So beautiful ❤❤❤❤❤❤! Thank yoiuu

The story is set in the Ukraine and Saint Petersburg, during the reign of Catherine the Great. Act I. On a moonlit night in the Ukrainian village of Dikanka (Scene 1), the witch Solokha is approached by the amorous Devil. The Devil is upset with the smith Vakula (Solokha's son) for painting an ugly picture of him in the local church. As he flies off with Solokha, the Devil raises a snowstorm and steals the moon, so as to wreck Vakula's courtship of Oksana, daughter of the cossack Chub, who is now seen stumbling drunkenly through the darkness with his friend Panas. In Chub's hut (Scene 2), Oksana is admiring herself in her mirror and has little time for his wooing when Vakula arrives. When Chub lurches in, covered with snow, Vakula fails to recognise him and throws him out. Oksana then furiously drives Vakula away, pretending that she loves someone else. But when she is alone, listening to the village girls sing Christmas carols, she confesses her love for him. Act II. While Solokha is flirting with the Devil in her hut (Scene 1), they are interrupted by a knock at the door. The Devil hides in a sack while Solokha admits the mayor (Pan Golova), who then also sings of his love for Solokha. After another knock at the door, the mayor hides in another sack, and the scene is repeated in turn with the schoolmaster and Chub, each hiding in a sack as the next one declares his love for Solokha. The final guest is Vakula. Unhappy love must have made him weak, he thinks, as he staggers out carrying the mysteriously heavy sacks to make space in the hut for the Christmas festivities. Outside (Scene 2), Oksana is among a crowd of carollers. She admires a pair of slippers (cherevichki) which a friend is wearing. When Vakula, arriving with the sacks, offers to find her a better pair, she mockingly promises to marry him if he will bring the Tsarina's own slippers. Vakula leaves miserably, still carrying the sack containing the Devil, while the mayor, schoolmaster and Chub emerge from the other sacks, to the astonishment and amusement of the carollers. Act III. On the moonlit bank of the river (Scene 1), Vakula is tempted by the water-sprites (rusalkas) to throw himself into the waters. But when the Devil creeps out of the sack and tries to bargain for his soul, Vakula seizes him by the tail. With the Devil at his mercy, Vakula leaps on his back and forces him to fly to the Tsarina's palace in Saint Petersburg. They arrive at the palace (Scene 2) at the same time as a band of Cossacks, who have been granted an audience with the Tsaritsa. While a ball is in progress in the Great Hall of the palace (Scene 3), Vakula and the Cossacks are received in the throne room by the Prince. Vakula's request for the slippers is met with amusement, but his wish is granted, and amid the festivities he slips away again on the Devil's back. Act IV. On a sunny Christmas morning in front of the church in Dikanka, all the villagers are rejoicing, except for Solokha and Oksana, who are worried about Vakula's disappearance. Suddenly, Vakula is seen approaching. He has brought the slippers for Oksana, who admits that she has loved him all along. Chub gives the young couple his blessings, to general rejoicing. Source: en.tchaikovsky-research.net/pages/Cherevichki

Overture: 0:00; Act I: Scene 1 - 10:29; Scene 2 - 27:29. Act II: Scene 1 - 52:31; Scene 2 - 01:17:19. Act III: Scene 1 - 01:37:33; Scene 2 - 01:52:17; Scene 3 - Act IV: 02:13:03.

14:23-19:09.

Gerard my Dad zl and I owe you so much --+thank you

Introduction: 0:00; Act I: 4:49; Act II: Scene 1 - 36:25; Act II: Scene 2 - 59:13; Act III: 01:28:14; Act IV: 02:02:44.

