Tchaikovsky’s The Queen of Spades – or Pique Dame – was the last opera Stalin attended. Though he had some appreciation for classical music – as adepicted in The Death of Stalin – he was never particularly fond of opera. His scathing Pravda editorial in 1936, condemning the opera Macbeth of the Mtsensk as ¨muddle instead of music¨, nearly ended Shostakovich’s career. Stalin’s rare visits to the Bolshoi were tightly guarded by truckloads of KGB agents, and put the fear of God in the staff and performers. From his box, he had a good view of the stage -unseen by the audience, but clearly visible to the performers.
A few weeks before his fatal stroke, Stalin attended a performance of The Queen of Spades. When the beloved baritone Pyotr Selivanov entered as Prince Yeletsky and spotted the ‘Great Leader’ in box A, he froze and his voice choked. Instead of singing, he recited the famous love declaration to Lisa. Selivanov could have been banished to the provinces, but Stalin found it rather amusing.
What does this story have to do with Garsington Opera’s excellent production of The Queen of Spades? I’ve seen a production set in the Stalin era, which worked to a point. Another director superimposed Tchaikovsky’s biography on Herman, and it is true that in a number of letters he quite cleraly identified with the ¨hero¨. A quote from Tchaikovsky to his brother Modeste, who wrote the libretto: ¨Now I hope my warm and lively feeling for the hero of my opera may be happily reflected in my music.¨
Does the opera have a particular resonance with our age? I don’t really care, and director Jack Furness sticks with the original late 18th century setting – and it works for me.
