Conducted by the American conductor James Gaffigan, the Radio Filharmonisch Orkest (Netherlands Radio Philharmonic) and the Groot Omroepkoor (Dutch Radio Choir) perform Sergei Rachmaninoff’s The Bells (Russian: Kolokola), Op. 35, a choral symphony written in 1913. The words are from the heavily onomatopoeic poem “The Bells” by Edgar Allan Poe (January 19, 1809 – October 7, 1849) which was not published until after his death in 1849, and very freely translated into Russian by the symbolist poet Konstantin Balmont (15 June [O.S. 3 June] 1867 – 23 December 1942). Marina Rebeka, soprano; Sergei Skorokhodov, tenor; Andrei Bondarenko, bass. A High-definition video Published by the Avrotros Klassiek channel.
Sergei Rachmaninoff’s The Bells (Kolokola)
Rachmaninoff’s The Bells (Колокола), Op. 35, is a choral symphony composed in 1913, based on a Russian adaptation of Edgar Allan Poe’s poem “The Bells.” The work is considered one of Rachmaninoff’s finest large-scale compositions, blending orchestral, choral, and vocal solo elements to create a deeply emotional and evocative soundscape.
The text for The Bells was provided by the Russian poet Konstantin Balmont, who loosely translated Poe’s original work. The piece captures the essence of the poem’s exploration of life’s stages, symbolized by different types of bells. These bells, each representing various emotional and existential experiences, are vividly expressed through Rachmaninoff’s lush orchestration and innovative use of the choir.
The Bells holds a special place in Rachmaninoff’s body of work, as the composer himself regarded it as one of his personal favorites. The symphony’s intense emotional range, from joyful exuberance to profound despair, reflects Rachmaninoff’s characteristic melodic lyricism and his ability to translate human emotions into music. The piece’s expansive use of the orchestra and choir, along with its dramatic shifts in tone and color, highlight Rachmaninoff’s mastery of large-scale composition.
Though the work is based on Poe’s literary vision, Rachmaninoff imbues it with a distinctly Russian character, blending his unique harmonic language with the dramatic intensity of the text. The result is a powerful, multifaceted work that explores life, death, and the passage of time in a way that is both universal and deeply personal.
Rachmaninoff dedicated The Bells to Dutch conductor Willem Mengelberg (28 March 1871 – 21 March 1951), and the Royal Concertgebouw Orchestra, a symphony orchestra in the Netherlands, based at the Amsterdam Royal Concertgebouw (concert hall). Mengelberg was famous for his Mahler and Strauss performances with the Concertgebouw Orchestra.
Movements
1. Allegro ma non tanto: “The Silver Sleigh Bells” (Слышишь, сани мчатся в ряд) in A-flat major
The first movement of Rachmaninoff’s The Bells, titled Allegro ma non tanto: “The Silver Sleigh Bells”, opens the symphony with a sense of youthful excitement and joy. Set in A-flat major, the movement evokes the imagery of sleigh bells ringing through a snowy landscape, symbolizing the carefree and exhilarating experiences of youth. The text, based on Edgar Allan Poe’s poem and its Russian adaptation by Konstantin Balmont, describes the sound of silver bells as cheerful and melodic, reflecting the energy and innocence of life’s early stages.
Rachmaninoff’s orchestration in this movement is bright and lively, dominated by shimmering textures and rapid rhythms that mimic the sound of bells. The orchestra creates a sense of movement, as if the listener is being carried along by a swift, joyous sleigh ride. The soprano soloist adds to the youthful spirit with soaring, lyrical lines that intertwine with the orchestra, further enhancing the sense of lightness and vitality.
Though the movement is filled with exuberance, there are moments of subtle complexity in the harmonic progressions, typical of Rachmaninoff’s style. These hints of deeper emotion beneath the surface foreshadow the darker, more introspective moods that will emerge in later movements. Overall, “The Silver Sleigh Bells” sets the stage for the symphony’s journey through the stages of life with a festive, uplifting beginning.
2. Lento: “The Mellow Wedding Bells” (Слышишь, к свадьбе зов святой) in D major
The second movement of Rachmaninoff’s The Bells, titled Lento: “The Mellow Wedding Bells”, shifts from the youthful exuberance of the first movement to a more solemn and serene mood, symbolizing the maturity and tranquility associated with marriage. Set in D major, this movement portrays the sound of wedding bells, their warm and mellow tones reflecting the happiness, contentment, and seriousness of this life stage.
The orchestration is lush and expansive, with the tenor soloist taking center stage, delivering lyrical and flowing vocal lines that capture the beauty and intimacy of a wedding ceremony. The choir softly supports the soloist, contributing to the movement’s sense of gentle celebration and harmony. Rachmaninoff’s use of sweeping, rich harmonies adds a sense of grandeur, while maintaining an underlying sense of calm and peace throughout the movement.
