In 1613 the first of the Romanov Tsars was saved by a peasant, Ivan Susanin, who decoyed a detachment of pursuing Polish troops, perishing at their hands, when his deception was discovered. The subject was suggested to Glinka in 1834 and its Russianness immediately fired him. Having decided that certain incidents were bound to part of the final work, he worked impulsively as these caught his imagination, sometimes running ahead of his amateur librettist, Georgy Rosen [secretary to the Tsarevich], who was thus forced to set words to existing music. Once rehearsal began, the Tsar himself showed much interest and, realizing its potential for stirring emotions of patriotic loyalty, approved the suggestion that Ivan Susanin be renamed A Life for the Tsar.

The work's premiere was a sensational success and within Russia, it became the most performed of all native operas until the 1917 Revolution; indeed it was often suggested that the melody of the final scene become the new Soviet National Anthem. In 1837 Glinka was persuaded to replace Sobinin's scene at the beginning of Act 4 with a new one showing Vanya at the gates of the monastery. A life for the Tsar had an enormous influence on later Russian music, setting the precedent for a succession of heroic works based on incidents from Russian history. Not surprisingly, it was slower to make its mark abroad; although in Russia it became customary to open the St Petersburg operatic season with it, it seems to have been 30 years before it crossed the frontier (to Prague in 1866). In the USSR after 1939 Rosen's politically unacceptable libretto was replaced by a grossly rewritten one by Sergey Gorodetsky. This version is heard on Soviet recordings.

SYNOPSIS

Act 1

A chorus of male peasants enters th village of Domino to be greeted by their womenfolk; they give thanks that a new Tsar has been found. Antonida sadly laments the absence of her betrothed, Sobinin, who has been fighting for the Tsar - though today he is to return home. However, Susanin brings news: the Poles are threatening Moscow, and there can be no thought of a wedding. Sobinin arrives in a boat along the river (chorus of rowers). He too has news: Moscow is safe. But, Susanin begins the quartet, without a Tsar Russia is still vulnerable. Sobinin is dismayed that his wedding will be delayed, and in the trio he and Antonida lament, while Susanin promises that Antonida shall finally be Sobinin's bride. However, when Susanin hears from Sobinin that 'their boyar' is to be crowned in Moscow, he agrees to the wedding and all rejoice.

Act II

A ball in the fortress of a Polish commander. All are confident Russia will be vanquished. But after the choral polonaise, krakowiak, waltz and mazurka, a messenger bursts in with news of defeat; Mikhail Romanov has been elected Tsar, though he does not yet know, for he has retired to his estate at Kostroma. After recriminations, a detachment of soldiers leave to apprehend the new Tsar. Those remaining resume dancing.

Act 111

In Susanin's cottage Vanya ('the orphan') reflects on how the peasant had adopted him after his mother had been killed. When Susanin enters, Vanya declares he will fight for the tsar when he is grown up. A chorus of men bids farewell to Susanin as they go off for the day's work, and he invites them to the eve-of-wedding celebration. Susanin and Vanya, now joined by Antonida and Sobinin, express in a quartet their happiness, and their hopes for Russia, now that a Tsar has been chosen. Sobinin leaves to summon his friends. Suddenly Susanin hears horses, and the Polish detachment appears. Believing Susanin knows the Tsar's whereabouts, the Poles demand that he lead them to him, Susanin prevaricates and, as the intruders confer, whispers to Vanya to ride to Kostroma and warn the Tsar. Susanin then pretends he will accept the bribe the Poles offer. Antonida enters and is distressed to see her father departing with Russia's enemies but, resisting her embrace, he tells her to celebrate her wedding without him, then leaves with the Poles. Vanya also slips out. A group of girls sings a bridal chorus, and Antonida voices her grief at her father's apparent abduction. Sobinin returns with his friends and they go off to collect others to help in rescuing Susanin. Sobinin lingers to comfort Antonida, then also leaves.

Act IV (1836 version)

In a forest glade Sobinin rallies his followers in their search for Susanin, and thinks of Antonida. [(1837 version, alternative opening scene). At the gates of the Kostroma monastery Vanya wakens the inhabitants, and convinces them of the danger to the Tsar.] Susanin and the Poles enter the forest glade. While his captors rest, the peasant reflects on the coming dawn which will be his last, and recalls the wedding preparations and his family, then quietly sleeps. The Poles rouse him; finally he confesses his deception and is killed. Epilogue On the square before the Kremlin in Moscow, An offstage chorus praises the new Tsar and his warriors (Slavsya chorus). Sobinin, Antonida and Vanya enter and tell of Susanin's heroic death. All praise the new Tsar and Susanin.