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Vladimir Kastorsky Tchaikovsky Melnikov Gabel Glinka Mussorgsky Dargomyzhsky Delibes Rimsky Korsakov Schubert Borodin Beethoven Schumann Mariinsky Theatre Bolshoi Theatre Scala Private Opera 1870 1892 1893 1894 1898 1907 1908 1909 1918 1923 1930 1948
Владимир Касторский. Aриозо Кочубея "Мазепа" ,П.И. Чайковский. Vladimir Kastorsky. Kotchubey's Ariozo from the opers "Mazepa" by P.I.Tchaikovsky. Vladimir Kastorsky (1870, Yaroslavl region -1948, Leningrad)- the Russian operatic and chamber singer (bass). As a child he sang in a church choir. Then he studied with his cousin A. Kastorsky and took some lessons from an Italian singer A. Cotonou. In 1892 he moved to St. Petersburg where he learned his vocal art at the "Free choir class," the charity project of Melnikov. In 1893 he entered the St. Petersburg Conservatory, the course of C. Gabel, who a year later expelled the student for "voiceless and incompetence". Later C. Gabel admitted his error. In 1894 he made his debut in opera in Pskov. Vladimir surved for the operatic stage about 45 years, his repertoire included 35 roles. In 1898—1918 and 1923—1930 he was a soloist of Mariinsky Theatre, and in 1918—1923 of Bolshoi Theatre, performing Ruslan and Susanin ("Ruslan and Ludmila" and " Life for the Tsar" by M.Glinka), Pimen ("Boris Godunov" by Mussorgsky), Gremin and Kotchubey ("Eugene Onegin" and "Mazepa" by Tchaikovsky),Miller ("Rusalka" by Dargomyzhsky), Count Almaviva and Leporello ("The Marriage of Figaro" and "Don Giovanni" by Mozart), Vladimir Galitsky ("Prince Igor" by Borodin),Nilakanta ("Lakme" by Delibes). Vladimir Kastorsky was extremely successful in R.Wagner's operas: Wotan ("The Ring of the Nibelung") and Wolfram ("Tannhauser"), among others. In 1907 he organized a vocal quartet to promote Russian folk songs and toured with it in Russia and Europe. In 1907-1908 he participated in Sergei Diaghilev's Russian Seasons. The singer was the first performer of parties in Paris: Ruslan ("Ruslan and Ludmila" by Glinka, 1907), Pimen ("Boris Godunov" by Mussorgsky, 1908), Prince Yuri Tokmakov ("The Maid of Pskov" and Rimsky-Korsakov, 1909). He also was heard at La Scala (1908), as well as in in Prague, Berlin, Rome, Munich, London, Harbin, Japan, Moscow (Theater Aquarium, Zimin's private Opera), Kiev, Odessa,Tiflis, and many other cities. He taught at Mariinsky Theatre, Leningrad's Art Studio and at the Saint Petersburg Conservatory. Until the end of life he performed as a chamber singer, performing Glinka, Dargomyzhsky, Mozart, Schubert, Borodin, Mussorgsky, Rimsky-Korsakov, Tchaikovsky, Beethoven and Schumann.
