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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.
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.
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.’
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