A Life for the Tsar

Glinka got the idea of a Russian nationalistic opera shortly after returning from his trip to Italy in 1833. He was not terribly impressed with the Italian style, and since it dominated the opera scene in his homeland as well as his trip abroad, it is easy to see why he was with Vasily Zhukovsky's suggestion to try an opera to the story of Ivan Susanin, the peasant-hero who had sacrificed his life in 1613 to keep the Polish army from discovering the hiding place of the tsar-elect Mikhail Romanov before Romanov was officially installed. The opera worked out rather well. In 1833 the idea of Official Nationality had been spread throughout Russia, expressing the idea that orthodoxy, autocracy, and nationality were all bound together and that personal happiness was gained through support of the Tsar who, in turn, was chosen and supported by God himself. This ideology was naturally intertwined in the story. The opera begins with Ivan Susanin lamenting the lack of a Tsar in Russia and advising his daughter and future son-in-law that it is no time for a wedding when the country is languishing with no true God-ordained ruler. Russia was in the "Time of Troubles" following the fall of Boris Godunov (hey, there's an opera coming up about him, too) and the strong presence of the Poles in Russia had everyone rather down. When news of the election of Mikhail Romanov comes, everyone is thrilled and the wedding plans commence. This is quenched, however, when the Polish army (the enemy) shows up and demands to be taken to the place where Romanov is hiding, intending to prevent his installation and maintain power in Russia. Ivan Susanin appeases the Poles by offering to lead them to Romanov, but instead he leads them far out into the frozen forest where they have no chance of surviving or finding their way back. When they discover his trick, Ivan mocks their failure and their hopeless fate and they kill him. The final scene is the celebration at Red Square where the coronation of Tsar Romanov takes place and Susanin's family is recognized and honored for their father's sacrifice. One of the most interesting things about the opera is Glinka's use of reminiscence music for dramatic effect near the end. As Ivan Susanin lies awake with the Poles in the forest, realizing his fate, he sings of his family and his various experiences, while corresponding motives from earlier in the opera come floating back. This practice had been used by plenty of European composers (Mozart and Verdi), but Glinka was the first to do it in Russia. More interesting things to follow.