Dmitri Usatov Vidéos
artiste lyrique, répétiteur vocal
- ténor
- Empire russe
Dernière mise à jour
2024-04-27
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Feodor Ivanovich Chaliapin Clarke Bourdon Dmitri Usatov Gounod Sergei Rachmaninoff Mussorgsky Boito Arturo Toscanini Sir Thomas Beecham Pabst Private Opera Bolshoi Theatre Scala Metropolitan Opera 1847 1872 1873 1894 1896 1899 1901 1907 1913 1914 1918 1921 1926 1927 1929 1931 1932 1933 1937 1938 1943 1984
Feodor Chaliapin sings - in English - 'The Blind Ploughman,' with orchestra conducted by Rosario Bourdon, recorded by Victor in the Church Building at Camden, New Jersey, on 18 March 1927. From Wikipedia: Feodor Ivanovich Chaliapin... February 13 [O.S. February 1] 1873 – April 12, 1938) was a Russian opera singer. Possessing a deep and expressive bass voice, he enjoyed an important international career at major opera houses and is often credited with establishing the tradition of naturalistic acting in his chosen art form... Feodor Chaliapin was born into a peasant family...His vocal teacher was Dmitri Usatov +••.••(...)). Chaliapin began his career at Tbilisi and at the Imperial Opera in Saint Petersburg in 1894. He was then invited to sing at the Mamontov Private Opera (1896–1899); he first appeared there as Mephistopheles in Gounod's Faust, in which role he achieved considerable success. At Mamontov Chaliapin met Sergei Rachmaninoff +••.••(...)), who was serving as an assistant conductor there and with whom he remained friends for life. Rachmaninoff taught him much about musicianship, including how to analyze a music score, and insisted that Chaliapin learn not only his own roles but also all the other roles in the operas in which he was scheduled to appear. With Rachmaninoff he learned the title role of Mussorgsky's Boris Godunov, which became his signature character. Chaliapin returned the favour by showing Rachmaninoff how he built each of his interpretations around a culminating moment or 'point.' Regardless of where that point was or at which dynamic within that piece, the performer had to know how to approach it with absolute calculation and precision; otherwise, the whole construction of the piece could crumble and the piece could become disjointed. Rachmaninoff put this approach to considerable use when he became a full-time concert-pianist after World War I. On the strength of his Mamontov appearances, the Bolshoi Theatre in Moscow engaged Chaliapin, and he appeared there regularly from 1899 until 1914. During the First World War of 1914-1918 Chaliapin also appeared regularly at the Zimin Private Opera in Moscow. In addition, from 1901, Chaliapin began touring in the West, making a sensational debut at La Scala that year as the devil in a production of Boito's Mefistofele, under the baton of one of the 20th century's most dynamic opera conductors, Arturo Toscanini. At the end of his career, Toscanini observed that the Russian bass was the greatest operatic talent with whom he had ever worked. The singer's Metropolitan Opera debut in the 1907 season was disappointing due to the unprecedented frankness of his stage acting; but he returned to the Met in 1921 and sang there with immense success for eight seasons, New York's audiences having grown more broad-minded since 1907. In 1913 Chaliapin was introduced to London and Paris by the brilliant entrepreneur Sergei Diaghilev +••.••(...)), at which point he began giving well-received solo recitals in which he sang traditional Russian folk-songs as well as more serious fare... Chaliapin toured Australia in 1926, giving a series of recitals which were highly acclaimed...[He remained] perpetually outside Russia after 1921. He still maintained, however, that he was not anti-Soviet. Chaliapin initially moved to Finland and later lived in France. Cosmopolitan Paris, with its significant Russian émigré population, became his base, and ultimately, the city of his death. He was renowned for his larger-than-life carousing during this period, but he never sacrificed his dedication to his art. Chaliapin's attachment to Paris did not prevent him from pursuing an international operatic and concert career in England, the United States, and further afield. In May 1931 he appeared in the Russian Season directed by Sir Thomas Beecham at London's Lyceum Theatre. His most famous part was the title role of Boris Godunov (excerpts of which he recorded 1929–31 and earlier)... Largely owing to his advocacy, Russian operas...became well known in the West. Chaliapin made one sound film for the director G. W. Pabst, the 1933 Don Quixote. The film was made in three different versions – French, English, and German, as was sometimes the prevailing custom. Chaliapin starred in all three versions, each of which used the same script, sets, and costumes, but different supporting casts... In 1932, Chaliapin published a memoir, Man and Mask: Forty Years in the Life of a Singer... Chaliapin's last stage performance took place at the Monte Carlo Opera in 1937, as Boris. He died the following year of leukaemia, aged 65, in Paris, where he was interred. In 1984, his remains were transferred from Paris to Moscow in an elaborate ceremony. They were re-buried in the Novodevichy Cemetery... I transferred this side from an Australian laminated pressing of HMV DA 993.
