Mazeppa, properly Mazepa (Russian: Мазепа listenⓘ), is an opera in three acts (six scenes) by Pyotr Ilyich Tchaikovsky.

The libretto was written by Victor Burenin and is based on Pushkin's poem Poltava, part of the cultural legacy of Mazeppa.

Mazeppa is a blood-thirsty tale of crazy love, abduction, political persecution, execution, and vengeful murder.

Pushkin based his story on historical events at Poltava, the battle where Tsar Peter the Great defeated Swedish King Charles XII.

Librettist Burenin followed Pushkin's poem, incorporating large excerpts from Poltava into his libretto, but Tchaikovsky was not very pleased with Burenin's work: he felt "no special enthusiasm for the characters", and went on to make some critical changes of his own, adding more of Pushkin's lines back in.

Mazeppa shares many characteristics with Tchaikovsky's Eugene Onegin: they both center on a young woman whose powerful love draws her into a catastrophic downward spiral.

The premiere performance took place on 15 February [OS February 3] 1884 at the Bolshoi Theatre in Moscow conducted by Ippolit Al'tani with stage Direction by Anton Bartsal, set design by Matvey Shishkov and Mikhail Bocharov, and Lev Ivanov as Balletmeister.

At both performances, the work was brilliantly staged but marred by the uneven vocal and acting abilities of the cast.

Source: Tchaikovsky Research[1] Time: Beginning of the 18th century Place: Ukraine Overture: Mazeppa's ride Scene 1: Kochubey's estate on the banks of the Dniepr A group of peasant girls sail on the river, singing of making garlands of flowers to cast on the river and so divine their husband as a fortune-telling game.

Mariya's father and mother, Vasily and Lyubov Kochubey arrive with the guests, and dance and song are provided for Mazeppa's entertainment, including the famous Hopak.

Kochubey points out, however, that Mazeppa is Mariya's godfather, which is considered closer than a blood tie in the Russian Orthodox Church.

Mazeppa demands submission, everyone else curses his immoral desires and rise up against him, but just as battle is about to break out, Mariya throws herself between the two groups.

As he leaves, Mazeppa calls for Mariya to decide whether she wishes to stay at home and never see him again, or to come with him.

Scene 2: A room in Kochubey's manor Lyubov mourns Mariya's loss, the women of the house trying to comfort her, to no avail.

Scene 3: By the town ramparts The poor of the city have gathered for the execution, but their grim fears for Kochubey and hatred of Mazeppa are interrupted by a drunken Cossack singing a cheery little folk song.

Mazeppa and Orlik arrive, Kochubey and Iskra are dragged on as prisoners and pray to God to forgive them.

Lyubov rejects Mariya, who collapses in tears as the grim final chords of the chorus echo over the stage.

Orchestral Interlude: The Battle of Poltava: Peter the Great's defeat of Mazeppa and Charles XII of Sweden Scene 1: The ruins of Kochubey's estate, near the battlefield Andrei has fought in the Battle of Poltava, but was unable to find Mazeppa.

He begs Mariya to look at him so he can see her face one last time – but she is in her own world, and just sings a lullaby to him, not realising what's happening or who he is.

Mariya continues rocking his corpse, singing the lullaby and staring into the distance as the opera ends.