. The second section is a dispute between the princes and the invading fanatical anthem of the schismatics "Victory".

The third act begins beautifully lyrical song Marfa "The Baby Came Out", based on a genuine folk melody. Shaklovity's aria "The Archer's Nest Sleeps" is one of the most profound and musically noble episodes of the opera. The rollicking choral song "Ah, there was no sadness" and the contagiously cheerful (in the spirit of ditties) Kuzka's song "Started up in the back streets" convey the wild fun of the archers. In the choir-lamentation of the archers "Dad, dad, come out to us!" a nagging complaint, fear and impotence are heard.

In the first scene of the fourth act, a colorful vocal and dance suite occupies a significant place. The drawn-out choral song "Near the River, in the Meadow", the lively dance "Hayduchok" and the majestic "Floating, Swimming Swan" are based on folk melodies. The dance number "Persian Dances" included in the picture is designed in oriental style.
The second picture of the fourth act opens with a dramatic orchestral introduction in which the melody of Martha's prophecy develops. Martha's appeal to Andrey "It is evident that you did not smell it, prince" - the groan of a strong and passionate soul. In the execution scene, the melody of the archers' choir acquires the character of a funeral procession. The act completes brilliant victory march Transfiguration St.

The orchestral introduction to the fifth act, according to the composer, depicts "the noise of the forest now increasing, then subsiding, like the surf." Dosifey's exalted noble monologue "Here, in this place" is imbued with deep tragedy. At the heart of the final chorus "My Lord" is the tune of an Old Believer prayer.

Libretto of the opera "Khovanshchina"

folk musical drama four steps(six pictures)
Libretto by M. P. Mussorgsky

Characters:
Prince Ivan Khovansky, head of the archers bass
Prince Andrei Khovansky, his son tenor
Prince Vasily Golitsyn tenor
Dositheus, head of the schismatics
Boyar Shaklovity baritone
Marfa, schismatic mezo-soprano
Susanna, old schismatic soprano
sub-tenor
Emma, ​​a girl from a German settlement soprano
Pastor baritone
Varsonofiev, approximate Golitsyn bass
Kuzka, archer baritone
1st archer bass
2nd archer bass
3rd archer tenor
Streshnev, boyar tenor

Archers, schismatics, hay girls and Persian slaves of Prince Ivan Khovansky, Peter's "amusing", people.

Location: Moscow.
Action time: 1682.

STEP ONE

Picture one

Old Moscow. Early morning. Patrol archers boast. how they dealt with the hated Yuyars. In memory of these bloody deeds, a pillar stands on the square, on which the names of the executed are written.
A protege of Princess Sophia, the boyar Shaklovity, dictates to the clerk a denunciation of Prince Ivan Khovansky, who is thinking of seizing power in the Muscovite state.
Newcomers stop at the pillar. They ask the clerk to read the inscription on the pillar. The people learn about the death of the boyars, who were killed by archers on the orders of Khovansky.
Violent triumphant archers enter the square. They glorify Prince Ivan Khovansky. The prince with archers goes around Moscow.
Emma, ​​a girl from the German Quarter, is running across the square. She is pursued by young Andrei Khovansky. Former sweetheart Andrea, the schismatic Martha, jealously watches them. Suddenly, she appears before Andrey, angrily reproaching him.
The archers are returning after a detour, Ivan Khovansky is with them. He tells the archers to take Emma. But Andrey is ready to kill Emma rather than give it to the archers for reproach.
The head of the schismatics, Dositheus, emerges from the crowd. He instructs Martha to protect the girl. Father and son Khovansky retreat before the will of their powerful ally.
ACT TWO
Picture two
Prince Vasily Golitsyn reads a love letter from Princess Sophia. Having received the title of chancellor from her hands, he is at the same time in a conspiracy with Khovansky. Golitsyn is overcome by doubts, fear of the future. He must be careful.
Martha enters the prince's chambers through a secret door. She knows that the position of the all-powerful Prince Golitsyn is precarious. Under the guise of divination, Martha reveals to him "the secret of his fate" - close disgrace and exile.
The prediction horrifies the superstitious prince. Martha hides.
Prince Ivan Khovansky arrives to agree with Golitsyn on joint actions. Soon Dositheus joins them. Overwhelmed by ambition, the conspirators cannot get along with each other.
Marfa runs. She tells Dosifey that, on the orders of Golitsyn, they tried to kill her. Soldiers amusing troops young Peter saved her. The news of the "amusing" brings anxiety to the camp of the conspirators.
The boyar Shaklovity appears. He reports that in the village of Izmailovsky, where Peter lives, there is a denunciation: "The Khovanskys encroached on the kingdom." The king is angry, "called him Khovanshchina and ordered to be found."
The conspirators are shocked. And down the street, past Golitsyn's choir, the Transfigurationists, Peter's soldiers, march with firm steps.