Tchaikovsky Meek Modest Tchaikovsky Usatov 1847 1883 1884 1885 1913 1940
Tchaikovsky: Six Romances, Op. 57 (1884) V. Death (Смерть) Moderato (F major) Tchaikovsky's Six Romances (Шесть романсов), Op. 57 (TH 105 ; ČW 275-280), were mostly written between September and November 1884, except for No. 1 which is from an earlier date. Instrumentation: Scored for high voice (Nos. 1, 5), medium voice (Nos. 3, 4), baritone (No. 2) or low voice (No. 6), with piano accompaniment. Tchaikovsky made minor changes to the texts of the poems used in On the Golden Cornfields (No. 2), Do Not Ask! (No. 3), Sleep! (No. 4), and more significant changes in Only You Alone (No. 6). Movements: V. Death (Смерть) Moderato (F major) If the roses fall silently If the stars fade in the sky The waves crash on the rocks, The ray of dawn on the clouds goes out, It's death, death. This is death, but without a painful struggle; This is death, captivating beauty, Promises a delightful rest, The best gift of all-good nature. She, the teacher of the divine, Learn, people, to die, So that with a meek and solemn smile, So that with a meek and solemn smile, Meekly meet your end. Dmitry Merezhkovsky, from an untitled poem (by 1883). Composition: The earliest of the romances to be written was Tell Me, What in the Shade of the Branches? (No. 1). In a letter to Pyotr Jurgenson of 1/13 December 1884 (see below). the composer expressed his surprise at this discovery of this romance, which it seems he had forgotten about. The exact time and place of its composition are uncertain. On the Golden Cornfields (No. 2) and Do Not Ask (No. 3) were composed at Pleshcheyevo in late September 1884. Before the rough draft of No. 2 in the composer's notebook is the date "Pleshcheyevo, 26 Sept 1884". Do Not Ask (No. 3) was composed next, and its text was probably chosen by Tchaikovsky after he read Goethe's novel The Apprenticeship of Wilhelm Meister("God, how marvellous this is..."), which he found in Nadezhda von Meck's library at Pleshcheyevo [4]. The remaining three romances were written in Paris between 19 November/1 December (the date of his arrival) and 1/13 December 1884, when Tchaikovsky wrote to Pyotr Jurgenson: "I was very surprised to learn that Komissarzhevsky has my romance. Incidentally, I already have another five. Congratulations to you on my new opus". Writing to Modest Tchaikovsky from Paris on 3/15 December 1884, the composer reported: "I cannot say that I am bored from idleness. I managed here to devise the main revisions to Vakula, and to write three new romances, and one church number". Publication: The romances were published by Jurgenson in April 1885, and in 1940 they were included in volume 45 of Tchaikovsky's Complete Collected Works, edited by Ivan Shishov and Nikolay Shemanin. Autographs: Tchaikovsky's manuscript scores of Nos. 2 to 6 are now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 143). The autograph of No. 1 is lost. Dedication: Each romance is dedicated to a different person: V. Dmitry Usatov (1847–1913), tenor who premiered the role of Andrey in Mazepa.
