Nikolai Rezanov - Assessment

Assessment

The treaty with California, the bare suggestion of which made such a commotion in New Spain, was the least of Rezanov's projects. It was sincerely conceived, for he was deeply and humanely concerned for his employees and the wretched natives who were little more than the slaves of the company; but its very obviousness raised the necessary amount of dust.

His correspondence with the company betrays a clearly defined purpose to annex to Russia the entire western coast of North America, and to encourage immediate emigration from the parent country on a large scale. Had he lived, there is, all things considered, hardly a doubt that he would have accomplished his object. The treaty was never signed, the reforms of Rezanov died of discouragement, the fortunes of the colonies gradually collapsed, and the Spanish girl who had loved Rezanov became a nun. Later this story became the subject of Concepcion de Arguello (sic!), a ballad by the San Francisco author, Francis Bret Harte, and a 1937 novel, Rezánov and Doña Concha, by the largely forgotten San Francisco author Gertrude Atherton, who had also written a biography of Rezanov on the centennial of his romance with Concepcion.

In 1979, the composer Alexei Rybnikov and the poet Andrey Voznesensky wrote one of the first Russian rock operas, choosing the love affair of Rezanov and Concepcion as their subject and naming the opera after two of Rezanov's ships, Juno and Avos. The original production has enjoyed immense success in the Lenkom Theatre in the course of 25 years, and is still being performed to standing ovations as of 2007. The original actor playing Rezanov from 1979–2005, Nikolai Karachentsov, was seriously injured in a car crash in 2005, and has been replaced in the production by Dmitry Pevtsov and Viktor Rakov.