Alexander Dargomyzhsky Mark Ermler Bolshoy Vladimir Atlantov Aleksandr Vedernikov Vedernikov Tamara Sinyavskaya Vlasov Tamara Milashkina Monk Vladimir Filippov Filippov Tchaikovsky César Cui Alexander Serov Modest Mussorgsky Salieri Rimsky Korsakov Sergei Rachmaninov Borodin 1898 1901 1904 1977
1977, Mark Ermler (conductor), Bolshoy Theatre Orchestra and Chorus, Vladimir Atlantov (Don Juan), Aleksandr Vedernikov (Leporello), Tamara Sinyavskaya (Laura), Vladimir Valaitis (Don Carlos), Vitaliy Vlasov, Vitaliy Nartov (Guests), Tamara Milashkina (Doña Anna), Lev Vernigora (Monk), Vladimir Filippov (Commander) Style As an opera, The Stone Guest is notable for having its text taken almost word-for-word from the literary stage work which inspired it, rather than being set to a libretto adapted from the source in order to accommodate opera audiences which would have expected to hear arias, duets, and choruses. Consequently, the resulting musical drama consists almost entirely of solos given in turn by each character, as in a spoken play. This procedure amounted to a radical statement about the demands of spoken and musical drama and was seen by some as a devaluation of the musical genre of opera, and distinct from the literary genre of spoken drama. Tchaikovsky in particular was critical of the idea; in response to Dargomyzhky's statement that "I want sound directly to express the word. I want truth",[4] he wrote in his private correspondence that nothing could be so "hateful and false" as the attempt to present as musical drama something that was not.[citation needed] The value of the opera The opera was written at the time of the formation of realism in art, and The Stone Guest corresponded to this genre. Dargomyzhsky used the ideas of the society of The Five (composers). The great innovations of this opera are seen in its style. It was written without arias and ensembles (not counting two small romances sung by Laura[5]) and it is entirely built on the "melodic recitative" of the human voice put to music. This was immediately noted by Russian musical specialists César Cui[6] and Alexander Serov.[7] Opera has been greatly important in the formation of Russian musical culture which, built entirely on European music, found its place in the world's musical culture. The innovations begun by Dargomyzhsky were continued by other composers. Firstly, they were taken up and developed by Modest Mussorgsky who called Dargomyzhsky "the teacher of musical truth".[8] Later the principles of Dargomyzhsky’s art were embodied by Mussorgsky in his operas Boris Godunov and Khovanshchina; Mussorgsky continued and strengthened this new musical tradition. Other Russians operas have also incorporated the same stylistic elements. These include Mozart and Salieri by Rimsky-Korsakov in 1898; Feast in Time of Plague by Cesar Cui in 1901; and The Miserly Knight by Sergei Rachmaninov in 1904. The modern Russian music critic Viktor Korshikov thus summed up: There is not the development of Russian musical culture without the The Stone Guest. It is three operas - Ivan Soussanine, Ruslan and Ludmila and The Stone Guest have created Mussorgsky, Rimsky-Korsakov, and Borodin. Soussanine is an opera, where the main character is the people, Ruslan is the mythical, deeply Russian intrigue, and The Guest, in which the drama dominates over the softness of the beauty of sound.[9] Music Consequently, certain musical novelties of The Stone Guest stem from the above basic premise of composition. For instance, there is little recurrence of whole sections of music in the course of the work; like the verse itself, the resulting music is primarily through-composed. (Rimsky-Korsakov's orchestral introduction to the opera, however, draws on themes from the music that Dargomyzhsky composed.) As if to emphasize this feature, the composer wrote the entire opera without key signatures, even though it would be possible (and practical) to re-notate the work with key signatures to reflect the various tonalities through which it passes. In addition, the opera was novel for its time in its use of dissonance and whole-tone scales. Dargomyzhky's attempts at realism and faithfulness to the text resulted in what has been referred to as a "studied ugliness"[citation needed] in the music, apparently intended to reflect the actual ugliness in the story. Cui termed the stylistic practice of the work as "melodic recitative" for its balance between the lyric and the naturalistic.
Yevgeny Nesterenko Dargomyzhsky Tchaikovsky 1970
Yevgeny Nesterenko Dargomyzhsky "The worm" 1970 (Short after vinning Tchaikovsky Price) А.Даргомыжский на стихи Беранже. Червяк. На стихи Курочкина и Вейнберга: "Червяк" Евгений Нестеренко, 1970, выступление после получения 1-й премии на конrурсе П.И Чайковского
Dubrovsky Evgeny Svetlanov Dargomyzhsky Rubinstein 2017 2020
Provided to YouTube by National Digital Aggregator LLC Dubrovsky, Op. 58: Polonaise · Evgeny Svetlanov, USSR State Symphony Orchestra ARSM I, Vol. 4. Dargomyzhsky, Rubinstein, Nápravník ℗ 2020 JSC "Firma Melodiya" Released on: 2017-01-01 Auto-generated by YouTube.
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