Feodor Chaliapin Anton Rubinstein Rubinstein Moniuszko Dmitri Usatov Gounod Meyerbeer Glinka Mussorgsky Rachmaninov Boito Caruso Toscanini Pabst Steane Mariinsky Theatre Private Opera Scala Covent Garden Metropolitan Opera 1875 1890 1892 1895 1896 1898 1899 1901 1904 1907 1908 1911 1912 1921 1928 1929 1930 1933
LIKE and SUBSCRIBE for more score videos ! (http•••) SUBSCRIBE to my PATREON ! → (http•••) Fyodor (Feodor) Chaliapin sings Anton Rubinstein 1875 opera Demon Act II : Na vozdushnom okeane (On the Ocean of the Air) (Demon, Tamara) with Maria Vladimirovna Kovalenko, soprano St-Petersbourg, 1911 FEODOR CHALIAPIN Chaliapin was born into a poor family: his father was a clerk, and when Feodor was five, the family moved to a small village. His musical education was founded upon singing in a local church choir; his formal education lasted for only four years. As his father sank into alcoholism, he left home when he was seventeen and joined a theatre company that toured in Southern Russia. His stage début took place at the city of Ufa in 1890 when he sang Stolnik in Moniuszko’s Halka. In 1892 he met a retired tenor, Dmitri Usatov who, greatly impressed by his natural talent, gave him singing lessons without charge. The following year saw Chaliapin’s début with the Tiflis (now Tbilisi) Opera. His rôle was Méphistophélès in Gounod’s Faust, and he went on to sing thirteen more with the company over a five-month period. Chaliapin’s first appearance as a singer in St Petersburg was with the Panayev Society, and in 1895 he caused a sensation at the Mariinsky Theatre with his portrayal of Bertram in Meyerbeer’s Robert le Diable. Between 1896 and 1898 he sang with the Mamontov Private Opera company in Moscow, making his début as Ivan Susanin in Glinka’s opera A Life for the Tzar, and singing the title rôle in Mussorgsky’s Boris Godunov for the first time. Here he met Rachmaninov, then an assistant conductor with the company, who became a close friend. He joined the court opera in Moscow in 1899. At La Scala, Milan, Chaliapin’s début came in 1901. He sang the title rôle in Boito’s Mefistofele opposite Caruso, with Toscanini conducting. (At the end of his life, Toscanini commented that the Russian bass was the greatest operatic talent with whom he had ever worked.) Chaliapin returned to La Scala in 1904, 1908, 1912, 1929–1930 and 1933. He appeared at the Metropolitan Opera, New York, for the first time in 1907 as Boito’s Mefistofele, and during the Met’s 1907–1908 season also sang Don Basilio/Il barbiere di Siviglia, Leporello/Don Giovanni, and Méphistophélès. Chaliapin’s highly realistic acting did not appeal to American critics, who were unable to cope, for instance, with his half-naked appearance as Mefistofele nor his greasy, lecherous Don Basilio. The public however warmed to his mesmerising performances. With the outbreak of World War I he returned to Russia, appearing regularly with the Zimin Private Opera in Moscow. However in 1921 he left Russia, initially for Finland, and never returned. Enormous success was now Chaliapin’s as Boris Godunov at the Metropolitan Opera at the end of that year; and between 1921 and 1928 he gave seventy-eight performances there in rôles such as both Boito’s and Gounod’s Mephistopheles, Don Quichotte and King Philip/Don Carlo. Chaliapin made one sound film, for the director GW Pabst: The Adventures of Don Quixote (1933). This exists in three different versions (French, English and German), with Chaliapin starring in all three versions. It was Rachmaninov who advised Chaliapin to learn by heart all the rôles in any opera in which he was appearing; in turn he showed Rachmaninov how he built each of his interpretations around a culminating point. Regardless of where that point was or at which dynamic within the work, the performer had to know how to approach it with absolute calculation and precision; otherwise the whole structure of the piece could crumble. Rachmaninov claimed that Chaliapin sang as Tolstoy wrote, which may be seen for instance in his interpretation of Boito’s Mefistofele: it is both demonic and terrifying, even on record. His whole approach to opera as drama was revolutionary. Where he stood out was in his application of psychology to operatic acting, and it was against this that the American critics initially revolted. Chaliapin possessed a superb vocal technique. The voice was even throughout its range, allowing him to tackle certain baritone rôles as well as the more expected bass parts. It was sharply focused, free of vibrato and could be fined down to the merest thread of sound when required. This high-lying voice with its unusual timbre recorded well, and Chaliapin made a large number of records for the HMV label from the dawn of the acoustic recording era until well into that of electrical recording. Particularly notable are the live recordings made by HMV of his Boris Godunov and Faust at the Royal Opera House, Covent Garden, in 1928, of which the critic John Steane has written: ‘Admirable beyond words…His performance was simply the acme of operatic art. Drama and music, song and sense were a unity; nothing finer could be imagined.’
