Rusalka

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Rusalka

 

a mythological being among the eastern Slavic peoples, particularly the Ukrainians and southern Russians. The image of the rusalka combined features of fertility spirits (field rusalki) and water sprites (river rusalki), and notions of the “unclean” dead (drowned females in particular) and infants who died unbaptized.

REFERENCE

Zelenin, D. K. Ocherki russkoi mifologii, fasc. 1. Petrograd, 1916.
References in periodicals archive ?
4) Naroditskaya even looks at early 19th-century romantic ballet by itself in a subsection of her Rusalka chapter (204), in which she offers an explanation for romantic ballet's key narrative trope--and an opera trope too--playing out differently in Russia than in Europe.
In the book's second half, she studies the effects of that pathology (which she links with the Russian narrative style inoskazanie--YitcmWy "other telling" [153]) first on authors like Pushkin, who was fascinated by the recently suppressed world of Catherines court, then on the five operas she chooses as case studies, by composers from Glinka to Chaikovskii: Ruslan and Liudmila, Rusalka, Mlada, Sadko, and The Queen of Spades.
All of a sudden Rusalka and Carmen are sinister sisters.
The production of Rusalka at the Bastille Opera in Paris in 2002 definitely made one think twice about the Czech staging tradition that regards Rusalka as a family afternoon fairytale.
Milan Kuna, in one of the book's most interesting essays, explores (in English) an aspect of Dvorak's personality not well known, showing how his financial demands (perhaps justified, but probably unrealistic under the circumstances) were evidently responsible for thwarting his only chance to see Rusalka performed outside the Czech lands.