The libretto of Prokofiev’s Soviet opera Semyon Kotko clobbers you on the head with revolutionary doctrine. Understandably, the work has never gained an international foothold. Even in Russia, where it is now part of the repertoire, it was ignored for decades shortly after its 1940 première, which was by no means an unequivocal success. Then the critics focused on the opera’s lack of instant popular appeal rather than its musical qualities. As this concert version at the Concertgebouw demonstrated, these are considerable. Prokofiev’s intricate score, enriched with folk music patterns, thrums with tension throughout and reaches moments of colossal drama. As the first non-Russian orchestra to perform this work complete, the 100-strong Netherlands Radio Philharmonic Orchestra acquitted itself with honours under the precise and eloquent Vladimir Jurowski. The Netherlands Radio Choir and Flemish Radio Choir, claiming a similar first, crowned the performance with choral glory.
Based on a luridly propagandist novel by Valentin Katayev, the plot could be summarised as “partisans are patriots, anti-revolutionaries are Satan”. Semyon Kotko is a demobilised Ukrainian soldier returning to his native village towards the end of the First World War. His simple hope is to marry Sofya, but her father, the fanatically anti-Bolshevist Tkachenko, opposes the marriage. The fact that Remeniuk, the head of the village soviet, and his comrade Tsaryov try to broker the marriage does not help. When Tkachenko conspires with the Germans to get Tsaryov and another villager arrested and hanged, Semyon joins the partisans to take revenge. After a violent struggle, the revolutionaries gain control and Tkachenko is executed. Semyon and Sofya can get married. The opera ends as the Red Army marches cheerily into the village.
If there is one thing that Prokofiev’s agile music makes clear it is that, in a struggle this deadly, everyone must eventually pick sides. He juxtaposes simple village life, evoked by peasant choruses and accordions, with menacing, dark waves of sound and tugging rhythms. Time and again this sense of urgency invades the rural lyricism. Prokofiev’s animated scoring of the wordy dialogue propels the prosaic text forwards. Singers and orchestral sections swiftly relay melodic figures to each other or weave them into each other. The composer also pokes fun at the earnest rhetoric, such as when he punches Remeniuk’s pompous speech about land redistribution with an irreverent tuba. The singers and musicians deserve the highest praise for sailing through these swift acrobatics. On the rostrum, Jurowksi was a veritable magician, highlighting the nervous lyricism of the work and skilfully building up to its terrifying crescendos. Occasionally unsure in which direction he was taking them in the broader phrases, the orchestra followed his crisp rhythm at all times, and their performance kept gaining strength.