I have seen the ballet Yaroslavna  by the Leningrad composer Boris Tishchenko three times. And each time I was gripped by the power and expressiveness of this music, so Russian in spirit. The ballet, directed by the choreographer Oleg Vinogradov, who also wrote the libretto, is interesting and rather polemical, and I admit that some parts may seem questionable in conception to the audience. Personally, I agree with the author's treatment. / The ballet is severe and tragic. It deviates from the usual conception of Prince Igor's campaign, and from the majesty of Borodin's epic opera. The ballet has its own tones and colours. And this is justifiable, for it treats a truly tragic episode in Russian history: soon after Igor's defeat, Russiam came under Tatar rule that was to last three centuries. / The music is full of constrasts and dynamisms, sharp and dramatic in the battle scenes, tender and lyrical when the heroes open their hearts. The composer makes interesting use of the choir in the ballet; at key moments in the action they sing extracts from the medieval Lay of Igor's Host. The scene of the eclipse is marvellously conceived: the audience feels the horror of the people of that time, brave, intelligent people, face to face with an incomprehensible and menacing natural phenomenon. The musical portrait of Yaroslavna is very expressive, and her image grows in the ballet into a symbol of Russia.