"The Good Ship Gorshkov"

The Good Ship Gorshkov is an Opera in two acts by [[Seymon Kalinin]] that is widely popular in the [[Orion Arm]]. The opera details the daily struggles of Corvette Captain Natalya Budenova as she leads her crew through a week of increasingly deadly attacks by the "Great Enemy" (Heavily implied to be ships of the [[Greater German Reich]]). It is notable for its' use of a female protagonist, something that few Soviet Productions have hitherto attempted, but has been highly lauded by the [[Politbureau's Commissariat for the Arts]], as it "embodies well the spirit of the people's fleet and embraces heartily the ideals of [[socialist realism]]."

Gorshkov's peculiar choice of protagonist and use of heavy orchestration, with a score inspired by sources as diverse as Prokofiev and Puccini, as well as the tragic nature of the piece, have captured the minds of many Leningrad Opera goers, and it is one of several works performed by the travelling [[Shostakovitch Opera Company]], with sold out performances on several [[Democratic Federation]] planets.

Writing Process:

Late in the 2110s, while growing up on the frontiers of the Soviet Union, close to the Reich, Seymon was exposed to clearly visible shows of military might by the Reich just along the border, something that his home-world of Riga could not really afford to replicate, replacing pageantry and medals with honest soldiering, preparation of weapons and military drilling. The calm response of the garrison deeply appealed to Seymon, and even as a child, he dreamed of writing a musical piece dedicated to these heroes of the border.

His wish came true when in late 2141, he was commissioned to write a piece commemorating the Red Navy for the Bolshoi theatre in Leningrad, in memoriam of the 200th anniversary of the defense of Leningrad's [[Terran]] city [[namesake]]. Seymon's decision to use a female protagonist, despite the advising of his librettist, Vasili Gradenko, was based on his own mother, a strong woman who had raised Seymon and his brothers following their father's tragic death in a mining incident. Tired of Soviet Operatic tradition and of the few operas of the Democratic Federation shown at the Bolshoi always focussing on the exploits of male characters, whether they be foolish lovers or hard working Stakhanovites, Seymon was determined to write a female character worthy of the role of Captain.

While Seymon's vision for Gorshkov had originally been far grander, he was informed that his budget would be limited as he was an as yet "unproven" composer, and the Bolshoi did not want to risk much of its Government funding for the piece. Nonetheless, an evening performance was scheduled for the occasion and some small amount of funding for the opera was provided, but most importantly, Seymon was granted access to the massed orchestra of the Bolshoi, something that he intended to make full use of. With the tools at hand, Seymon decided to instead make his piece a minimalist one, in order to conform to the strict requirements. Starting his work around the eve of May Day, and finishing in his own words, "like a true revolutionary, on Red October!", Seymon spent most of his writing days in the Bolshoi itself, dictating music to the orchestra almost as soon as it was written, correcting it whilst conducting, and even sleeping above the stage among the props and pulleys at night.

While this dedication to his work caused considerable strain on his relationship with his wife, Seymon's late nights and fevered writing paid dividends, and when he finally presented the finished piece to the director of the Bolshoi, looking more "scarecrow than composer," the man tore it out of his hands after reading it through and rushed into his office.

Unknown to Seymon, the director's seemingly rude disappearance with his script was in fact in order to beg his superiors to move the incredibly famous Bolshoi's production of Hamlet back by a week to give Gorshkov more time on the stage. While the move (rather unfairly) earned Seymon more than a few enemies in the theatre's circle, it was just the shake-up of the production schedule that Seymon needed to prove his piece's worth.

Performance History:

The first production, on the 18th of November, 2141, instead of being attended by just Seymon's surviving family and a few token music students, the Bolshoi was filled with [[Politbureau]] members, Admirals of the Fleet, and various important party members. It was even rumored for a short time that the Premier himself would make an appearance, though whether this was true or not, at the time he was occupied with an emergency call regarding the [[Chinese SSR's]] request for assistance during the [[Great Flood]] of [[Fujian]].

On the opening night, as a result of this added attention, there was a rather tense atmosphere, though Seymon decided that since so much faith had been placed in him, he could not in good conscience leave conduction to anyone other than himself. Over the course of writing the piece, Seymon's work with the orchestra meant they could understand his erratic and unusual baton movements with some ease, providing the powerful canvas against which the voices of the formidable [[Masha Teronova]], as Captain Budenova, veteran performer [[Vladimir Antonov]] as Officer Po-Rin and the relatively unknown [[Grigoriy Pushkin]] as Engineer Tenoshkin could play. The performance was a rousing success, and following a standing ovation, the opera was followed by an encore comprised of a medley of some of Seymon's similarly bombastic works.

Characters:

Captain Natalya Budenova:

Captain of the good ship Gorshkov and her crew, a resolute and fast thinking patriot with a softer side for her crew, Budenova is the protagonist of the piece, and as a socialist realist character, is expected to be the most relate-able character for the audience through her struggles against outside foes. Natalya is traditionally a soprano role, though some noted altos have occasionally led the performance.

Xiao Po-Rin:

First Officer of the Gorshkov, Po-Rin is loyal to his Captain, but is a strictly by the book officer, being less inclined to endorse Budenova's actions than constructively criticise her choices. While heavily implied to be in love with Budenova, this sub-plot is ended with Po-Rin's death, which "prevents said sub-plot from ruining the character development or socialist realist role of Natalya" according to many critics. Xiao is a rather unrestrictive role, with both tenors and baritones proving equally able in the part.

