Resurrection (opera)

Resurrection is an opera in four acts composed by Franco Alfano, with a libretto by Cesare Hanau, based on Leo Tolstoy's novel of the same name, Resurrection.

Performance History

The opera premiered on 30 November 1904 at the Teatro Regio in Turin, Italy. The first American performance was at the Chicago Grand Opera Company in 1925, with Mary Garden in the lead role. It has been revived sporadically throughout the 20th and 21st centuries. While not a standard repertoire piece, Resurrection has maintained a presence in the operatic world due to its dramatic storyline and Alfano's lyrical score.

Roles

• Katyusha Maslova: Soprano, a peasant girl.
• Prince Dimitri Nekhlyudov: Tenor, an aristocrat.
• Prince Schönbock: Baritone.
• Simonson: Baritone, a political prisoner.
• Theodosia: Mezzo-soprano, an old servant.
• Sophia: Mezzo-soprano, a prostitute.
• Vera Efremovna: Soprano, a prisoner.
• Governor: Bass.
• Various other roles including prisoners, soldiers, and members of society.

Synopsis

The opera follows the plot of Tolstoy's novel, recounting the story of Prince Dimitri Nekhlyudov's redemption after recognizing Katyusha Maslova, a peasant girl he seduced years prior, now unjustly accused of murder.

• Act I: Nekhlyudov encounters Katyusha, a prostitute, while serving as a juror in a murder trial. He recognizes her as the girl he seduced years ago, leading to her downfall. Overwhelmed with guilt, he resolves to help her.
• Act II: Nekhlyudov attempts to atone for his past by offering to marry Katyusha, even after she is wrongly convicted and sentenced to penal servitude in Siberia. He experiences opposition from his family and the societal norms of the time.
• Act III: Nekhlyudov follows Katyusha to Siberia. He continues his efforts to secure her freedom, even exploring legal appeals and petitions. He witnesses the harsh realities of the Russian prison system.
• Act IV: Katyusha, moved by Nekhlyudov's sacrifice and repentance, ultimately chooses to marry Simonson, a political prisoner who shares her ideals. She believes this will allow Nekhlyudov to move on with his life and find true happiness, while she dedicates herself to serving others. Nekhlyudov, now humbled and transformed, accepts her decision and resolves to live a more meaningful and compassionate life.

Musical Style

Alfano's score is characterized by its late-Romantic style, incorporating elements of verismo opera. The music is lyrical and expressive, emphasizing the emotional intensity of the characters and the drama of the story. Alfano utilizes rich orchestration and soaring vocal lines to convey the opera's themes of sin, redemption, and social injustice.

Themes

The opera explores several key themes:

• Redemption: The central theme of the opera is the possibility of redemption and forgiveness, both for Nekhlyudov, who seeks to atone for his past actions, and for Katyusha, who seeks to overcome her circumstances.
• Social Injustice: The opera critiques the social inequalities and injustices prevalent in 19th-century Russia, particularly the exploitation of the poor and the corruption of the legal system.
• Sacrifice: The opera highlights the theme of self-sacrifice, as both Nekhlyudov and Katyusha make significant sacrifices for the sake of others and their own moral principles.
• Moral Awakening: Nekhlyudov's journey represents a moral awakening, as he confronts his past actions and recognizes the importance of empathy and compassion.