The heroine of the monument of ancient Russian literature “The Tale of Igor’s Campaign” (XII century). Yaroslavna is a real historical person, the wife of Prince Igor Svyatoslavich Novgorod-Seversky, the daughter of the powerful Galician prince Yaroslav Vladimirovich, called Osmomysl in the Lay. The princess in the text is referred to by her patronymic, like the wife of Igor’s brother, Bui-Tur Vsevolod - “red Glebovna”. Since the end of the 18th century, it has been believed that Yaroslavna’s name is Euphrosyne. Igor had five sons and a daughter. The eldest son, Vladimir, who took part in the campaign of 1185, was captured along with his father, uncle and cousin. He married the Polovtsian daughter of Khan Konchak (he returned to Rus' in 1187 with his wife and “child”). Three more sons of Igor died at the beginning of the 13th century in the struggle for the possession of Galich, which becomes inexplicable if we accept the point of view of some researchers who believe that Yaroslavna is Igor’s second wife, and all the prince’s children are her stepsons.
The image of Yaroslavna yearning for her husband is one of the brightest poetic achievements of the nameless creator of “The Lay”. They discover a series of numerous images of Russian women in Russian literature and art. In Yaroslavna, the non-class ideal of a woman of Ancient Rus' was embodied. Unlike Princess Olga, wise and devoted to the memory of her avenger husband, Yaroslavna is the bearer of a lyrical, feminine principle. It is associated with peace, family ties and love. The traditions of medieval art implied a special, religious-ascetic view of a woman and her fate. In the Lay, on the contrary, the people's principle triumphs. Thus, the author turned to a special folklore genre - crying.
Yaroslavna's lament is the most important element of the poetic structure of the monument. Compositionally, it precedes the story of Igor’s escape from Polovtsian captivity. Yaroslavna, crying on the high wall of Putivl (the city owned by her son Vladimir Igorevich, is located closer to the Polovtsian steppe), conjures the forces of nature. In the threefold appeal to the wind (“Oh the wind, the sail!”), the Dnieper (“Oh the Dnieper, Slovutitsyu!”) and the sun (“The bright and bright sun!”) there is also a reproach (“Why, sir, dispels my joy as I hobble ?”), and a call for help (“Take care, sir, of my kindness towards me”). Natural elements, as if responding to Yaroslavna’s pleas, begin to help Igor, who has experienced the bitterness of defeat and repentance, in his quest to return to Rus'. The all-conquering power of love is embodied in the cry of Yaroslavna, whose complaints the author of the Lay likens to the cry of a cuckoo, symbolizing a yearning woman. Yaroslavna’s sad voice flies over the earth, it is heard on the Danube: “I will fly,” he said, “through the Danube River, I will wet the Bebryan sleeve in Kayala River, and in the morning the prince will have his bloody wounds on his body.”
The historian V.N. Tatishchev in his “Russian History,” scientific disputes about the sources of which have a long tradition, offered an interesting story about the touching meeting of Igor, returning from captivity, and Yaroslavna, who hurried to meet her husband. This and some other information given by Tatishchev is not confirmed in the currently known chronicle texts.
The image of Yaroslavna constantly attracts the attention of writers, artists and musicians of modern times. Princess of the 12th century becomes the heroine of a number of works, and her Lament is a constant source of diverse reminiscences. Yaroslavna aroused more interest among authors of the 19th and 20th centuries than the figure of the central hero of the work.
Immediately after the publication of “The Lay,” poets began to turn to this image (for example, M.M. Kheraskov, F.N. Glinka, etc.). A number of poetic translations of the Lament into Russian and Ukrainian appeared (I. Kozlov, P.P. Shklyarevsky, T. Shevchenko, A. Prokofiev, etc.). Poets of the late 19th - 20th centuries especially valued the image of Yaroslavna, among them K. Sluchevsky (“Don’t chase wayward rhyme…”, 1901); V.Ya. Bryusov (“To the Singer of the Lay”, 1912); M.I. Tsvetaeva (Cycle “Swan Camp”, 1917-1921); O.F. Bergholz (“...I will talk to you today...”, 1941); P.G. Antokolsky (poem “Yaroslavna”, 1944), etc.
