Rimsky-Korsakov, the youngest of the “Mighty Handful” alongside Balakirev, Cui, Mussorgsky, and Borodin, was dedicated to creating an authentic Russian style by drawing from folklore, songs, and dances. Snyegurochka (The Snow Maiden), his third and favorite opera, exemplifies this.
With Russian touring companies now less prominent, the English Touring Opera (ETO) has commendably tapped into a rich vein of overlooked Rimsky-Korsakov operas, hopefully paving the way for more discoveries.
Though the production is simple, it works well. The story centers on Snowmaiden, the daughter of Grandfather Frost and Spring Beauty, born from their affair 16 years earlier. Jarilo, the sun god, has hidden the sun out of jealousy, leaving Russia in cold since her birth. Snowmaiden longs to live among humans, but Frost fears that if she falls in love, her heart will melt, leading to her death. Spring, however, believes she should have more freedom to grow, and convinces Frost to agree. Snowmaiden becomes captivated by Lel’s singing, along with the village girls. She is adopted by Bobyl and Bobylikha but refuses Lel’s kiss, and he quickly moves on.
Mizgir, celebrating his engagement to Kupava, becomes infatuated with Snowmaiden and abandons Kupava. Kupava brings her complaint to the Tsar, who is struck by Snowmaiden’s beauty and declares that whoever wins her heart will marry her. Mizgir’s persistence eventually wins Snowmaiden’s love, but when she is exposed to the sun, she melts. Jarilo, satisfied by her death, brings warmth back to Russia.
While the full opera runs 3.5 hours, ETO has made substantial cuts, including the final 16 minutes in which Mizgir, devastated by Snowmaiden’s death, drowns himself—turning the people’s joy to personal tragedy.
Rimsky-Korsakov’s hallmark is his rich orchestration, written to support powerful voices. The Snow Maiden was designed for a large chorus and orchestra, giving the music an inherently Russian feel. However, with a smaller chorus and orchestra here, some of that power is inevitably lost—a natural limitation of a touring production. There is some Russian-inspired dancing, and the score remains filled with beautiful melodies that propel the action forward.
The standout performance comes from British mezzo-soprano Kitty Whately as Lel. Her warm, vibrant voice handles the challenge of unaccompanied singing with great skill. Her portrayal is well-acted and stylish, making it easy to see why Snowmaiden falls for her. Whately is a name to watch.
Welsh soprano Ffion Edwards plays Snowmaiden with youthful innocence. Her voice is fresh and light, capturing the character’s emotional coolness until her heart melts in the end.
British baritone Edmund Danon as Mizgir brings depth to his role, transitioning convincingly from his initial passion for Kupava to his obsession with Snowmaiden. His vocal performance is nuanced, particularly in conveying Mizgir’s emotional journey, making his final act of despair (cut in this production) believable.
British mezzo Hannah Sandison performs as Spring Beauty with a solid voice, though it occasionally lacks stability, while New Zealand soprano Catherine McIndoe brings spirited energy and a rich tone to Kupava.
Anglo-Irish tenor Joseph Doody portrays the Tsar as kind and well-meaning, but his costume—a green dress and tiara—distracts from the seriousness of the role, giving the impression of a comic figure. This cross-dressing decision feels out of place, undermining the Tsar’s dignity and Rimsky-Korsakov’s intentions.
Strong performances also come from British tenor Jack Dolan as Bobyl, British mezzo Amy J Payne as Bobylikha, and British bass Edward Hawkins as Frost/Bermyata. Conductor Gerry Cornelius brings energy to the music, though the orchestra occasionally overpowers the smaller vocal ensemble.
Overall, the vibrant cast brings the music to life despite some limitations. The Snow Maiden is a rare gem, worth seeing for its beautiful melodies, strong performances, and its rarity on the touring circuit.
English Touring Opera
Music by Nikolai Rimsky-Korsakov
Libretto by Nikolai Rimsky-Korsakov based on a novel by Alexander Ostrovsky
Conductor: Hannah Quinn
Director: Olivia Fuchs
Cast includes Ffion Edwards, Kitty Whaley, Katherine McIndoe, Edward Danon, Hannah Sandison, Edward Dorkins, Jack Dolan, Amy J Payne
Running time 2 hours 40 minutes with one interval
4th October 2024 then touring until 16th November 2024
Photo Credit Richard Hubert Smith