Feodor Chaliapin Sergey Rachmaninoff Usatov Borodin Rimsky Korsakoff Dargomyzhsky Glinka Boito Rebel Mansion Mariinsky Theatre Private Opera Scala 1873 1882 1890 1892 1895 1896 1915 1918 1922
LIKE and SUBSCRIBE for more videos ! (http•••) SUBSCRIBE to my PATREON ! → (http•••) Feodor Chaliapin - Silent Film Footage +••.••(...)) Source : (http•••) Description : The audience at a concert in the garden "the Hermitage" (top). F. I. Shalyapin (in the back) protrudes from the stage to the accompaniment of piano and cello. The audience is applauding. Chaliapin with a bouquet of flowers in his hands utters words of gratitude to the audience. Chaliapin, surrounded by fans goes to the station. Seeing Chaliapin in a train car, Chaliapin speaks to mourners through the open window of the car. Panorama of the Hermitage garden before the recital Chaliapin. People waiting for the concert to begin Chaliapin (above). Chaliapin playing with the dog, takes the dog under his arm, goes. The dog brings in the house a cane. Chaliapin plays the stage while filming x/film "Ivan the terrible". Chaliapin after the end of the scene removes makeup and wig, talking with the actors. Here is a biography of Chaliapin : "Chaliapin will never die; for with his fabulous talent, this marvelous artist can never be forgotten... To future generations Chaliapin will become a legend." - Sergey Rachmaninoff Féodor was born into a peasant family in Vyatka province in 1873. His parents did their best to educate their children well. In 1882 the family moved to Kazan and the boy entered one of the best elementary schools of the city. His favourite teacher was Nikolay Vasilievich Bashmakoff who was devoted heart and soul to music and tried to imbue his children with love for music and singing. Throughout all his life Shalyapin maintained friendship with his teacher. As a schoolboy Chalapin already worked as a clerk. This job was becoming more and more burdensome for young Fyodor dreaming of theatre. In 1890 he joined a chorus in Ufa city. A lucky chance made him a soloist: once he had to replace a sick actor in the opera Galka by Monyushko. This debut put forward the 17 year-old Feodor and soon he was given some small opera parts to perform, for example Fernando in "Troubadour". Tours with his troupe brought Shalyapin to the town of Tiflis where he finally managed to pay serious attention to training his voice, thanks to singer Usatov who was able to discern and polish the gift of his pupil. He spent a year in Tiflis performing bass parts at an opera theatre. In spring 1892 after long wanderings with various troupes around Russia and Caucasus Chaliapin returned to Kazan. With the help of one of his old friends he arrange his first solo concert. The success was overwhelming. It opened the gate for Shalyapin’s artistic career. After giving numerous concerts in Kazan, Ufa and other cities he moved to St-Petersburg. In St.- Petersburg he made his debut in the Mariinsky Theatre in 1895. He successfully performed the parts of Mephistophelis in Faust and Ruslan in Ruslan and Lyudmila. However it was not before the meeting with Savva Mamontoff that Chaliapin’s gift was estimate at its true worth. Mamontoff, the big patron of art, was impressed by the outstanding talent of Chaliapin and invited him to his private opera in Moscow. Since that time (1896) starts the brilliant opera career of Chaliapin. His talent fully revealed itself in Prince Igor by Borodin, Pskovityanka by Rimsky-Korsakoff, Mermaid by Dargomyzhsky, Life for the Tzar by Glinka and in many other operas. He gained acclaim of the European audience in Milan where he performed the major part in Mephistopheles by Boito on stage of La Scala. Chaliapin was both a great singer and a drama actor. His voice of unique flexibility, timbre, richness and beauty enabled him to express freely any shades of emotions. In his opera parts Shalyapin managed to convey the whole range of feelings – from heartfelt tenderness to tragic pathos and smashing sarcasm. Chaliapin surpassed all his opera forerunners with his great gift and the true-to-life playing. He gave a number of images, characters and scenes incomparable to any others. He seems unrivaled in his diversity and penetration to quite new aspects of the character and the soul, neither noticed nor performed ever before him’ – wrote Shalyapin’s contemporary critic V.Stasov. Chaliapin became famous not only for his unique voice but also for his non-conformist conduct. Before the revolution he would sing the rebel folk song Dubinushka/Hey,uhnem! in Moscow restaurants and when the communists seized the power he would not hide his discontent with the Soviet Establishment. It was only his talent that saved him. His mansion on Novinsky Boulevard was always full of guests. During World War I Shalyapin opened there a hospital and sang for soldiers. ((http•••)
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