Yaroslavna's crying is also reflected in drama. It was used in their tragedies by Gavrila Derzhavin (“Eupraxia”, 1808) and Matvey Kryukovsky (“Elizabeth - Yaroslav’s Daughter”, 1820), as well as by the author of the play “Mamaevo’s Massacre” (1864) D.V. Averkiev. The most famous embodiment of the image of Yaroslavna is in the opera by A.B. Borodin "Prince Igor" (1869-1887). Among other musical and stage works is B.I. Tishchenko’s ballet “Yaroslavna” (1974). Yaroslavna was captured in their works by graphic artists, painters, and illustrators (V.G. Perov, I.Ya. Bilibin, V.A. Favorsky, N.K. Roerich, I. Golikov, D.S. Bisti, I.S. Glazunov , K. Vasiliev).
Lit.: Derzhavina O.A. The image of Yaroslavna in the works of poets of the 19th-20th centuries. // “The Tale of Igor’s Campaign.” Monuments of literature and art of the XI-XVII centuries. M., 1978; Soloviev A.V. Eight notes to “The Tale of Igor’s Campaign.” Igor’s wife and children // TODRL. 1964. T.20; Tvorogov O.V. Who were Igor and Vsevolod Svyatoslavich married to // TODRL. 1993. T.48; Jacobson P.O. Composition and cosmology of Yaroslavna’s lament // TODRL. 1969. T.24.
Yaroslavna is a resident of the regional center of Russia (Yaroslavl).
Yaroslavna- cherry variety.
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Igor Svyatoslavich - Prince of Novgorod-Seversky and Chernigov, is a representative of the Olgovich family. He received his name in honor of his uncle - the brother of the great Svyatoslav.
Origin
The father of the main character of the poem “The Tale of Igor’s Campaign,” Prince Svyatoslav, was married twice. His first wife was the daughter of the Polovtsian khan Aepa, who received the name Anna at baptism. The second time Svyatoslav Olgovich walked down the aisle in 1136. This marriage caused a scandal. Archbishop Nifont of Novgorod refused to do so, citing the fact that the first husband of the bride, the daughter of mayor Petrila, had died quite recently. Therefore, another priest crowned Prince Svyatoslav. In this marriage, the future Prince of Chernigov was born, although some historians and publicists believe that it was the Polovtsian Anna who gave birth to Igor Svyatoslavich.
Brief biography
The prince's father, a faithful comrade-in-arms and friend, Svyatoslav Olgovich, was the very person whom the ruler called to Moscow to discuss joint affairs. Igor’s grandfather was Oleg Svyatoslavich, the founder of the Olgovich dynasty. During his baptism, the boy was named George, however, as often happens, his Christian name was practically not used. And in history, Igor Svyatoslavich became known by his pagan Russian name.
Already as a seven-year-old child, the boy began to participate in campaigns with his father, defending the rights of his cousin Izyaslav Davydovich, who was laying claim to the Kiev throne. And at seventeen he already went on a grandiose campaign, organized by Andrei Bogolyubsky, which ended in March 1169 with the three-day sack of the city of Kyiv. From the time of his stormy youth, Igor Svyatoslavich, whose biography is the biography of a warrior who began his military career very early, realized that strength gives the right not to justify one’s actions.
The future hero of “The Tale of Igor’s Campaign” had more than one victorious campaign against the Polovtsians. In 1171, he first tasted glory by defeating Khan Kobyak in the battle on the Vorskla River. This triumph showed that twenty-year-old Igor Svyatoslavich was a talented military leader. The young man also had diplomatic skills. He presented the obtained trophies to Roman Rostislavich, who ruled in Kyiv.
In 1180, being twenty-nine years old, the young military leader inherited the Novgorod-Seversky principality from his older brother. This gave him the opportunity to start making his own plans.
Authority
Some historians are confident that Prince Igor Svyatoslavich was an insignificant, minor figure, but many disagree with this statement, reasonably arguing that even the geographical location of his principality, bordering the endless steppe, always predetermined the importance of his actions.
When the princes of Southern Rus' undertook a joint campaign directed against the Polovtsians, by order of the great Svyatoslav Vsevolodovich, Igor was appointed senior over the troops. As a result, another glorious victory was achieved over the steppe nomads at the Khorol River. Inspired by this success, Prince Igor launched another campaign in the same year. This expedition once again gave him the laurels of victory over the Polovtsians.
Major failure
It was against the backdrop of such success that Prince Igor decided to make another trip to the steppe. It was about him that the poem was written. Then Igor was thirty-four years old, he was at the age of mature courage and knew how to make informed decisions.
Together with Prince Novgorod-Seversky, his son Vladimir, brother Vsevolod and nephew Svyatoslav Olegovich took part in the battle with the Polovtsians.
