мой сын» (Finn, Ruslan) Aria: Rondo "The hour of my triumph is near", Рондо «Близок уж час торжества моего» (Farlaf) Aria: "O field, field, who has strewn you with dead men's bones", «О поле, поле, кто тебя усеял мертвыми костями» (Ruslan) Act 3 Aria: "Night shadow's followed the ardent heat", «И жар и зной сменила ночи тень» (Ratmir) Dances Act 4 Aria: Aria (Lyudmila) March: Chernomor's March, «Марш Черномора» (orchestra) Oriental Dances, «Восточные танцы» (orchestra) Turkish Dance, «турецкий танец» Arabian Dance, «арабский танец» Lezginka, «лезгинка» Structure Overture Act 1 No. 1: Introduction No. 2: Cavatina (Lyudmila) No. 3: Finale Act 2 No. 4: Entr'acte No. 5: Ballad (Finn) No. 6: Duettino (Ruslan, Finn) No. 7: Scene and Rondo (Farlaf) No. 8: Aria (Ruslan) No. 9: Scene with the Head No. 10: Finale – Tale of the Head Act 3 No. 11: Entr'acte No. 12: Persian Chorus No. 13: Cavatina (Gorislava) No. 14: Aria (Ratmir) No. 15: Dances Allegro moderato Adagio Grazioso Coda No. 16: Finale Act 4 No. 17: Entr'acte No. 18: Scene and Aria (Lyudmila) No. 19: March of Chernomor No. 20: Oriental Dances No. 21: Chorus No. 22: Finale Act 5 No. 23: Entr'acte No. 24: Romance (Ratmir) No. 25: Recitative and Chorus No. 26: Duet (Finn, Ratmir) No. 27: Finale Analysis As with A Life for the Tsar, Ruslan employs some aspects of Russian folk music; it is also noted for imaginative use of dissonance, chromaticism, and Eastern elements. Of particular consequence is the use of the whole tone scale for the first time in Russian music. It is particularly associated thematically with Chernomor and, as a result, became so popular among Russian composers for suggesting evil or ominous personages or situations, that even today Russian musicians refer to the whole tone scale as gamma Chernomora, or "Chernomor's scale". The rollicking overture is one of the best known orchestral showpieces in the West and known for being a nightmare for bassists. An orchestral feature of act 1 is the use of piano and harp to suggest the timbre of the gusli. Glinka's debt to Western operatic models is abundantly apparent in Farlaf's Rondo, a Russian emulation of Figaro's "Largo al factotum" from Rossini's The Barber of Seville. Glinka's variation treatment of folk melody crystallized in Ruslan into what has been called his influential "changing background technique", used, for example, in Finn's ballad and the Head's narrative, but