Despite the peaceful atmosphere, the movement is not without complexity. Rachmaninoff subtly weaves emotional depth into the music, suggesting the weight of commitment and the bittersweet nature of life’s transitions. The bells in this movement, though more subdued than in the first, still play an important role in evoking the sacred and spiritual nature of marriage.
The overall tone is one of serene joy, but with an underlying sense of life’s inevitable changes, serving as a reminder that even the happiest moments carry a sense of gravity and reflection. This reflective mood provides a beautiful contrast to the livelier first movement, marking a shift in the symphony’s emotional journey.
3. Presto: “The Loud Alarm Bells” (Слышишь, воющий набат) in F minor
The third movement of Rachmaninoff’s The Bells, Presto: “The Loud Alarm Bells”, brings a stark and dramatic shift in mood and intensity. Set in F minor, this movement represents the harsh, jarring sound of alarm bells, symbolizing fear, chaos, and the darker, more tumultuous periods of life. The rapid tempo and aggressive orchestration create a sense of urgency and panic, depicting the relentless tolling of bells during times of crisis or danger.
Rachmaninoff’s use of the orchestra here is explosive, with frenetic strings, blaring brass, and pounding percussion driving the music forward. The baritone soloist, in contrast to the more lyrical voices of the earlier movements, takes on a forceful, declamatory role, almost shouting out the text in a way that amplifies the sense of alarm. The choir, too, contributes to the overwhelming atmosphere, with powerful, urgent cries that reinforce the feeling of impending catastrophe.
The harmonic language of the movement is dissonant and turbulent, with abrupt shifts in dynamics and key changes that add to the unsettling nature of the music. Rachmaninoff masterfully conveys the chaos and uncontrollable force of the alarm bells, reflecting the moments in life filled with strife, anxiety, and instability.
“The Loud Alarm Bells” stands in sharp contrast to the peaceful and joyful tones of the earlier movements, serving as the emotional climax of the symphony. It captures the intensity of life’s most turbulent periods, immersing the listener in a whirlwind of sound and emotion that is both terrifying and exhilarating.
4. Lento lugubre: “The Mournful Iron Bells” (Похоронный слышен звон) in C-sharp minor
The fourth and final movement of Rachmaninoff’s The Bells, titled Lento lugubre: “The Mournful Iron Bells”, brings the symphony to a somber and reflective close. Set in C-sharp minor, this movement represents the sound of heavy, mournful iron bells, symbolizing death and the inevitable end of life. The music here is slow, dark, and deeply emotional, capturing the profound sadness and solemnity of this final stage of existence.
Rachmaninoff uses the low registers of the orchestra to create a weighty, oppressive atmosphere, with the tolling of the iron bells evoked through deep, resonant chords. The baritone soloist delivers the text in a solemn and reflective manner, his voice filled with grief and resignation. The choir, echoing the baritone, adds to the sense of collective mourning, creating a haunting, funeral-like tone throughout the movement.
The harmonic language in this movement is marked by tension and chromaticism, contributing to the feeling of inevitability and sorrow. The slow, deliberate pacing of the music mirrors the heavy tolling of the bells, emphasizing the weight of life’s final moments. The orchestration is dense, yet Rachmaninoff allows moments of haunting beauty to emerge, particularly in the interplay between the soloist and the choir.
“The Mournful Iron Bells” serves as a powerful meditation on death, providing a stark contrast to the vitality of the earlier movements. It closes the symphony on a deeply introspective note, leaving the listener with a sense of finality and emotional depth, as Rachmaninoff explores the inescapable reality of mortality.
Marina Rebeka
One of the leading sopranos of our time, Marina Rebeka (born 1980) is a Latvian opera, song, and concert soprano. Her performances as Violetta in Verdi’s La Traviata are heralded as definitive portrayals of the role, and she is frequently lauded as a leading Rossini and Mozart singer of her generation.
Since her landmark performance at the Salzburg Festival in 2009, under the baton of Riccardo Muti, Marina has been a regular guest at the world’s most prestigious concert halls and opera houses, such as the Metropolitan Opera, Carnegie Hall, the Teatro alla Scala, Royal Opera House (Covent Garden), Amsterdam’s Het Concertgebouw, the Bavarian State Opera, Vienna State Opera, and the Zurich Opera House.
She collaborates with leading conductors such as Zubin Mehta, Antonio Pappano, Fabio Luisi, Marco Armiliato, Michele Mariotti, Thomas Hengelbrock, Paolo Carignani, Stéphane Denève, Yves Abel, Ottavio Dantone and Alberto Zedda. Her spectacular array of repertoire spans ranges from jewels of the Baroque era (Handel), Bel Canto masterpieces (Rossini, Bellini, Donizetti), and much-loved works by Verdi (La Traviata), Tchaikowsky (Eugene Onegin), and Stravinsky (The Rake’s Progress).