The purpose of this campaign, according to many historians, was not to save the Russian land from the constant raids of the cruel steppe inhabitants. Prince Igor went with the wrong forces and the wrong route. His main goal, most likely, was trophies - herds, weapons, jewelry and, of course, the capture of slaves. A year earlier, in the Polovtsian lands he received quite rich booty. Igor was pushed into a military adventure by envy and greed. He was not stopped even by the fact that the Polovtsian Khan Konchak had huge crossbows, pulled simultaneously by five dozen soldiers, as well as “living fire,” as gunpowder was called in those days.
Defeat
On the shore, Russian troops encountered the main forces of the steppe inhabitants. Almost all Cuman tribes from southeastern Europe took part in the clash. Their numerical superiority was so great that the Russian troops were very soon surrounded. Chroniclers report that Prince Igor behaved with dignity: even after receiving a serious wound, he continued to fight. At dawn, after a day of continuous fighting, the troops, reaching the lake, began to go around it.
Igor, changing the direction of his regiment’s retreat, went to help his brother Vsevolod. However, his warriors, unable to bear it, began to flee, trying to get out of the encirclement. Igor tried to return them, but in vain. Prince Novgorod-Seversky was captured. Many of his troops died. Chroniclers speak of three days of fighting with the Polovtsians, after which Igor’s banners fell. The prince escaped from captivity, leaving behind his son Vladimir, who later married the daughter of Khan Konchak.
Family and children
Igor Svyatoslavich's wife, the daughter of the Galician ruler, bore him six children - five heirs and a daughter. Her name is not mentioned in the chronicles, but historians call her Yaroslavna. Some sources mention her as Igor’s second wife, but most experts consider this version to be erroneous.
The eldest son of Igor and Yaroslavna, Prince of Putivl, Novgorod-Seversky and Galitsky Vladimir, born in 1171, married the daughter of Khan Konchak, who took him and his father captive.
In 1191, Prince Igor, together with his brother Vsevolod, undertook another campaign against the Polovtsians, this time successful, after which, having received reinforcements from Yaroslav of Chernigov and Svyatoslav of Kyiv, they reached Oskol. However, the steppe people managed to prepare for this battle in a timely manner. Igor had no choice but to withdraw his troops back to Rus'. In 1198, after the death of the ruler, Svyatoslav’s son took the Chernigov throne.
The exact year of the death of Prince Igor Svyatoslavich is unknown, although some chronicles indicate December 1202, although many consider the more realistic version that he died in the first half of 1201. He, like his uncle, was buried in the Transfiguration Cathedral, located in the city Chernigov.
Yaroslavna, as a real historical person, is the wife of Prince Igor Svyatoslavich of Novgorod-Seversky, the daughter of the powerful Galician prince Yaroslav Vladimirovich, called Osmomysl in the Lay. The princess in the text is referred to by her patronymic, like the wife of Igor’s brother, Bui-Tur Vsevolod - “red Glebovna”. From the end of the 18th century. It is believed that Y.'s name is Euphrosyne. Igor had five sons and a daughter. The eldest son, Vladimir, who took part in the campaign of 1185, was captured along with his father, uncle and cousin. He married the Polovtsian daughter of Khan Konchak (he returned to Rus' in 1187 with his wife and “child”).
Three more sons of Igor died at the beginning of the 13th century. in the struggle for the possession of Galich, which becomes inexplicable if we accept the point of view of some researchers who believe that Ya is Igor’s second wife, and all the prince’s children are her stepsons.
The image of Ya, yearning for her husband, is one of the brightest poetic achievements of the nameless creator of “The Lay”. They discover a series of numerous images of Russian women in Russian literature and art. The non-class woman of Ancient Rus' was embodied in Ya. Unlike Princess Olga, wise and devoted to the memory of her avenger husband, Ya is the bearer of a lyrical, feminine principle. It is associated with peace, family ties and love. The traditions of medieval art implied a special, religious-ascetic view of a woman and her fate. In the Lay, on the contrary, the people's principle triumphs. Thus, the author turned to a special folklore genre - crying.
