Arias, romances, songs - Fedor Chaliapin - notes. Musicians of the 20th century: Fyodor Chaliapin Historical themes in creativity

Fyodor Ivanovich Chaliapin (born 1873 - d. 1938) - a great Russian opera singer (bass).

Fyodor Chaliapin was born on February 1 (13), 1873 in Kazan. The son of a peasant in the Vyatka province Ivan Yakovlevich Chaliapin (1837-1901), a representative of the ancient Vyatka family of the Chaliapins (Shelepins). As a child, Chaliapin was a singer. Received an elementary education.

The beginning of his artistic career, Chaliapin himself considered 1889, when he entered the drama troupe V. B. Serebryakova. First as a statistician.

On March 29, 1890, the first solo performance Chaliapin - the part of Zaretsky in the opera "Eugene Onegin", staged by the Kazan Society of Performing Art Lovers. Throughout May and early June 1890, Chaliapin was the chorister of V. B. Serebryakova's operetta entreprise.

In September 1890, Chaliapin arrived from Kazan in Ufa and began to work in the choir of the operetta troupe under the direction of S. Ya. Semyonov-Samarsky.

Quite by chance, I had to transform from a chorister into a soloist, replacing the sick artist in Moniuszko's opera "Pebbles". This debut brought forward the 17-year-old Chaliapin, who was occasionally entrusted with small opera parts, such as Fernando in Il trovatore. The following year, Chaliapin performed as the Unknown in Verstovsky's Askold's Grave. He was offered a place in the Ufa Zemstvo, but the Little Russian troupe of Dergach arrived in Ufa, to which Chaliapin joined. Wanderings with her led him to Tiflis, where for the first time he managed to seriously work out his voice, thanks to the singer D. A. Usatov. Usatov not only approved of Chaliapin's voice, but, in view of the latter's lack of financial means, began to give him singing lessons for free and generally adopted great participation. He also arranged Chaliapin in the Tiflis Opera Forcatti and Lyubimov. Chaliapin lived in Tiflis whole year, performing the first bass parts in the opera.

In 1893 he moved to Moscow, and in 1894 to St. Petersburg, where he sang in Arcadia with the Lentovsky Opera Company, and in the winter of 1894/5 in the opera company at the Panaevsky Theater, with Zazulin's troupe. The beautiful voice of the novice artist, and especially the expressive musical recitation in connection with the truthful play, drew the attention of critics and the public to him. In 1895, Chaliapin was accepted by the directorate of the St. Petersburg Imperial Theaters into the opera troupe: he entered the stage Mariinsky Theater and sang with success the parts of Mephistopheles ("Faust") and Ruslan ("Ruslan and Lyudmila"). The diverse talent of Chaliapin was expressed in comic opera"Secret Marriage" by D. Cimarosa, but still did not receive due appreciation. It is reported that in the season of 1895-1896. he "appeared quite rarely and, moreover, in roles that were not very suitable for him." The well-known philanthropist S. I. Mamontov, who at that time held an opera theater in Moscow, was the first to notice in Chaliapin an out of the ordinary talent, persuaded him to join his private troupe. Here in 1896-1899. Chaliapin developed into artistic sense and developed his stage talent, performing in a number of roles. Thanks to his subtle understanding of Russian music in general and the latest in particular, he created quite individually, but at the same time deeply truthfully whole line types in Russian operas. At the same time, he worked hard on roles in foreign operas; so, for example, the role of Mephistopheles in Gounod's Faust in his transmission received amazingly bright, strong and peculiar coverage. Over the years, Chaliapin has gained great fame.

Since 1899, he was again in the service of the Imperial Russian Opera in Moscow ( big theater), where it was a huge success. He was highly acclaimed in Milan, where he performed at the La Scala theater in the title role of Mephistopheles A. Boito (1901, 10 performances). Chaliapin's tour in St. Petersburg Mariinsky stage constituted a kind of event in the St. Petersburg musical world.

During the revolution of 1905, he joined progressive circles, donated fees from his performances to the revolutionaries. His performances with folk songs ("Dubinushka" and others) sometimes turned into political demonstrations.

Since 1914, he has been performing in private opera entreprises of S. I. Zimin (Moscow), A. R. Aksarin (Petrograd).

Since 1918 - artistic director of the Mariinsky Theatre. Received the title of People's Artist of the Republic.

