Sadko, Rimsky-Korsakov's operatic masterpiece, opened at the Solodonikov Theater in Moskow on December 26, 1897. It is an opera in seven tableaux or scenes. Based on Russian bilini legends written about the life of a bard and hero who lived in twelfth century Novgorod, it combines the fantastical and imaginary world of Sea Kings, nymphs, and golden fish, with the daily life of Sadko and his fellow merchants of the sea. Rimsky-Korsakov uses many Russian folk tunes throughout the opera, and in several places he uses actual bilini formulae from the ancient songs to construct the melodies of his recitatives and arias. He wrote his own libretto with the help of several other Russian writers, including Stasov, Yastrebtsev, Shtrup, Findeyzen, and Vladimir Nikolayevich Bel'sky.

The composer began writing music based on the story of Sadko in 1867, with the composition of his tone poem Episode from the legend of Sadko. It quickly became a national favorite in Russia, and much of the music of the symphonic poem was used in the score to the opera. A central theme throughout the opera is the sea. Much of the music depicts the various moods of the sea, and gives the listener pictorial images of the open water. Recurring motifs, themes, and atmospheric orchestral writing bind the opera together and conjure up romantic images.

For the first half of the opera, Rimsky-Korsakov alternates scenes placed in the real world of Novgorod with scenes at Lake Ilmen, where the Sea King and his daughters dwell. The opening music of the opera comes directly from the symphonic poem, and depicts the movements of the waves through surging and pulsating movement and disturbing and mysterious harmonies. The vastness of the sea, its remoteness, and its offer of adventure are all realized in the highly atmospheric writing of the opening. We are then introduced to a crowd of Russian merchants in one of the many exciting crowd scenes that occur throughout the opera. Sadko enters and sings his opening number, accompanying himself on his gusli, which is a Russian relative of the dulcimer or psaltery. His music portrays him as both an Orpheic bard and an ambitious hero. It is an impassioned arioso solo that is met with hostility on the part of his mates. They ridicule him after he is gone in folk song based concerted writing. They sing and dance, and merry-making closes the tableaux.

As Sadko reaches Lake Ilmen, orchestral writing again depicts the mood of the open water. It is still, calm and vast, and only as Sadko's song progresses does the sea begin to come to life. In the bottom of the orchestra, the currents and swellings of the waters are felt underneath the young bard's impassioned solo. His musicianship is rewarded with the love of the Sea King's daughter, who sings to him an extended aria filled with romantic love and desire. Both lyrical and passionate, her music is some of the most beautiful of the opera. It is contrasted by the lament in the following scene of Sadko's young wife, who fears that her husband no longer loves her. The vocal writing for this part is set lower, with the richer tones coloring the sadder mood of the music. Her music is also very beautiful, but now extremely human and broken hearted. The rest of the opera takes place over time, and the two contrasting worlds provide opportunity for adventure, spectacle, and miraculous happenings.

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