Picture three

The schismatic Martha came to the house of the Khovanskys in Zamoskvorechye. Prince Andrei no longer loves her. Lamenting the collapse of her hopes, Martha contemplates self-immolation.
Dositheus consoles and takes Martha away.
The reckless songs of tipsy archers are heard.
A clerk comes running to the square. He talks about the attack of Peter's soldiers on the Streltsy settlement. This news stuns the archers. They appeal to their boss, Ivan Khovansky.
However, Khovansky himself is at a loss: the archery business is on the eve of death.

ACT THREE
Picture Four

Refusing to come out with archers against Peter. Khovansky left for his estate near Moscow. Heavy thoughts overcome him. He tells the serf girls to entertain him with cheerful songs.
Klevret, sent by Golitsyn, warns Khovansky about Sophia's disfavor towards him, advises him to take care. Khovansky orders Varsonofiev to be flogged: in his patrimony, the prince is not afraid of anything.
Suddenly, the boyar Shaklovity appears. On behalf of Princess Sophia, he calls the prince to state council. Khovansky is flattered. He is celebrating victory. Dressing in magnificent ceremonial clothes, the prince demands that the hay girls dignify him.
Khovansky importantly walks to the exit and falls dead, struck down by the knife of Shaklovity's servant.

Picture Five

Other members of the conspiracy also die. Sophia is removed from power. disgraced prince Golitsyn is sent into exile under escort.
Dositheus and Martha bring terrible news: Peter wants to send his troops against the schismatics.
Realizing that the situation is hopeless. Dositheus decides to commit suicide. Together with the schismatics, Andrey Khovansky should also burn.
Marfa tells Andrei about the murder of his father. Andrew does not want to believe. He does not yet know about the defeat of the conspiracy. Andrei is convinced that faithful archers will immediately respond to his call. He blows the horn.
In response, alarming strikes of the cathedral bell are heard. Under this ringing, archers are led to execution.
Depressed by the sight, Andrei asks Martha to save him.
The march of the "amusing" is heard. The young boyar Streshnev, sent by Peter, comes to the Execution Ground and declares Peter's mercy and forgiveness to the archers.

ACT FOUR
Picture six

Silent night in a schismatic skete. Here the schismatics take refuge from the Peter's troops.
No exit. Dositheus calls on the schismatics to burn themselves so as not to fall into the hands of Peter's soldiers.
Trumpets are heard from the forest. Dissidents dressed in shrouds are passing by. Martha takes Andrey with her.
The schismatics go to the skete. Old fanatics cover the walls with brushwood and set fire to it. Skit is on fire.
Peter's soldiers appear. They move like a mighty avalanche through the forest to save people dying in the fire.

Modest Mussorgsky "Khovanshchina"(folk musical drama)

Libretto - Modest Mussorgsky

The historical basis of the plot

Khovanshchina- the events of 1682, a short period of omnipotence in Moscow, Prince Ivan Khovansky, who was appointed by Tsarevna Sophia after the Streltsy rebellion as the head of the Streltsy order. Khovansky was very popular, the archers even called him "batya". The summer of 1682 was marked by the activation of the Old Believers, who hoped, with the help of Khovansky, to overcome the official church, supported by Sophia, and return Russia to the "old faith". The culmination was a dispute about faith in the Faceted Chamber of the Moscow Kremlin (July 5, 1682), which was reduced to mutual accusations of the parties in heresy and ignorance. However, the Old Believers, having left the Kremlin, publicly announced their complete victory on Red Square. This story finally divorced Sophia from her nominee Khovansky. Not gone and three months how the ruler found a way to deal with the leader of the archers: on September 17, 1682, Ivan Khovansky and his son Andrei were arrested by Sophia's supporters and executed on the same day without trial. Fyodor Shaklovity was appointed the new head of the Streltsy order.