The long absence of Chaliapin aroused suspicion and negative attitude in Soviet Russia; Thus, in 1926, Mayakovsky wrote in his “Letter to Gorky”: “Or do you live / as Chaliapin lives, / with stifled applause / olyapan? / Come back / now / such an artist / back / to Russian rubles - / I will be the first to shout: / - Roll back, / People's Artist of the Republic! In 1927, Chaliapin donated the proceeds from one of the concerts to the children of emigrants, which was interpreted and presented as support for the White Guards. In 1928, by a decree of the Council of People's Commissars of the RSFSR, he was deprived of the title of People's Artist and the right to return to the USSR; this was justified by the fact that he did not want to “return to Russia and serve the people whose title of artist was awarded to him” or, according to other sources, by the fact that he allegedly donated money to monarchist emigrants.

In the spring of 1937, he was diagnosed with leukemia, and on April 12, 1938, he died in the arms of his wife. He was buried in the Batignolles cemetery in Paris.

October 29, 1984 in Moscow on Novodevichy cemetery the ceremony of reburial of the ashes of F. I. Chaliapin took place.

On October 31, 1986, the opening took place tombstone the great Russian singer F. I. Chaliapin (sculptor A. Yeletsky, architect Yu. Voskresensky).

Russian opera singer (1873-1938)

He is considered the stage personification of the Russian peasant, or rather, his best sides. But in fact, he is the founder of a whole trend in the art of Russian "singing actors".
“All music,” said Chaliapin, “always expresses feelings in one way or another, and where there is a feeling, mechanical transmission leaves an impression of terrible monotony. Indeed, all the work of this singer is an example of inspired service to art, contempt for craftsmanship, tireless maintenance of exactingness towards oneself, Chaliapin is deservedly considered to this day the greatest representative Russian vocal school.

Fedor Ivanovich Chaliapin was born on February 1 (according to the new style - 13) February 1873 in Kazan in a family of peasants. Father served as a scribe in the Kazan Zemstvo Council. His small salary allowed Fedor to finish a two-year city school, and no more. But already in the childhood of the future singer attracted the attention of his beautiful voice, at that time - treble. He liked folk songs, and he often sang them with his mother, as he himself wrote, "adjusting his voices." But that was during my free time. And for days on end, Fedor studied carpentry, shoemaking and bookbinding.
From the age of nine he sang in church choirs, later changed many professions: he worked as a loader, scribe, hooker. He became interested in theater at the age of 12, participated in performances as an extra. He performed his first opera part in December 1890 in Ufa (Stolnik in Moniuszko's Pebbles). From 1891 he traveled with traveling theater troupes throughout Russia. Having found himself in Tbilisi in 1892, he took up vocals from D. Usatov.

Talent young singer so conspicuous that Chaliapin is prophesied a great opera glory. On September 28, 1893, the singer makes his professional debut. opera stage Tbilisi State Theatre. The management liked the singing of the young artist, and Chaliapin was left in the theater for the whole season. Even then, in Tbilisi, he performed such complex parts as Mephistopheles. From the summer of 1894 he sang leading roles in the theaters of St. Petersburg, which meant for him access to the leading positions of professionalism. Finally, on April 5, 1895, he made his debut as Mephistopheles at the Mariinsky Theatre.

In the summer of 1896, he performed in the opera troupe of S. Mamontov at the Nizhny Novgorod fair. There the singer personally met a well-known philanthropist and music lover S. Mamontov, who, impressed by the spirituality of the artist, invited him to the Moscow Private Russian Opera, where Chaliapin immediately took the position of the leading performer. He sang Ivan the Terrible, Dosifey, Boris Godunov and other parts. Famous musical critic V. Stasov wrote about the 25-year-old Chaliapin: "One great artist has become more." To receive such an assessment from an eminent critic meant a lot ...

Chaliapin worked at the Moscow Private Russian Opera until 1899, making acquaintances with many prominent people Russia, which had a beneficial effect on him: I. Levitan, V. Serov, M. Vrubel, V. Korovin and others. And what was the friendship with S. Rachmaninov worth! Both at that time were barely 25 years old, and the relationship between young people was very familiar: Chaliapin liked to make fun of Rachmaninov. However, Rachmaninov did not remain in debt. But not only familiar jokes were limited to the relationship of the singer and his colleagues; it can be quite seriously argued that Chaliapin, who did not receive a deep music education, learned a lot from brilliantly educated representatives creative intelligentsia who worked for S. Mamontov. For example, Chaliapin collaborated with Rakhmaninov as a conductor, under the direction of Sergei Vasilievich, he sang in Prince Igor, A Life for the Tsar, Mermaid, The Queen of Spades and other performances. Rachmaninoff became godfather Chaliapin's first daughter. In 1901 F. Chaliapin's friendship with A. Gorky began.
From 1899 Chaliapin sang at the same time at the Bolshoi and Mariinsky theatres. March 16, 1901, performing for the first time abroad, he triumphantly sang Mephistopheles in famous theater La Scala in a play directed by Arturo Toscanini. The part of Faust in this performance was performed by the brilliant E. Caruso - a performance on the world's leading opera stage, and even together with the luminaries of the opera, meant world recognition Chaliapin's talent!
The singer's world tour began with a performance on the stage of La Scala. He performed in Rome, Monte Carlo, Berlin, New York, participated in the Paris and London "Russian Seasons" by S. Diaghilev, promoting Russian music, primarily the works of M. Mussorgsky and N. Rims-kogo-Korsakov.

