Editing Opera (section)

===Russian opera===
{{Main|Russian opera}}
[[File:Feodor Chaliapin as Ivan Susanin.jpg|thumb|[[Feodor Chaliapin]] as [[Ivan Susanin]] in [[Mikhail Glinka|Glinka]]'s ''[[A Life for the Tsar]]'']]
Opera was brought to Russia in the 1730s by the [[Italian opera]]tic [[wikt:troupe|troupes]] and soon it became an important part of entertainment for the Russian Imperial Court and [[aristocracy]]. Many foreign composers such as [[Baldassare Galuppi]], [[Giovanni Paisiello]], [[Giuseppe Sarti]], and [[Domenico Cimarosa]] (as well as various others) were invited to Russia to compose new operas, mostly in the [[Italian language]]. Simultaneously some domestic musicians of Ukrainian origin like [[Maxim Berezovsky]] and [[Dmitry Bortniansky]] were sent abroad to learn to write operas. The first opera written in Russian was ''[[Tsefal i Prokris]]'' by the Italian composer [[Francesco Araja]] (1755). The development of Russian-language opera was supported by the Russian composers [[Vasily Pashkevich]], [[Yevstigney Fomin]] and [[Alexey Verstovsky]].

However, the real birth of [[Russian opera]] came with [[Mikhail Glinka]] and his two great operas ''[[A Life for the Tsar]]'' (1836) and ''[[Ruslan and Lyudmila (opera)|Ruslan and Lyudmila]]'' (1842). After him, during the 19th century in Russia, there were written such operatic masterpieces as ''[[Rusalka (Dargomyzhsky)|Rusalka]]'' and ''[[The Stone Guest (Dargomyzhsky)|The Stone Guest]]'' by [[Alexander Dargomyzhsky]], ''[[Boris Godunov (opera)|Boris Godunov]]'' and ''[[Khovanshchina]]'' by [[Modest Mussorgsky]], ''[[Prince Igor]]'' by [[Alexander Borodin]], ''[[Eugene Onegin (opera)|Eugene Onegin]]'' and ''[[The Queen of Spades (opera)|The Queen of Spades]]'' by [[Pyotr Ilyich Tchaikovsky|Pyotr Tchaikovsky]], and ''[[The Snow Maiden]]'' and ''[[Sadko (opera)|Sadko]]'' by [[Nikolai Rimsky-Korsakov]]. These developments mirrored the growth of Russian [[nationalism]] across the artistic spectrum, as part of the more general [[Slavophilism]] movement.

In the 20th century, the [[tradition]]s of Russian opera were developed by many composers including [[Sergei Rachmaninoff]] in his works ''[[The Miserly Knight]]'' and ''[[Francesca da Rimini (Rachmaninoff)|Francesca da Rimini]]'', [[Igor Stravinsky]] in ''[[The Nightingale (opera)|Le Rossignol]]'', ''[[Mavra]]'', ''[[Oedipus rex (opera)|Oedipus rex]]'', and ''[[The Rake's Progress]]'', [[Sergei Prokofiev]] in ''[[The Gambler (Prokofiev)|The Gambler]]'', ''[[The Love for Three Oranges]]'', ''[[The Fiery Angel (opera)|The Fiery Angel]]'', ''[[Betrothal in a Monastery]]'', and ''[[War and Peace (opera)|War and Peace]]''; as well as [[Dmitri Shostakovich]] in ''[[The Nose (opera)|The Nose]]'' and ''[[Lady Macbeth of Mtsensk (opera)|Lady Macbeth of the Mtsensk District]]'', [[Edison Denisov]] in ''[[L'écume des jours (opera)|L'écume des jours]]'', and [[Alfred Schnittke]] in ''[[Life with an Idiot]]'' and ''[[Historia von D. Johann Fausten (opera)|Historia von D. Johann Fausten]]''.<ref>[[Taruskin, Richard]]: "Russia" in ''[[The New Grove Dictionary of Opera]]'', ed. [[Stanley Sadie]] (London, 1992); {{harvnb|Parker|1994|loc=ch. 7–9}}</ref>