linguistic:paraphrasing, information:highlighting
Operas

While Rimsky-Korsakov is best known in the West for his orchestral works, his operas are more complex, offering a wider variety of orchestral effects than in his instrumental works and fine vocal writing. Excerpts and suites from them have proved as popular in the West as the purely orchestral works. The best-known of these excerpts is probably " Flight of the Bumblebee " from The Tale of Tsar Saltan, which has often been heard by itself in orchestral programs, and in countless arrangements and transcriptions, most famously in a piano version made by Russian composer Sergei Rachmaninoff. Other selections familiar to listeners in the West are "Dance of the Tumblers" from The Snow Maiden, "Procession of the Nobles" from Mlada, and "Song of the Indian Guest" (or, less accurately, "Song of India") from Sadko, as well as suites from The Golden Cockerel and The Legend of the Invisible City of Kitezh and the Maiden Fevroniya.

The Operas fall into three categories:

Of this range, Rimsky-Korsakov wrote in 1902, "In every new work of mine I am trying to do something that is new for me. On the one hand, I am pushed on by the thought that in this way, will retain freshness and interest, but at the same time I am prompted by my pride to think that many facets, devices, moods and styles, if not all, should be within my reach." Among his operatic works, Rimsky-Korsakov’s “Snegurochka”, also known as “The Snow-Maiden”, sums up his compositional character. The Snow-maiden is a character who is the personification of love and passion, and yet she melts in the first rays of the sun. Rimsky-Korsakov’s works mirror the snow-maiden, as they are exquisite, but can quickly turn cold and pellucid and “dissolve at the touch of the living language of passion”.

American music critic and journalist Harold C. Schonberg wrote that the operas "open up a delightful new world, the world of the Russian East, the world of supernaturalism and the exotic, the world of Slavic pantheism and vanished races. Genuine poetry suffuses them, and they are scored with brilliance and resource." According to some critics Rimsky-Korsakov's music in these works lacks dramatic power, a seemingly fatal flaw in an operatic composer. This may have been conscious, as he repeatedly stated in his writing that he felt operas were first and foremost musical works rather than mainly dramatic ones. Ironically, the operas succeed dramatically in most cases by being deliberately non-theatrical.