Libretto by composer based on the novel of the same name by Nikolai Gogol

Premiered at the Bolshoi Theatre on 7 June 1977.

Major Revival: 22 November 2025.

Stage Director: Boris Pokrovsky
Set Designer: Valery Levental
Costume Designer: William Klementiev
Choreographer: Dmitry Bryantsev

Music Director and Conductor: Valery Gergiev
Conductor: Anton Grishanin
Revival Director: Ksenia Shostakovich
Designers of the Revival: Aliona Pikalova, Ekaterina Levental
Costume Designers: Elena Merkurova, Tatiana Artamonova
Lighting Designer: Sergei Shevchenko
Video Designer: Ekaterina Karnaukhova
Renewal Choreographer: Ekaterina Mironova
Chief Chorus Master: Valery Borisov

A milestone in modern Russian opera took place at the Bolshoi Theatre with the opera of Rodion Shchedrin’s Dead Souls — a striking musical adaptation of Nikolai Gogol’s timeless satirical masterpiece. With its sharp wit, philosophical depth, and vivid gallery of characters, Gogol’s novel has long challenged artists to capture its spirit on stage. Shchedrin, one of the most original and daring composers of his generation, succeeded in transforming this classic into a captivating operatic experience.

Blending tradition with bold modern expression, Dead Souls weaves together dark humor, lyrical reflection, and biting social commentary. Shchedrin’s music — at once intricate, dramatic, and deeply human — creates a world where the grotesque and the sublime coexist. The score is rich with rhythm and color, reflecting both Gogol’s irony and his compassion for the flawed souls who populate the story.

Act I

Scene 1. Introduction.

We hear the song ‘Tis not the White Snow, performed in the Russian folk style.

Scene 2. Lunch at the Public Prosecutor’s.

The dignitaries of the town of N are giving a lunch in honour of Pavel Ivanovich Chichikov, attended by Manilov, Sobakevitch, Nozdrev, Mizhuyev, the Governor, the Public Prosecutor, the President of the Local Council, the Chief of Police and the Postmaster. “Vivat, Pavel Ivanovich,” proclaims the chorus of the town’s dignitaries who are treating Chichikov and speaking of their admiration for him. In his turn, Chichikov lavishes compliments on the “town fathers”.

Scene 3. The Road.

A britchka carriage is making its way along the road. Selifan is sitting on the coach-box, while Chichikov is in the carriage. Selifan sings the song Hey-Hey, My Hearties! He asks two approaching peasants: “Is it far to Zamanilovka?” They reply that it is one verst (about one kilometer) to Manilovka, and that there is no such place as Zamanilovka. The britchka travels onwards.

Scene 4. Manilov.

The hospitable Manilov and his wife welcome Chichikov. “A gala day… a true birthday of the heart…” Manilov sings tenderly, and croons an arioso in praise of his guest. Taking Manilov to the side, Chichikov offers to sell him dead souls. Manilov is taken aback and expresses doubt: “Will not such a transaction be at odds with Russia’s regulations?” But Chichikov easily explains that the opposite is the case. The Manilovs and their guest dream of the joys of life aloud. Suddenly Manilov notices that Chichikov has already disappeared. He stops and ponders: “Dead souls?”

Scene 5. A Pot-Holed Road.

On the road again. Selifan complains of the infernal darkness, Chichikov suggests to look if a village can be seen. Bring Over, oh God, This Thunderous Cloud, sings the chorus.

Scene 6. Korobotchka.

A room in the house of Korobochka. Korobochka laments poor harvests and losses, telling Chichikov what wonderful workers have died recently. Suddenly Chichikov makes her an offer: “Sell them to me.” Initially Korobochka cannot make head or tail of what he is talking about: the deal is tempting, but too unusual. The dialogue becomes increasingly tense. Both speak faster and faster, and in the end their words cannot be made out. A pantomime scene follows. At its height, Korobochka submits: “Why are you so glum? If you wish, I will sell them for fifteen roubles.” Chichikov disappears and Korobochka is left alone with her thoughts: “What is the price for dead souls today?..”

Scene 7. Songs.

We hear the songs Don’t Cry, Don’t Cry, Beautiful Maiden, ‘Tis not the White Snow and O You Wormwood, Wormwood Plant.

Scene 8. Nozdrev.

