ムソルグスキー: 歌劇《ソロチンスクの定期市》、他

モデスト・ムソルグスキーの未完となった歌劇《ソロチンスク(ソローチンツィ)の定期市》。ニコライ・ゴーゴリの原作をもとに、ムソルグスキー自身が台本を作成したこの歌劇は、恋愛にまつわるごたごたと悪魔の呪いが交錯するコメディーです。彼の死後、何人かの作曲家が作品の補筆を行いましたが、このファブリース・ボロンの版はムソルグスキーによる音楽だけを用いた室内楽伴奏版です。アルバムには同じボロンが《サランボー》の音楽を演奏会用組曲に編んだものを収録。こちらはムソルグスキーがフローベールの同名小説をもとに作曲、未完のまま終わった彼の初の歌劇です。「テーマとアイデアの美しさ」がリムスキー=コルサコフに称賛されました。
ナクソス・ジャパン

Modest Mussorgskys comic opera Sorochintsi Fair, based on a short story by Nikolai Gogol, was left unfinished at his death in 1881. Its swift momentum and sparkling melodies, entirely distinct from the dark music for which Mussorgsky is generally known, have attracted completions ever since, and there have been no fewer than five by Cesar Cui (in which form the opera received its premiere), Nikolai Tcherepnin, Nikolai Golovanov, Vissarion Shebalin (the best-known one), and Emil Cooper. Now conductor Fabrice Bollon weighs in with a sixth, and it is worth the time of Mussorgsky lovers. Unlike the others, it is not a completion; Bollon, leading a small orchestra called The Lilys Project along with adult and childrens choirs, includes only the music Mussorgsky actually wrote. Equally significant is his treatment of the opera, which amounts to a new edition; he strips it down to chamber dimensions. The Lilys Project is a group of 11, including a string quintet. "It is effectively reduced to a chamber opera," Bollon argues, "its leaner orchestration a foil for the irony and caricature within Gogols short story, on which it is based." On one hand, this represents a pretty major departure from the composers intentions; on the other, Bollon might have noted that 19th century operas might have been played by smaller ensembles than those heard in the glittering capitals as they spread across the provinces. It is up to listeners to decide whether it works; to these ears, it does, partly due to a cast of largely unknown singers who lower the volume to match the instrumental performances. (There is no libretto, not even online, but there is a fairly detailed synopsis that does not leave the listener completely at a loss as to what is happening.) Also included is music from another unfinished Mussorgsky opera, Salammbo, this one from the beginning of his career and based on a historical novel depicting Carthaginian times by Gustave Flaubert. This one is also melodically enjoyable, and there are many hints in the form of modal harmonies and transitions that point toward Mussorgskys later music. Indeed, several of the tunes show up in Boris Godunov in modified form. The suite here is also by Bollon and holds together intelligently. The Naxos labels studio sound from the SWR Baden-Baden radio network works well with the chamber dimensions, and this is enjoyable music that may well help expand Mussorgskys rather slender performable output. ~ James Manheim