After the October Revolution of 1917, Chaliapin at first experienced an uplift of spirit and applied all his strength in the name of a better organization of business on the opera stages of Russia. He became the head of the artistic department of the Mariinsky Theater and an elected member of the directorates of the Bolshoi and Mariinsky Theatres, developed a scheme for the reorganization of the opera troupe, and attracted young conductors to work. He impressed with his capacity for work - he sang 80 or more performances per season and gave many free concerts, willingly performed at factories and in front of soldiers and sailors.
In 1918, he was the first to be awarded the title of People's Artist of the Soviet Republic. However, in 1922, with the consent of the authorities, Chaliapin went on tour abroad and did not return. The reason for not returning was Chaliapin's resentment against the Soviet government.
The fact is that the singer decided to publish his memoirs in America. But when the question of the fee was raised, the American publisher answered the singer something like this: “Why would I pay you a big fee if your memoirs have already been published in Soviet Russia and it’s cheaper for me to just reprint them from a Russian source than to buy from you?”

So stunned Chaliapin learned that his memoirs had already been published in Russia - and without his knowledge and consent. The Bolsheviks, apparently, believed that they had the right to publish the memoirs of the "people's artist" at their discretion - after all, the artist was a "people's artist". In fact, this meant a special, new, proletarian approach to copyright law, and Chaliapin did not like this “innovation” at all. Gorky repeatedly wrote letters to the artist in which he asked not to publish his claims against the Soviet government, not to “disgrace himself”, but Chaliapin did not heed his advice.

Not everyone in Soviet Russia was tolerant of Chaliapin, who, while abroad, nevertheless allowed himself to be publicly indignant. scandalous story with memoirs. Leftist-minded leaders of the Central Committee of Rabis (Union of Art Workers) launched a campaign to deprive Chaliapin of the title of People's Artist. To the surprise of the singer, who did not expect such a harsh sentence, the Council of People's Commissars of the RSFSR, by its decree of August 24, 1927, deprived him of the honorary title of People's Artist ... In essence, this fact completely closed Chaliapin's way to his homeland.
Touring a lot around the world, the singer lived in Paris. There is an opinion that he did nothing new abroad, but he sang a lot and enjoyed constant success in all countries where his concerts took place. He was and remained the greatest representative of the Russian vocal school, possessed a bass of enormous range, extraordinary expressiveness and flexibility of timbre. Chaliapin considered each of his performances in the context of the entire score and the author's intention. As a result, his arias acquired amazing depth and truthfulness, conveyed the subtlest semantic intonations - these things were immutable moments that determined Chaliapin's genius. He is considered a perfect master vocal skill, an innovator in music who provided a huge impact on the vocal art XX century.

F. I. Chaliapin died in Paris on April 12, 1938, 65 years old. Carry the idol in last way thousands of fans came. The great singer was buried in the Batignolles cemetery.
In 1973, the 100th anniversary of the birth of F. Chaliapin was magnificently celebrated in the USSR. A solemn meeting and a concert took place at the Bolshoi Theater.
In October 1984, the ashes of F. Chaliapin were transferred from the Batignolles cemetery to the Novodevichy cemetery in Moscow. Before the reburial, the coffin with the remains was exhibited at the Bolshoi Theater, where very controversial, to put it mildly, speeches about great desire great singer to return to Russia.
Today announced open competition at the monument to Chaliapin in Moscow. In St. Petersburg, it is also planned to erect a monument to the great singer - on the Petrograd side in front of the music hall, the former building of the Opera House of the People's House.

Understanding the history of Russian musical theater impossible without considering the question of in which operas Chaliapin performed the main parts. This outstanding singer had a huge impact on the development of not only domestic, but also world culture. It is difficult to overestimate his contribution to the formation of the national operatic art. His phenomenal success abroad contributed to the spread and popularization of not only Russian classical music, but also folk, folklore song creativity.

