Letter 3337
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Russian text (original)
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English translation
Copyright © 2010 by
Luis Sundkvist
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| 3 сентября [18]87 г. |
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3 September 1887
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| Дорогая Эмилия Карловна! |
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Dear Emiliia
Karlovna! |
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Спасибо за милейшее письмо Ваше. Как бы ни хотелось отдохнуть,
— а вижу, что съездить необходимо. Да кстати уж нужно 8-го числа быть на юбилее
Петербургской Консерватории. Я решил выехать 6-го числа вечером. Всё 7-ое число посвящу
«Чародейке», т. е. решу все недоразумения и по мере возможности сделаю те перемены, которые желательны для партии Князя и Княгини, а затем до начала репетиций уеду опять сюда.
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Thank you for your ever so sweet letter. Although I had very much wanted to rest, I can see that is essential for me to come [to
Saint Petersburg] [1]. Besides, on the 8th [of September] I have to be there anyway for the anniversary of the
Petersburg
Conservatory [2]. I have decided to leave on the evening of the 6th. I shall devote the whole of the following day to
The Enchantress, that is, I will clear up all the misunderstandings and, as far as possible, make those modifications which are seen as desirable in the parts of the Prince and Princess. After that I shall come back here again until the start of the rehearsals.
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Решительно не понимаю, почему М. А. Славина не получила моего письма. Оно было заказное и было адресовано в Театральную Контору. Если поискать, то и квитация у меня найдётся. Впрочем, я хорошо помню все перемены и в
понедельник сообщу их ей.
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I really do not understand why M. A. Slavina has not received my
letter [3]. It was a registered letter and was addressed to the Theatres' Office. If I were to look for the receipt, I am sure I would find it. Anyway, I remember all the modifications very well, and on Monday I'll tell her about them.
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30-го числа я был уже здесь, а 29 был действительно в
Петербурге или, лучше сказать, в
Петергофе, у жены моего умирающего друга. Вечером выехал.
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On the 30th [of August] I was already back here, but on the 29th I was indeed in
Petersburg [4],
or rather, in Peterhof, where I visited the wife of my dying friend
[Nikolai Kondrat'ev]. I left in the evening.
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Я приехал в Россию совсем больной и расстроенный, но достаточно было провести 3 дня в деревне, чтобы совершенно выздороветь.
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I arrived in Russia quite sick and upset, but the three days I have now spent in the countryside have proved sufficient for me to recover completely.
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До свидания, милая, дорогая благодетельница.
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See you soon, my dear and cherished benefactress [5].
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Ваш П. Чайковский
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Yours, P. Tchaikovsky
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Чтобы не беспокоить Вас, я приду к Вам в
понедельник не ранее 4-х часов, а утром повидаю
Эдуарда Франц[евича] и
Ген[надия] Петр[овича].
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So as not to trouble you, I shall come to your place on Monday after 4 o'clock; in the morning I shall go and see
Eduard Frantsevich and
Gennadii Petrovich.
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Notes:
- In her letter to Tchaikovsky of 2/14 September 1887
Emiliia Pavlovskaia explained that the first rehearsals for
The Enchantress had been postponed until the end of September, but that the chief director of the Imperial Theatres,
Gennadii Kondrat'ev, wanted Tchaikovsky to come to
Saint Petersburg earlier to sort out some problems with the
tessitura of the parts of the Prince and the Princess. Pavlovskaia's letter has been published in:
Чайковский на московской сцене (1940), p.
399–400 [back]
- The 25th anniversary of the foundation of the Saint Petersburg Conservatory
[back]
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See letter 3314 to
Mariia Slavina, 8/20 August 1887. In this letter Tchaikovsky outlined some possible modifications to the part of the Princess in
The Enchantress, which
Slavina, who was due to sing that role at the opera's première, had requested
[back]
- At the end of her letter of 2/14 September 1887 Pavlovskaia had asked whether it was true that Tchaikovsky had been in
Saint Petersburg on 30 August/11 September. She was evidently surprised that he had not called on her after his return to Russia from abroad
[back]
- From his earliest letters to Pavlovskaia Tchaikovsky had called her his "benefactress", thereby emphasizing how grateful he was to her for her enthusiastic attitude towards
Mazepa (in which she created the role of Mariia at the opera's première), as well as towards
Evgenii Onegin, in which she sang Tat'iana many times
[back]
This page was last updated on 18 February 2011 |