Only seven years later, power passed from the hands of Princess Sophia into the hands of Peter. On August 7, 1689, Sophia ordered Shaklovity to send more archers to the Kremlin, as if to accompany her to the Donskoy Monastery on a pilgrimage. A rumor spread that in fact the Streltsy regiments were preparing for a campaign against Preobrazhenskoye in order to beat all the supporters of Peter. Having received news of this, Peter with a small retinue took refuge in the Trinity-Sergius Monastery. On August 8, “amusing” regiments with artillery came here. A few days later, Peter ordered all the other regiments in Moscow to go to the Trinity. Most of troops obeyed the legitimate king. Having lost power, Princess Sophia was soon imprisoned in Novodevichy Convent, and her favorite, Prince Vasily Golitsyn, was sent into exile. Fyodor Shaklovity was executed.

Dramaturgy and music

AT real events Khovanshchina in 1682, 10-year-old Tsar Peter did not take any part. However, Mussorgsky wanted to show the transfer of power from the hands of Princess Sophia to the hands of Peter. Therefore, the events of 1682 and 1689 are whimsically mixed in the libretto of his opera. Mussorgsky shows the forces hostile to Peter: archers, led by Prince Khovansky; Prince Golitsyn, Sophia's favorite; Old Believers led by Dositheus (the real Hegumen Dositheus (d. 1690)). If Prince Khovansky, indulging the archers in everything, strives for royal power, then the archers themselves are shown as a dark mass used in the interests of others. The Old Believers are presented as courageous people going to self-immolation for the sake of faith.

A huge role in the development of action belongs to the people - even in more than in Boris Godunov. Choirs are very diverse. No less vividly embodied individual images: haughty and autocratic Khovansky; crafty and narcissistic Golitsyn; majestic Dositheus; strong, impulsive, passionate, ready for the feat of Martha; restless and weak Andrey Khovansky; patriotic and capable of everything for the sake of saving Russia Shaklovity; cheerful and reckless young archer Kuzka; cowardly and greedy clerk.

From the music of "Khovanshchina" the most famous are: introduction ("Dawn on the Moscow River"); the scene of Martha's divination from the 2nd act ("Secret powers, great powers"); Shaklovity's aria from the 3rd act ("The archer's nest is sleeping"); intermission for the 4th act ("Golitsyn's Train"); "Dance of the Persians" from the 4th act.

History of creation and orchestration options

Khovanshchina was conceived by Mussorgsky in 1872. He wrote it (intermittently) to the very last days his life, but never completed it. The music of the 2nd act remained unfinished (the manuscript breaks off at the words of Shaklovity "And ordered to find ...") and the 5th act. Some of the autographs have been lost, including Martha's Love Funeral, which Mussorgsky was especially proud of. Most of the music that was recorded by the composer in the form of a clavier was not orchestrated. In Mussorgsky's orchestration, only the choir of archers "Get up, well done" (3rd act) and Marfa's Song have survived.

The entire opera was orchestrated for the first time by Nikolai Andreevich Rimsky-Korsakov, who preferred to call his work not an orchestration, but an arrangement. Based on his own professional convictions and taking into account the requirements of the time, he significantly reduced the opera, added the necessary links, changed Mussorgsky's voice leading and harmony. Rimsky-Korsakov's score was published in 1883.

In 1958, Dmitri Shostakovich made a new orchestration based on the author's clavier published by P. Lamm (1932). It was this version that was used in the film-opera Khovanshchina (1959, director Vera Stroeva, screenwriter and composer D. D. Shostakovich). In 1960, this version of the opera was staged in Leningrad at the Kirov (Mariinsky) Theatre. The score by Shostakovich was published in 1963.