Nozdrev has just returned from the market where he was unlucky at cards. He sits down with Chichikov to a game of draughts. During the game, the dead souls are traded. Nozdrev tries to foist a puppy and a barrel-organ onto his partner... Chichikov accuses Nozdrev of cheating. A quarrel ensues, which slowly escalates into an unimaginable scandal. Suddenly the Superintendent of Rural Police appears: “Mr Nozdrev, you are under arrest... You are accused of causing personal abuse to the landowner Maximov by birching whilst drunk...”

Act II

Scene 9. Sobakevitch.

Chichikov is in Sobakevich’s study. Sobakevich abuses all the town officials to the last degree. Chichikov tries to carry on small talk and refers to the “non-existent” souls. “You need dead souls?” asks Sobakevich, puzzled, naming an astronomical price – one hundred roubles per soul. A lengthy bartering process begins. From time to time during the talk, there are retorts from the portraits of Greek commanders justifying the fairness of Sobakevich’s arguments. In the end, the two sides come to an agreement.

Scene 10. Selifan the Coachman.

Endless road once again, and Chichikov’s britсhka continues its journey. Selifan is singing a mournful song. “Is it far to Plushkin’s?” he asks the peasants he passes, but he receives no reply.

Scene 11. Plushkin.

Plushkin complains about life and tells Chichikov that the damned fever took quite a number of peasants from him. Chichikov appears as a benefactor, proposing to buy all one hundred and twenty souls.

Scene 12. The Soldier’s Mother’s Lament.

A peasant woman laments her fate, having lost her son who was taken from her as a soldier.

Scene 13. The Governor’s Ball.

The guests are animatedly discussing Chichikov’s merits and wealth. The Governor’s daughter shines among the dancers. Chichikov appears. Everyone welcomes him, congratulating him on his purchase of the peasants, not suspecting that it is a scam through which he hopes to obtain a mortgage on non-existent peasant property. The Governor’s wife presents the “millionaire” to her daughter. Suddenly Nozdrev bursts in and reveals the trickery of Chichikov’s deals: “I won’t leave you until I know why you have bought dead souls.” All are taken aback. Presently Korobochka appears, having come to town to find out current prices for the dead souls. This serves to increase the general confusion...

Act III

Scene 14. Introduction.


Again we hear the song ‘Tis not the White Snow.


Scene 15. Chichikov.


The opera’s protagonist is in a hotel room. His entire cunning plot has collapsed in ruins.


Scene 16. Two Ladies.


Anna Grigorievna, a pleasant woman in any respect, and Sofia Ivanovna, merely a pleasant woman, have met to discuss the latest gossip. Anna Grigorievna claims that Chichikov, assisted by Nozdrev, plans to elope with the Governor’s daughter.


Scene 17. Rumours in the Town.


The action unfolds in turns at the Chief of Police’s in drawing rooms and on the streets. All the characters in the opera are discussing Chichikov’ case. New and yet newer proposals are put forward. The Postmaster confirms that Chichikov is none other than Captain Kopeikin... “And isn’t Chichikov Napoleon dressed up?” asks the Public Prosecutor. Nozdrev relates that Chichikov is a spy, a fiscal inspector and a counterfeiter. After that Nozdrev willingly confirms that he has agreed to help Chichikov to elope with the Governor’s daughter. The anxiety grows. Unexpectedly it is announced that, due to the shock, the Public Prosecutor has died. The crowd is downhearted.


Scene 18. The Public Prosecutor’s Funeral.


A funeral procession led by the priest moves towards the graveyard. Chichikov is in his hotel room, continuing his interrupted monologue.


Scene 19. Finale.


Nozdrev tells Chichikov that he is thought to be a robber and a spy, intent on spiriting away the Governor’s daughter. Chichikov is frightened – it is time to flee. He calls for Selifan and orders the britchka to be ready. And once again the endless road unwinds, with Chichikov’s britchka trundling along incognito. Selifan is singing a song. A peasant with a goat and another peasant, with a beard are standing by the roadside. They chime in: “See, what a wheel! What do you think, will that wheel make it, should the chance be, to Moscow or not?” “It’ll make it.” “As for Kazan, I don’t think it’ll make it that far…” “It won’t make it to Kazan.” And the song sounds on and on...