Ya.'s lament is the most important element of the poetic structure of the monument. Compositionally, it precedes the story of Igor’s escape from Polovtsian captivity. Ya., crying on the high wall of Putivl (the city owned by her son Vladimir Igorevich, is located closer to the Polovtsian steppe), conjures the forces of nature. In the threefold appeal to the wind (“Oh the wind, the sail!”), the Dnieper (“Oh the Dnieper, Slovutitsyu!”) and the sun (“The bright and bright sun!”) there is also a reproach (“Why, sir, dispels my joy as I hobble ?”), and a call for help (“Take care, sir, of my kindness towards me”). Natural elements, as if responding to Ya’s pleas, begin to help Igor, who has experienced the bitterness of defeat and repentance, in his quest to return to Rus'. The all-conquering power of love is embodied in the cry of Ya, whose complaints the author of the Lay likens to the cry of a cuckoo, symbolizing a yearning woman. Ya’s sad voice flies over the earth, it is heard on the Danube: “I will fly,” he said, “through the Danube River, I will wet the Bebryan sleeve in Kayal River, and in the morning the prince will have his bloody wounds on his body.”
The historian V.N. Tatishchev in his “Russian History”, scientific disputes about the sources of which have a long tradition, offered an interesting story about the touching meeting of Igor, returning from captivity, and Ya, who hurried to meet her husband. This and some other information given by Tatishchev is not confirmed in the currently known chronicle texts.
The image of Ya constantly attracts the attention of writers, artists and musicians of modern times. Princess of the 12th century becomes the heroine of a number of works, and her Lament is a constant source of diverse reminiscences. Ya aroused more interest among authors of the 19th - 20th centuries than the figure of the central character of the work.
The name of Alexander Porfiryevich Borodin shines in the history of Russian music. His opera “Prince Igor” (a summary of which is discussed in the article) received wide recognition. It is still performed on the opera stage. Her productions are perceived by the public with great success. Arias, cavatinas, etc. are often performed as separate numbers in classical music concerts.
A. P. Borodin. "Prince Igor"
Alexander Porfirievich Borodin is a great Russian chemist. His name occupies a worthy place in the history of musical culture. The famous critic V. Stasov noted that the composer is equally subject to different genres: opera, symphony, romance. A brilliant musician and talented scientist, he also had literary talent.
The opera “Prince Igor” by Borodin is a wonderful creation of the composer. He himself noted that his opera is closer in direction to Glinka’s “Ruslan and Lyudmila” than to Dargomyzhsky’s “The Stone Guest.” At the suggestion of V. Stasov, he chose “The Tale of Igor’s Campaign” as the plot. In order to better feel the spirit of antiquity, Alexander Porfirievich went towards Putivl (near Kursk). There he carefully studied ancient stories, chronicles, various studies about the Polovtsians, the music of their ancestors, epic songs and epics.
The libretto of the opera “Prince Igor” was written by the composer himself in parallel with the composition of the music. He tried to focus on folk-epic features rather than on the political facts of the original source. As a result, he was able to bring the image of Igor closer to the epic heroes.
The idea of creating an opera, to the surprise of the composer himself, was supported by all members of the “Mighty Handful”. Including M. P. Mussorgsky (realist and ultra-innovator) and N. A. Rimsky-Korsakov (adherent of musical traditions).
The opera “Prince Igor” by Borodin was created over the course of eighteen years. It was interrupted by the sudden death of Alexander Porfiryevich. The work was completed by Glazunov and Rimsky-Korsakov. Based on the composer's available materials, they wrote a score and processed a number of episodes and unfinished scenes. The opera premiered in St. Petersburg in 1890.
Overture. Prologue. Introduction
Opera "Prince Igor". Summary of the prologue
Of the Russian princes, only Igor remained. From his hometown of Putivl, he gathers an army to go on a campaign against the Polovtsians and defend the Russian land, his native home, from the enemy army. The people solemnly glorify Prince Igor, magnify his son Vladimir, see off with kind words on their way, and wish them a speedy victory. Igor and his fighting squad go on a campaign. And suddenly it suddenly got dark, darkness enveloped the earth, and a solar eclipse began. The boyars and all the people believe that this is a bad sign and persuade Prince Igor to abandon the planned campaign. His wife Yaroslavna also begs her husband to stay. But in vain. He transfers care of his wife to Vladimir Galitsky, Yaroslavna’s brother. Skula and Eroshka (two warriors) desert and go into the service of Galitsky.
Characteristics of the first action
Opera "Prince Igor". Brief content of the 1st and 2nd paintings. Act I
Prince Vladimir Galitsky is feasting with his revelry retinue at the abusive tables. Here are the traitors Skula and Eroshka, praising Galitsky in every possible way. Vladimir was consumed by a thirst for power. He wants to send Yaroslavna to a monastery, get rid of Igor forever and take his place. Sings “If only I could wait for honor.”