Some biography facts

Chaliapin was born in Kazan in 1873. The future singer came from a simple peasant family. He graduated from the local parish school, and from childhood he sang in the church choir. However, due to the difficult financial situation for some time he studied craftsmanship. After some time, the young man entered the Arsk school. Start it creative career associated with joining Serebryakov's troupe, where at first he performed small parts, participating in choral singing.

In 1890, Fedor Ivanovich Chaliapin left for Ufa, where he joined an operetta troupe. Here he began to perform solo parts. Four years later he moved to Moscow, and then to the capital of the empire, where he was accepted into main theater. Here he performed the roles of both foreign and domestic repertoire. The talent of the young singer immediately attracted the attention of not only the general public, but also critics. However, despite the growth in popularity, Chaliapin felt somewhat constrained: he lacked freedom and personal initiative.

Carier start

The turning point in the singer's life occurred after he met the famous Russian millionaire and philanthropist S. Mamontov. He first met with him in the search for talents and recruited into his troupe best singers, musicians and artists. In this city, Chaliapin's performances began with his performance of the title role of Ivan Susanin in M. Glinka's opera A Life for the Tsar. The performance was a great success and played a decisive role in the artist's career, since it was in this production that his great talent was revealed precisely as a performer of Russian classical music, which he perfectly felt and understood.

Then Savva Ivanovich invited the singer to his private troupe. He wanted to create a Russian national musical theater, and therefore took special care to attract the most talented artists to himself.

The heyday of creativity

The Mammoth Opera has played an outstanding role in Russian culture. The fact is that operas that were not staged in state theaters were staged on this private stage. For example, it was here that the premiere of Rimsky-Korsakov's new work Mozart and Salieri took place. The role of the latter was brilliantly played by Chaliapin. Generally this new theater was intended to popularize the music of representatives of the "Big Handful". And it was in this repertoire that the talent of the singer was revealed to the maximum.

In order to understand how much the roles of this outstanding performer have changed, it is enough to simply list in which operas Chaliapin performed the main parts. He began to sing a large Russian opera: he was attracted by the strong, powerful and dramatic music composers who wrote their works on historical, epic and fairy themes. The singer especially liked the traditional folk motifs, and the paintings from ancient Russian history attracted by its beauty and depth. It was during this period of his work (1896-1899) that he embodied a number of outstanding images on stage. One of his most significant works of this stage was the role of Ivan the Terrible in the work of Rimsky-Korsakov.

Historical themes in creativity

The opera The Woman of Pskov is based on a historical episode and is notable for its sharp and dynamic plot and, at the same time, the psychological depth of the depiction of the tsar and the inhabitants of the city. The music of this work was ideal for the vocal and artistic possibilities of the singer. In the role of this ruler, he was very convincing and expressive, so that this work became one of the most significant in his career. Subsequently, he even starred in a film based on this work. However, since the singer did not perceive the independent value of cinema, he almost never acted, and his first film did not deserve critical acclaim.

Performance features

For an objective assessment of the singer's work, it is necessary to indicate in which operas Chaliapin performed the main parts. It should be noted that there are many of them. The opera "Pskovityanka" became one of the most significant in his career. However, he became famous in a number of other outstanding productions. During this period, he considered Russian opera to be his main repertoire, which he especially appreciated, and gave it great importance in the development of world musical theatre. Contemporaries noted that the singer's popularity was explained not only by his amazing vocal abilities, but also by his artistry, the ability to get used to the role and convey all the smallest shades of intonation with his voice.

Critics noticed that he felt great musical language performed works. In addition, Chaliapin was an excellent theatrical artist, that is, with the help of facial expressions and gestures, he conveyed all the psychological traits of the character portrayed. The singer had the talent of reincarnation. For example, he could play several roles in one performance. Fyodor Chaliapin became especially famous for this skill.

"Boris Godunov" - an opera in which he sang the parts of the tsar and the monk Pimen. His performance was particularly expressive, as for each role he knew how to find a new musical language. Mussorgsky was his favorite composer.

Episodes

Chaliapin's voice is high bass. And although he became famous for performing primarily dramatic roles, nevertheless, he possessed good feeling humor and how great artist He played excellent comedic roles, for example, the part of Don Basilio in the opera The Barber of Seville.

His talent was multifaceted: he sang superbly in episodic roles, as, for example, in Glinka's opera. In addition to playing the main role in the play "Life for the Tsar", he played the role of one of the knights in his other work. This small mise-en-scene was positively noted by critics, who said that the artist was able to accurately convey the image of a boastful warrior.