I. F. Stravinsky wrote his own version of the final chorus (in the scene of the self-immolation of the schismatics), who, together with M. Ravel, prepared a new version of the opera for staging in 1913 in Paris by S. Diaghilev's troupe. This edition used Rimsky-Korsakov's orchestration, and the work of Stravinsky and Ravel was to restore (in some cases, reconstruct) and orchestrate fragments that were not included in Rimsky-Korsakov's edition.

First productions

The opera was not performed during Mussorgsky's lifetime.

First productions :

1. in St. Petersburg: by the forces of the Musical and Drama Circle of Amateurs, in the hall of I. A. Kononov, on February 9, 1886, E. Yu. Goldstein conducted.

3. in Moscow: Russian private opera by S. I. Mamontov, in the premises of the theater of G. G. Solodovnikov, November 12, 1897. Conductor E. D. Esposito, Dosifei - F. I. Chaliapin, artists A. M. Vasnetsov, K. A. Korovin and S. V. Malyutin.

Summary of M. Mussorgsky's opera "Khovanshchina"

The action takes place in 1682.

Act one

Moscow. Red Square at dawn. Hear the morning chirp. Sagittarius Kuzka is sleeping at a stone pillar, his comrades are around him. The boyar Shaklovity enters and dictates to the clerk an anonymous denunciation addressed to Tsars Ivan and Peter (both of them are young and are under the care of their sister, Princess Sophia): Prince Ivan Khovansky, the head of the archers, incites a rebellion and, with the help of schismatics, put his son on the throne Andrew. The people and the archers greet Ivan Khovansky (" white swan the path is wide). The prince addresses the people: his duty is to protect the infant tsars from the rebellious boyars. Emma, ​​a girl from a German settlement, appears on the stage, pursued by Andrey (duet “Let me go, let me go, leave me!”). Martha comes to the aid of Emma, ​​she reproaches the prince for leaving her, he tries to stab her with a knife, but she, in turn, also raises the knife (terts “So, so, prince!”). Martha prophesies to him that he should not die like this. Andrei contemptuously calls her possessed. Ivan Khovansky, struck by Emma's beauty, orders the girl to be taken to his chambers. But Andrey is ready to kill her better than to give in to his father. Dositheus, the leader of the schismatics, stops Andrey just in time. He calls on the Orthodox to fight for the true faith (with the choir "God, otzheni").

Action two

Office of Prince Golitsyn. Late evening. Golitsyn reads a love letter from Princess Sophia. He is tormented by anxiety. Enter Martha disguised as a fortune-teller. She predicts to Golitsyn that disgrace, exile and poverty await him ("Secret Forces"). The prince orders her to be drowned, but Martha hears everything and hides in time. Ivan Khovansky suddenly appears. The princes argue about politics, blaming each other (duet “And we are without a report, prince: that's how”). Dositheus interrupts their argument (tertset "Princes, subdue your anger"). In the back of the stage, schismatics pass, singing the victory over the heretics. Martha runs in: Golitsyn's servant wanted to drown her, but the Petrovites came to her aid. The princes are amazed that the king's troops are so close. Shaklovity announces to them that their conspiracy has been discovered, Peter called him "Khovanshchina" and "ordered to find him."

Act Three

Streltsy Sloboda in Zamoskvorechye. Martha remembers her unhappy love and predicts that she and Andrey will die together, in a flame ("A Baby Came Out"). Dosifey consoles her (duet "Oh, my killer whale"). Shaklovityy mourns the fate of Russia ("The Archer's Nest Sleeps"). From the settlement comes the sound of a fight. Suddenly, a clerk runs in: Peter's troops beat the archers. Kuzka offers to call Ivan Khovansky for help (“Dad, dad, come out to us”). But the prince tells the archers to go home and wait for the verdict.

act four

Chambers of Ivan Khovansky. The prince sits at the table, and the girls entertain him with songs (“Near the river, on the meadow”, “About the hayduchka”). Varsonofiev, sent by Golitsyn, warns Ivan that his life is in danger. The prince is outraged. After some time, Shaklovity brings the order of Princess Sophia, calling him to the court. The prince orders to bring ceremonial clothes and demands that the girls sing in his honor (“Floating, swimming swan”). As soon as he reaches the threshold, he falls with a cry, struck by the killer.