Ms. Rebeka is also active on the recital and concert stage, having performed at the Rossini Opera Festival in Pesaro, the “Rudolfinum” Concert Hall in Prague, the Rosenblatt Recital series in London, Teatro alla Scala, and the Großes Festspielhaus Salzburg. She has shared the stage with venerated ensembles including the Royal Scottish National Orchestra, Royal Liverpool Philharmonic Orchestra, Latvian National Symphony Orchestra, Orchestra Teatro Comunale di Bologna, the Vienna Philharmonic Orchestra, and the Filarmonici della Scala. She recorded Rossini’s Petite Messe Solennelle for EMI (Warner Classics) with the Orchestra of Santa Cecilia in Rome, led by Sir Antonio Pappano. Her first solo CD titled “Mozart Arias” was also released by the label in November 2013.
Sergei Skorokhodov
Born in 1974 (Leningrad/St.Petersburg), Sergei Skorokhodov is a Russian tenor. He studied as a chorister and choir conductor in Choral School named after M.Glinka (St.Petersburg). In 1998, he entered the opera/opera directing department of The State St.Petersburg Rimskiy-Korsakov Conservatory. In 1999, he joined the Academy of Young Singers at The Mariinsky Theatre. In the same year Sergei Skorokhodov made his Mariinsky debut as Guido Bardi in Eine Florentinische Tragodie by Alexander von Zemlinsky conducted by Valery Gergiev.
In 2003, he obtained a Diploma at Obraztsova International Competition in St.Petersburg. In 2004 and 2005 took part in Renata Scotto’s Master Classes in Accademia nazionale di Santa Cecilia, Roma.
During his time with The Mariinsky Theatre, Sergei Skorokhodov toured with the Company in Holland (Concertgebouw, Amsterdam), France (Opera National de Paris), United Kingdom (The Barbican Hall, London), Sweden (The Royal Opera, Stockholm), Finland (International Music Festival, Mikkeli) and in Israel (Classics On The Red Sea Festival, Eilat).
Sergei Skorokhodov sang in operas of Donizetti (Lucia di Lammermoor), Bellini (La Sonnambula), Verdi (Nabucco), Puccini (Il Tabarro), Wagner (Lohengrin, Parsifal), Saint-Saens (Samson et Dalila), Shostakovich (The Nose), Prokofiev (Semyon Kotko) and Rimsky-Korsakov (Mlada, The Snowmaiden).
Apart from opera, his repertoire includes a wide range of Russian and Italian songs.
Andrei Bondarenko
Andrei Bondarenko (born 1987) is a Ukrainian baritone opera singer. Despite his youth, he has already appeared at the Salzburg Festival, Carnegie Hall, Wigmore Hall, Glyndebourne Festival and Touring Opera, Teatro Colon, Cologne Opera, Sydney Opera House, Perm State Opera, and Mariinsky Theatre. He also gave his role debut as Billy in Billy Budd in the first-ever production in Russia (Mikhailovsky Theatre, St. Petersburg).
He sang in the theatre/opera project “The Giacomo Variations” alongside John Malkovich and has toured extensively with Larissa Gergieva. Andrei took part in the Salzburg Festival Young Singers Project, following which he returned to the Festival for Gounod Roméo et Juliette with Yannik Nézet-Seguin and Le Rossignol with Ivor Bolton.
He has recorded Don Giovanni (title role) and Nozze di Figaro (Conte) for Sony Classics, Rachmaninov songs with Iain Burnside at the Queen’s Hall in Edinburgh for Delphian Records as well as the highly acclaimed Lieutenant Kijé Suite on the BIS label.
He won the 2011 BBC Cardiff Singer of the World Competition Song Prize, was awarded a diploma at the Ukrainian competition “New Ukrainian Voices” and won first prize at the international vocal competition “Art in the 21st Century” in Vorzel (Ukraine). He was a prize-winner at the 2006 International Rimsky-Korsakov vocal competition in St. Petersburg, the 2008 all-Russian Nadezhda Obukhova Young Vocalists´ Festival and Competition, and the 7th International Stanisław Moniuszko Vocal Competition in 2010.
Sources
- The Bells (symphony) on Wikipedia
- ‘Rachmaninov’s “The Bells”: A Choral Symphony Inspired by Poe’ on The Listeners’ Club website
- “The Bells, Sergei Rachmaninoff” on the L.A. Phil website
- Marina Rebeka’s official website
- Sergei Skorokhodov on operaandballet.com
- Andrei Bondarenko’s official websie
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I can’t watch the video! Why? This is a fantastic performance.