Sorotchintsi Fair (1930) 1941

In 1940, the emerging alliance between the USSR and England vis-à-vis Nazi Germany was already recognisable. At this time, many Russian plays were already being performed in England, but often in English translations. As almost everything Russian was highly regarded in England at this time, the exiles with Ukrainian roots had the idea of putting on a native opera in a Russian-Ukrainian style. The choice fell on Mussorgsky’s (1839–1881) comic opera Sorotchintsi Fair.

The version orchestrated by Nikolai Nikolayevich Tcherepnin (1873-1945) was premiered in Monte Carlo in 1923. 17 years later, a new adaptation by Pavel Lamm (1882-1951) and Vissarion Shebalin (1902-1963) was staged. The newly arranged structure by Georg Kirsta (1900-1955) and Anatoli Fistoulari (1907-1995) that premiered in London in 1941 was based on Tcherepnin's version.

The first public stage performances of Kirsta's production with the set he had designed, Devillier's choreography and the London Symphony Orchestra took place in October 1941, with Anatole Fistoulari in charge of the music and conducting both during the rehearsal process and the performances at London's Savoy Theatre.

As a result of the auditions held by Fistoulari at the Wigmore Hall studios, Daria Bayan (life data unknown) was given the soprano role of Parassia. Kyra Vayne (1916-2001) alternated with the Russian Oda Slobodskaya (1888-1970) for the mezzo-soprano role of Khivria. The cast changed several times over the course of the two-year tour.

As Russian theatre plays were currently highly regarded by audiences outside Nazi Germany, the production of Mussorgsky's opera with additional music and ballet elements was an undertaking that lasted several calendar years. 

Literature

»Der Zweite Weltkrieg«, Bundeszentrale für politische Bildung, http://tinyurl.com/ysrb5cge, accessed 08/01/2024

‘Lot 558: George Kirsta, Russian mid 20th [sic] century- [sic] Costume’, Invaluable, https://is.gd/tkndtk, accessed 05/01/2023

Menuhin, Diana, A Glimpse of Olympus, Methuen, London 1996

Palmer, Fiona, ‘The Musical Conductors’ Association. Collective Podium Power in Wartime Britain?, in: Music and Letters 102/3 (2021), pp. 559-598, https://tinyurl.com/2me5376v, accessed 28/06/2024

SMMC-Collection Kirsta, poster for Sorotchintsi Fair, poster, London, SMMC-Collection Kirsta, Salzburg, Box 4/Folder Posters Opera & Ballet, accessed 17/04/2024

‘Sorochintsy Fair 1942’, Opera Scotland, https://is.gd/CTIJPI, accessed 24/07/2023

Vayne, Kyra, A Voice Reborn, Arcadia, London 1999