Alarmed girls appear in the yard. They beg Vladimir Galitsky to free their friend from the tower where the warriors took her. But he drives them away to the drunken laughter of the crowd. Skula and Eroshka are plotting a rebellion against Igor.
The second picture takes us to the upper room in Yaroslavna’s tower. The princess’s soul is very heavy and anxious. Both day and night she is troubled by bad premonitions and terrible dreams. She had not received news from Igor for a long time. She is surrounded by complete discord and turmoil. Even my own brother is hostile. Yaroslavna's Arioso conveys her feelings.
Suddenly, girls entering with the words “We are coming to you, princess” distract her from her sad thoughts. They look to Yaroslavna for protection. But the princess is powerless. She calls Galitsky to account, but he is insolent and threatens her with violence. At the end of the first act, the boyars arrive with bad news.
At this time, Vladimir Galitsky staged a rebellion. The Polovtsians are approaching Putivl.
Characteristics of the second action
Opera "Prince Igor". Summary II d
Polovtsian girls try to distract and cheer up the daughter of Khan Konchak with songs and dances. But she only thinks about the captive guy Vladimir. Konchakovna's Cavatina conveys all her feelings. The girl is excitedly waiting for her date with the boy. Vladimir, passionately in love with her, appears. They dream of a wedding. But Prince Igor does not want to hear about it. Konchak agrees to give his daughter in marriage to a Russian prince. Igor can't sleep. He takes his defeat seriously and cannot come to terms with the thoughts of his captured homeland. Sings “No sleep, no rest for the weary soul.” This, by the way, is the best and famous aria from the opera “Prince Igor”. He rejects Ovlur's offer to escape.
The Polovtsian Khan receives Igor as his most dear guest and offers him freedom for his promise not to raise the sword. But he does not accept Konchak’s offer. He firmly and decisively declares his intentions to go to war with the freedom he has received. Bravery, honesty and pride surprise and delight the khan. He arranges songs and dances.
Contents of the opera "Prince Igor". Act III
The Polovtsians gather from all sides and await the arrival of Khan Gzak. He appears with his warriors, Russian prisoners and booty. Konchak meets him. Prince Igor, Vladimir and other prisoners are watching what is happening on the sidelines.
The Polovtsian March glorifies the khans. Konchak proudly sings his song. Russian prisoners report that their city was captured, robbed, villages burned, children and wives in captivity. Vladimir and other captives persuade Prince Igor to escape with Ovlur and save Rus'. Konchakovna begs Vladimir to stay. Khan leaves him alive and is ready to accept him as his son-in-law.
Characteristics of the fourth act
IV d. returns us to Putivl. Yaroslavna thinks that she has lost Igor forever and mourns him in the morning. Her aria is “Ah! I'm crying." She turns to the sun, wind and Dnieper and asks to return her beloved. The sad song of the villagers echoes the princess’s cry.
And suddenly Igor appears with Ovlur. Yaroslavna's happiness knows no bounds. At this time, Skula and Eroshka ridicule the captured prince, not knowing about his return. A sudden meeting with Igor leaves them in amazement. They ring the bell and announce the arrival of the prince in order to divert everyone's attention and avoid deserved punishment.
The people joyfully greet Igor and other princes.
Thus, the opera “Prince Igor” is a wonderful work by Alexander Porfiryevich Borodin, which was completed by Glazunov and Rimsky-Korsakov. The idea of its creation was supported by all members of the “Mighty Handful”. The libretto of the opera “Prince Igor” was written by the composer himself. The work consists of four acts. In the prologue, the first and fourth acts, events take place in the Russian city of Putivl. The second and third take us to the possessions of the Polovtsians, to Khan Konchak, his daughter and other characters of the hostile side. The premiere took place in St. Petersburg (on the stage of the Mariinsky Theater) in 1890, the opera was warmly received by the public.
And scientists, a member of the “Mighty Handful” community led by composer Mily Alekseevich Balakirev. He is the founder of Russian epic symphonism.
History of the opera
Borodin began writing an opera based on the plot of “The Tale of Igor’s Campaign” on the advice of critic Vladimir Stasov. The composer enthusiastically accepted this wonderful idea. Heroic images of Russian history helped him understand modernity. Therefore, it is not surprising that they occupied a central place in the composer’s work.
Wanting to feel the antiquity and be imbued with its spirit, Borodin traveled near Kursk to the outskirts of Putivl. There he began studying chronicles, ancient stories, research, music, epics and epics.
