Oresteia (opera) (Taneyev, Sergey)

Ambox notice.pngFor the orchestral piece on the same subject, see Oresteia (overture), Op.6.


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Performances

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Nsmall00 (2017/5/30)

Publisher. Info. Leipzig: M.P. Belaieff, 1900. Plate 2100?.
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Vocal Scores

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Lyle Neff (2008/11/2)

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Lyle Neff (2008/11/2)

PDF scanned by Lyle Neff
Lyle Neff (2008/11/2)

PDF scanned by Lyle Neff
Lyle Neff (2008/11/2)

PDF scanned by Lyle Neff
Lyle Neff (2008/11/2)

PDF scanned by Lyle Neff
Lyle Neff (2008/11/2)

PDF scanned by Lyle Neff
Lyle Neff (2008/11/2)

PDF scanned by Lyle Neff
Lyle Neff (2008/11/2)

PDF scanned by Lyle Neff
Lyle Neff (2008/11/2)

Language Russian ; French ; German
Translator Mikhail Osipovich Ashkinasi as "Michel Delines", (1851-1914), French text
Hans Schmidt, German text
Publisher. Info. Leipzig: M.P. Belaieff, 1900. Plate 2104.
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Misc. Notes See end of page for full contents.
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Publisher. Info. "Арии и романсы: Для сопрано в сопровождении фп."
Moscow: Muzyka, n.d. Plate 15232
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Misc. Notes From Part 1, Tableau 2 ([90] of the vocal score)
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General Information

Work Title Oresteia
Alternative. Title Орестея
Composer Taneyev, Sergey
Movements/SectionsMov'ts/Sec's 3 acts/parts, 8 tableaux
Part I. "Agamemnon"
Introduction
  • Tableau 1
1. Scene (guard)
2. Scene (Chorus of women, Clytaemnestra)
3. Scene (Clytaemnestra, chorus of people)
4. Scene (Narrative of Aegisthus. Duet)
  • Tableau 2
5. March with chorus
6. Scene (Agamemenon and chorus of warriors)
7. Scene and duet (Clytaemnestra and Agamemnon)
8. Scene of Cassandra with chorus (Clytaemnestra, Cassandra, chorus of people)
Arioso of Cassandra with chorus
9 Scene (Clytaemnestra and chorus)
10. Concluding scene (Aegisthus, Clytaemnestra, bodyguards, people)
Part II. "The Libation-Bearers"
  • Tableau 1
11. Recitative and arioso of Clytaemnestra
12. Scene (shade of Agamemnon, Clytaemnestra, later a female chorus)
13. Recitative and duet with chorus (Clytaemnestra, Elektra, and female chorus)
  • Tableau 2
14. Scene (Orestes)
15. Scene (Orestes with chorus of women)
16. Scene (Elektra and chorus of women)
17. Scene and duet (Elektra, Orestes, and chorus of women)
  • Tableau 3
18. Scene (Orestes and slave)
19. Quartet (Elektra, Clytaemnestra, Orestes, Aegisthus)
20. Scene (slave and Clytaemnestra)
21. Scene and duet (Clytaemnestra and Orestes)
22. Concluding scene (Orestes and chorus)
Part III. "The Eumenides"
  • Tableau 1
23. Entr'acte and scene (Orestes and Furies)
  • Tableau 2
24. Entr'acte
25. Scene (Orestes, Furies [offstage], later Apollo)
  • Tableau 3
26. Entr'acte and chorus of Athenians
27. Scene (Orestes and chorus)
28. Procession of areopagites
29. Scene (Orestes and an Areopagite)
30. Concluding scene (Athena, Orestes, Areopagites, people)
Year/Date of CompositionY/D of Comp. 1882–94, revised 1900 for publication
First Performance. 1895-10-29 – St Petersburg, Maryinsky Theatre
Eduard Krushevsky (conductor)
First Publication. 1895 - limited edition (composer)

1900 – Leipzig: M.P. Belaieff

Full score, Plate 2100.
Orchestral parts. Plate 2101.
Choral parts. Plate 2102.
Solo parts. Plate 2103.
Vocal score, 333 pages. Plate 2104.
Librettist Aleksey Venkstern (1856–1909), after a story by Aeschylus
Language Russian
Dedication In memory of Anton Rubinstein (1829–1894)
Composer Time PeriodComp. Period Romantic
Piece Style Romantic
Instrumentation voices, chorus, orchestra
Cast: Agamemnon (Агамемнонь) (bass)
Clytemnestra (Клитемнестра) (alto)
Aegisthus (Эгистъ) (baritone)
Elektra (Электра) (soprano)
Orestes (Орест) (tenor)
Cassandra (Кассандра) (soprano)
Apollo Loxias (Аполлон Локсий) (baritone)
Pallas Athena (Афина Паллада) (soprano)
Areopagite (Ареопагит) (bass)
Koryphäe (Корифей ) (bass)
Guard (Страж) (bass)
Libation-Bearer (Раб) (bass)
Agamemnon's Spirit (Тень Агамемнона) (bass)
Mixed chorus (SATB)
Orchestra
Related Works Taneyev's concert overture Oresteia, Op.6 (1889), contains some themes that appear in the opera.
External Links MPH Preface by Anastasia Belina, 2010
Wikipedia article

Misc. Comments

As with some works by Tchaikovsky, we know that works were published at times later in full score than in vocal score but did not receive higher plate numbers (and sometimes there was little indication of this on the scores.) Here there is the further difficulty that the full score above has been improperly scanned (there are many libraries- RUS-Mrg eg.- and commercial scanners that do this sort of thing, unfortunately; likewise republishers such as Dover, MusikMPH which has republished this score, Kalmus, etc.), with the plates and other material on the inner pages cropped off.