Olga Peretyatko

Songs by Tchaikovsky, Mozart and Pimenta

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In Tchaikovsky's operas, the lyrical moments are often the most beautiful: emotional states are more important to the composer than dramatic action. This is true for Maria's lullaby at the end of the opera Mazeppa – a tender, sensitive, and quite eerie moment, sung for a dying man by a woman who has lost her grip on reality. When the last note of the song has faded away, she herself dies. At the beginning of the opera Maria had introduced herself in an almost painfully emotional arioso: the other young women pass by her cheerfully, while she herself remains behind to sing of love and longing. Again and again, her voice briefly soars upward in a melodic motif only to fall again all the more poignantly: a sigh, also typical of Tchaikovsky.

With a composer who begins and ends an opera like Mazeppa about betrayal, war, and great political events with a young woman’s sigh and lullaby, it would be no surprise that he has a predilection for the Romantic art song. He wrote around 100 of these. Often enough he draws from Slavic songs and melodies, but at the same time the well-traveled composer set texts that had been translated from French or German into Russian. It mattered little what proponents of the fashionable “national schools” expected of him: Tchaikovsky was never provincial or narrow-mindedly national, not even in his work as a song composer.

Wolfgang Amadeus Mozart was one of Tchaikovsky's most important role models. This lullaby was long ascribed to him, but the melody is probably not his own. But what does this matter? Everyone knows it, and it is sung at the crib to this day. In contrast, the song “Estrela” by Brazilian composer Altino Pimenta is unknown at least to us: Olga Peretyatko can always be counted on for a surprise!

Photo that shows Olga Peretyatko Daniil Rabovsky 3222К.

Program

Peter Tchaikovsky
Maria’s Lullaby from the opera Mazeppa

Songs by Tchaikovsky, Mozart and Pimenta

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