The libretto of the opera "Prince Igor" captivates with its unique flavor. The composer wrote the libretto for his opera himself, creating it together with the music. From the history of the creation of the opera "Prince Igor" it becomes clear why he made the image of Prince Igor similar to the images of heroes from ancient epics. He worked on the opera for 18 years, but did not have time to finish it, as he died unexpectedly. Work on “Prince Igor” was completed by his friends - composer Rimsky-Korsakov, together with Glazunov. Based on Borodin's materials, they were able to create a score for the opera, process some episodes and complete unfinished scenes.
The first production of Borodin's opera "Prince Igor" took place in 1890 at the Mariinsky Theater.
Prologue
The libretto of the opera "Prince Igor" is full of dramatic events.
Square of the city of Putivl. The army led by Prince Igor is preparing to go to war against the Polovtsians. The common people and boyars gathered in the square respectfully greet the prince and his son Vladimir. But suddenly a total solar eclipse occurs. People see this as a bad omen. Not Prince Igor. He is determined and does not believe in omens. The army goes on a campaign. Only Skula and Eroshka - local hornmakers - slowly run away, afraid of battle and death on the battlefield.
The prince says goodbye to his wife Yaroslavna. Heavy forebodings and pleas from his inconsolable wife cannot stop Igor. He entrusts Yaroslavna to Prince Galitsky, her brother. Igor and his squad set off on the road. From the summary of the opera "Prince Igor" it is obvious that the omen was truly ominous.
First action
Prince Galitsky now rules in Putivl. He uses the power temporarily given to him for his own pleasure. Galitsky is feasting. He dreams of becoming a prince, and plans to send Yaroslavna to a monastery. Skula and Eroshka also joined the prince’s retinue.
Girls come to the prince's mansion. They beg to return their girlfriend, who was kidnapped by Galitsky's servants. He chases the girls away. The fun continues.
The princess, full of heavy thoughts and concern for her husband, is distracted from her bitter thoughts by the girls who came to complain about Galitsky’s ongoing lawlessness. The princess is outraged. But the brother, without showing the slightest repentance, behaves defiantly. He brazenly tells Yaroslavna that he will soon seize power in Putivl. The summary of the opera “Prince Igor” demonstrates how family ties between brother and sister can weaken if they are overshadowed by envy and a thirst for power.
The boyars come to the princess with bad news. The squad is completely defeated. The prince and his son are in Polovtsian captivity. An enemy army is moving towards Rus'.
Second act
Steppe, camp of the Polovtsians. The prince's son, Vladimir, is in love with the daughter of Khan Konchak. Having waited until nightfall, he hurries to meet her. Prince Igor suffers in captivity. He dreams of breaking free and atone for his shame by regaining his former glory and honor. The summary of the opera "Prince Igor" shows how deeply his pride is wounded. Igor plans to escape, using the help of the Polovtsian Ovlur.
Khan Konchak treats Prince Igor as a dear friend. He respects the prince for his courage and honesty and offers friendship. Igor flatly refuses the offer. Khan treats the prince's refusal with understanding. To cheer up the prince, he encourages the youth to start dancing uncontrollably.
Third act
Khan Gzak returns to the Cumans with booty. The sight of captured compatriots and looted property pushes the prince to decide to flee, using the help of Ovlur. Leaving his son in love with Konchakovna, Prince Igor flees. The summary of the opera "Prince Igor" shows that he made a mistake by leaving his son in the camp of his enemies.
Act Four
The libretto of the opera "Prince Igor" shows true love and devotion. On the city wall of Putivl, the princess mourns her beloved husband and the land devastated by enemies. But Yaroslavna suddenly notices horsemen galloping in the distance. She recognizes Prince Igor. Her joy knows no bounds.
Skula and Eroshka, not knowing about the prince’s return, make fun of him. His unexpected arrival stuns them. The cunning bell-makers, wanting to avoid punishment, announce the prince's return by ringing the bell. People inhabiting the city come running to the sound. They warmly welcome the returning beloved prince.
Borodin's opera "Prince Igor" teaches courage, nobility, courage and loyalty, love for one's native land, and the ability to stand up for it. The heroes of the opera "Prince Igor" are quite diverse in character; they embody the qualities characteristic of a Russian person. Composer Borodin managed to create amazingly beautiful music that characterizes each of them. This opera still remains one of the best in Russian and world musical culture.