I think it is one of the best litmus tests of pianistic ability to listen to the pianist accompanying an assortment of other instruments playing solo. There are many adaptations that have to happen in timing, in dynamic, in phrasing, in communication of emotion. Here, Richter scores very highly - he’s an incredible accompanist. Of course, these two knew each other very well in every possible way, which is bound to be an advantage when playing such extraordinary stuff as Beethoven cello sonatas, where you need to come together as one in order to tap into their deepest elements. OMG how I miss the days when I explored these wonderful pieces with a close friend and magnificent recreational cellist. There will perhaps never be greater music for cello and piano than the Beethoven sonatas. Well, then you mustn’t forget that wonderful Rachmaninov. Oh, enough of all this impossible thinking; life is wonderful because we have these masterpieces from different eras. Here’s a question: what would Beethoven have thought of Rachmaninov cello-piano music. I think there would have been, for Beethoven, a short period of musical shock, followed by a short period of adjustment, followed by a short period of learning, followed by a miraculous creation of Beethoven in the style of Rachmaninov. I think one of the measures of greatness in composers from the late classical and romantic eras would have been their ability to fall in love with and emulate each other’s styles, and to hell with the musical orthodoxies of their respective eras.

Premiered #otd in 1933 🎉

Meilleure époque: Merci

Fifteen years later Poell did the Count on the famous Decca/London record, where he sounded a bit faded.

Wow wonderful.

Wunderschön, ich glaube mein Ur/ Urgroßvater Karl Lappe hätte es auch so empfunden

Ich kriege gänsehaut!

1:58:59

Lemeshev wie immer wunderbar! ❤

The fact this has only ~1500 views in nearly ten years tells us pretty much what's wrong with the world. This is should have 10bn views...

19:09 i wish i were that sponge

❤19:20 that sexy position

tiene un esmalte en la voz maravilloso

Опера П.И.Чайковского *Опричник* Тамара Милашкина !

Никакая Вишневская не великая. Пение ужасное. Да и игра на сцене не была достоверной. Певица самого среднего уровня

17:47 mmmm here it comes

This is some exceedingly rare footage of Rosella Hightower, the great American Ballerina.

I love this singer. He has a sound that seems to come from some long ago.

4:20

A great master of legato singing. I have him on a Tannhaeuser as Wolfram.

браво!👏👏👏

Директора БЗК не раз видал вживую - это было уже в начале 80-х...

Act 2: 1:04:43 Act 3: 1:56:13

13:43 who is she?

I think it‘s misinterpretation: the girl is not a victim. she likes her destiny and is proud of it.

1:46:30 ❤

Conmovedora.... Insuperable.... Emocionante...❤

Красота!!!!

16:53 Dir gottin der liebe

I've honestly never heard the overture done better.

Upeaa! Dir.mus. Esa Tikkala Rovaniemi Finland

Замечательный ансамбль солистов, хора и оркестра под руководствоим блестящего советского дирижера Мелик - Пашаева. Архипова и Петров вообще вне сравнений.

Transcendent,captivating,masterful-how would Schubert have reacted

1:55:11 What a mess in the violin sections here!

31:22 이작품 이름이 뭔가요?

Некоторые артисты .исполняли роли Маши и щелкунчика очень хорошо некоторые прекрасно!но исполнить эти партии лучше чем Владимир Васильев и Екатерина Максимова невозможно!

Just wonderful, yet the same choreography with Tsiskaridze and Vorontsova is simply unbeatable for me !

It has been said, that Bruno Walter once said to Melchior "Mister Melchior, my left hand is entirely for you" to help him with his bad sence of rytm. He sure needed it.

Pick it up at 6'35" for full-body, open-throat singing. The best!

Very ashtonishing performance ; Bolshoi !!! Soloists chorus orchestra ; Galina Irina Pavel Ivan !!

Они прекрасны😊😊😊😊😊😊😊😊😊😊

Это исполнение, появившееся на пластинках «Мелодии» в 1975 году, считаю превосходящим даже блистательную запись Мелик-Пашаева конца сороковых. Это, вне всяких сомнений, acme Федосеева - как и записанная им четырьмя годами ранее «Майская ночь». В обеих записях вас покоряет всё. И далеко не в последнюю очередь - так незаслуженно забытый, крайне редко записывавшийся Константин Лисовский - тенор, ни в чем не уступавший лучшим тенорам позднесоветского времени (не исключая и Владимира Атлантова).

Bravo Bjoerling and Schauwecker.

57:00, 1:22:28, 1:43:30