Gerald Seaman (University of Auckland), Catherine the Great and Musical Enlightenment
Catherine the Great was much concerned with the promotion of Russia as a European State and not only was she an avid reader of writers such as Locke, Boyle, Montesquieu, Bouffon and Encyclopedists, with several of whom she entered into correspondence, but she determined to make her Court a centre of cultural life by giving encouragement to the theatre, literature and journalism.
Particularly effective were her efforts in revitalising the theatre, the dramatic performances at the Hermitage Theatre falling into three categories: the so-called "Grand Hermitages" being given with great splendour and being intended for foreign ministers and distinguished guests. The "Middle Hermitages" were less magnificently staged, while the "Little Hermitages" were modest in nature, being given only for a select circle of the Empress's friends.
A notable event in Catherine's reign was the building of the new Hermitage Theatre in 1786 by the Italian architect Quarenghi, which, constructed on Classical lines, seems to have fired the Sovereign's imagination. The result was six operatic libretti, which were composed in the period 1786-91, these being written either by the Empress herself or with the collaboration of her personal secretary Khrapovitskii. The comic opera Fevei was given at the Petersburg Kamennyi Theatre on 19 April 1786 and at the Hermitage Theatre three days later. Based on folk material, with verses composed largely or entirely by Khrapovitskii, the music was by the Court musician Pashkevich, the main theme of the opera being filial responsibility. Employing five Russian folk tunes, the opera was notable for its exotic chorus of Kalmyks, a most unusual occurrence for the time.
The theme of responsibility occurs in her second opera Новгородский богатырь Боеславович ['Boeslavovich the Novgorod Bogatyr'], which was given at the Hermitage Theatre on 27 November 1786. Written to music by the Russian composer Fomin, it drew its materials from "fairy tales, Russian songs and other works". The opera Храбрый и смелый витязь Ахридейч ['The Brave and Bold Knight Akhrideich'] was given at the Hermitage Theatre on 23 September 1787. The words were largely by Khrapovitskii, with music by the Czech composer Vancura, the folk-inspired plot emphasising the importance of strong leadership.
Catherine's fourth opera Горе-богатырь Косометович ['Kosometovich, the Woeful Knight'] was given on 29 January 1789. Written to a text by the Empress and Khrapovitsldi, with music by the well-known Spanish composer Martin y Soler, the work was intended as a satire on the Swedish King Gustav III.
Catherine's last two libretti belong to the years 1790 and 1791, namely Начальное управление Олега [The Early Reign of Oleg'] and Федуль с детьми ['Fedul' and the Children']. Whereas Федуль took the form of an idealised picture of village life, Oleg was conceived in grandiose nationalistic terms, her inspiration being Shakespeare and including excerpts from Euripides' Alcestis and Odes of Lomonosov, with music by the Italian composers Sam and Canobbio and the Russian Pashkevich.
Catherine's libretti, therefore, reflect her interest in the doctrines of the Enlightenment, in which the concern for her people, the propounding of the concepts of tolerance, understanding, firm leadership and restraint are all expounded in her six operas. Her employment of folk material again attests to the breadth of her interests and was not without influence on the subsequent development of Russian opera.