Engineer Tenoshkin, the Traitor: 

Chief Engineer of the Gorshkov. Given the limited production value given to Kalinin, Tenoshkin, the Traitor, serves as the primary antagonist and the only true representation of the "Great Enemy" whom the ship's crew faces. Tenoshkin is bitterly jealous of Natalya, twisted by greed and hatred, and decides to try to launch a mutiny against her and join the "Great Enemy". Tenoshkin's first name is never revealed through the course of the Opera, but his motives are clearly antagonistic from his first appearance. Tenoshkin is generally considered a bass role.

Plot:

Act 1

Natalya is introduced after the Overture resting on the bridge after a long shift, passing on command to Po-Rin after an uneventful night (All quiet amongst the stars). Po-Rin jokingly declares that the night feels calm only because their enemies are lurking (Beware every shadow). Unfortunately, he is proven right, as the engines shut down unexpectedly and the ship is stranded while a "pack" of enemy vessels converge on their position. (From the depths!) Natalya goes to see the engine deck while Po-Rin manages the weaponry officers, despite his arguments that he should go in her place. The audience is introduced to Engineer Tenoshkin, who leers about his miserable life, while declaring that he has sabotaged the engines (If only I had more...).

Natalya arrives to take care of repairs, and the two repair the engines, Natalya to save her crew, and Tenoshkin to avoid being court-marshalled. Their back and forth is known as one of the more comic songs of the Opera (If we get out of this...). Miraculously, the two fix the engines in time, and Gorshkov is able to escape the pack. Returning to the bridge, Po-Rin excuses himself from his duties to talk to Natalya (Captain, a word?). He proclaims that the last skirmish worried him for her safety, but is rebuffed by Natalya, who though deeply touched by his words, reminds Po-Rin that their duty is to the motherland. (Maybe in another life). Po-Rin relents, but presses another issue: The ship is practically adrift in space, while the crew's morale is low. Concerned that sabotage may be afoot, Natalya speaks to her crew, who end the act in a chorus praising the motherland. (Comrades, to me!)

Act 2:

Seeing that his efforts may be uncovered, Tenoshkin begins to prepare another act of treachery. (A web to weave) While Gorshkov nears an asteroid field, her shields fail and the same "pack" returns, homing in on Tenoshkin's signal. With this turn of events, the crew is forced to fend off the attack, and while on the bridge, Po-Rin is mortally wounded. His final words point out Tenoshkin as the most likely traitor, while telling Natalya that he loved her before he dies (Having you here is comfort enough). Natalya, embittered by this turn of events, sings her best known aria, (Maybe in Another Life (Reprise)), before brilliantly leading the defence of her ship.

Unfortunately, as the final enemy ship is destroyed, Tenoshkin seizes the intercom and orders the crew to rise up, and Natalya is taken prisoner by an unfortunately trusting crew member. Taken to the brig, Natalya pleads with her crew, eventually bringing them around to her side. (Comrades, see the real enemy!) And as Tenoshkin tries to take the ship to the border, the crew rebels and takes him prisoner. (We never trusted you!) Natalya takes her revenge (To the Airlock!), before setting course for the Gorshkov's repair base. (All quiet amongst the stars (Reprise))

Critical Response:

While responses across the Orion Arm have been generally positive, there have been considerable critical evaluations of the piece. Many point out that Po-Rin serves little purpose in the plot other than as a “Yes-Man”, that Natalya's choice to kill Tenoshkin by forcing him out of an airlock, a particularly brutal execution, is out of character, and that the heavy orchestration obstructs much of the sense of romanticism that might be felt between Po-Rin and Natalya. Nonetheless, despite the plot-holes, the sound-track is becoming increasingly popular, working it's way into official TASS bulletins, advertisements in the Democratic Federation, and even to the Federation's [[Internet]], where it has apparently revitalised interest in the Operatic genre, a previously foundering field of online music sales.

Controversy:

Within the USSR:

While very well received, there have been several complaints levied, in particular by the Commissars of the Navy, regarding the depiction of a mutiny against a Captain: According to these complaints, Tenoshkin should never have been able to sway the crew in the first place, and that such a suggestion is by definition, defeatist. While acknowledging the legitimate nature of these claims, and describing the vital role of the navy, the Bolshoi, and many other Operatic institutions, continue to defend the Opera's artistic license. When questioned himself, Kalinin replied that “Tenoshkin, being a fascist, is as insidious as his politics, and the Opera highlights how cautious one must be of fascist influence in everything we do.”

Outside the USSR:

While Gorshkov has proved highly popular on many worlds of the Orion Arm, it is banned in the Greater German Reich as a “Degenerate” work, and has proved somewhat controversial in other nations. For instance, though several worlds of the Democratic Federation, such as [[Britannia]], [[Albion]] and [[New Australia]], have hosted productions by native Opera companies as well as those of the Shostakovitch Travelling Opera Company, On several worlds of the [[United States]], the Opera has proven impossible to put on, due mainly to the idea of a female protagonist proving irksome to several censors, along with the socialist realist nature of the piece. Many claim that Gorshkov contravenes traditional American values and is therefore unsuitable for the public. Despite this, many avid American opera-goers who can afford the trip have arranged travel to worlds that have on-going productions, or bought boot-legged recordings from other worlds of the Federation.

Censured Version:

Due to the overwhelming popularity of the piece, several censors within the Washington operatic community have begun re-writing the English translation of Gorshkov to be more suitable for American audiences, causing something of a schism within the Federation's Operatic Community between purists and censors. Seymon himself is purported to be outraged by the re-writing, stating in an interview that “If Puccini, Verdi, Wagner or Mozart had written their operas today, they would have faced exactly the same process, yet their works are performed without any changes, so why shouldn't Gorshkov be the same?”