Another small but significant role is the party of the Varangian guest, which became calling card singer, and the image of a miller from another fairy tale opera. Nevertheless, serious dramatic parts continued to be the basis of his repertoire. Here, the work in the opera Mozart and Salieri should be singled out separately. This work is chamber and differs from those performances in which he previously participated. Nevertheless, Chaliapin proved himself to be a great artist here too, superbly performing the bass part.

In the first decades of the 20th century

On the eve of the first Russian revolution, the singer was already very popular. At this time, he sings songs from folk songwriting, which he received in his performance. special sound. The song Dubinushka, to which the workers gave a revolutionary sound, gained particular fame. After the Bolsheviks came to power in 1917, Chaliapin became the de facto director of the Mariinsky Theater and was awarded the title of People's Artist of the Republic. However, due to frequent tours abroad and donations to the children of emigrants, he was suspected of sympathy for the monarchy. Since 1922, the singer lived and toured abroad, for which he was deprived of the title of People's Artist.

Emigration

In the 1920-1930s, the singer actively toured, performing not only with domestic, but also with foreign repertoire. When characterizing given period of his work, it should be indicated in which operas Chaliapin performed the main parts. So, especially for him, J. Massenet wrote the opera Don Quixote. The singer played this role and starred in the film of the same name.

Chaliapin died in 1938 from a serious illness, was buried in France, but then his ashes were transported to our country. In 1991, he was posthumously returned the title of People's Artist.

Born in the family of a peasant Ivan Yakovlevich from the village of Syrtsovo, who served in the Zemstvo Council, and Evdokia Mikhailovna from the village of Dudinskaya, Vyatka province.

First little Fyodor, trying to put "to the point", they apprenticed to the shoemaker N.A. Tonkov, then V.A. Andreev, then to a turner, later to a carpenter.

AT early childhood he developed a beautiful treble voice and often sang with his mother. At the age of 9, he began to sing in the church choir, where he was brought by the regent Shcherbitsky, their neighbor, and began to earn money from weddings and funerals. The father bought a violin for his son at the flea market and Fedor tried to play it.

Later, Fedor entered the 6th city four-year school, where there was a wonderful teacher N.V. Bashmakov, which he graduated with a commendable diploma.

In 1883, Fyodor Chaliapin first got into the theater and then sought to watch all the performances.

From the age of 12, he began to participate in the performances of a touring troupe as an extra.

In 1889 he entered the drama troupe of V.B. Serebryakova as an extra.

On March 29, 1890, Fyodor Chaliapin made his debut with the part of Zaretsky in P.I. Tchaikovsky "Eugene Onegin", staged by the Kazan Society of Performing Art Lovers. Soon he moved from Kazan to Ufa, where he performed in the choir of the troupe S.Ya. Semenov-Samarsky.

In 1893, Fedor Chaliapin moved to Moscow, and in 1894 to St. Petersburg, where he began to sing in the country garden "Arcadia", in the theater of V.A. Panaev and in the troupe of V.I. Zazulin.

In 1895, the directorate of the St. Petersburg Opera Houses accepted him into the troupe of the Mariinsky Theater, where he sang the parts of Mephistopheles in Faust by Charles Gounod and Ruslan in Ruslan and Lyudmila by M.I. Glinka.

In 1896, S.I. Mamontov invited Fyodor Chaliapin to sing in his Moscow private opera and move to Moscow.

In 1899, Fyodor Chaliapin became the leading soloist of the Bolshoi Theater in Moscow and, while touring, performed at the Mariinsky Theater with great success.

In 1901, Fyodor Chaliapin gave 10 triumphal performances at La Scala in Milan in Italy and went on a concert tour of Europe.

Since 1914, he began to perform in the private opera companies of S.I. Zimin in Moscow and A.R. Aksarin in Petrograd.

In 1915, Fyodor Chaliapin played the role of Ivan the Terrible in the film drama "Tsar Ivan Vasilievich the Terrible" based on L. May's drama "The Maid of Pskov".

In 1917, Fyodor Chaliapin acted as a director, staging D. Verdi's opera Don Carlos at the Bolshoi Theater.

After 1917 he was appointed artistic director Mariinsky Theatre.

In 1918, Fyodor Chaliapin was awarded the title of People's Artist of the Republic, but in 1922 he went on tour to Europe and stayed there, continuing to perform successfully in America and Europe.

In 1927, Fyodor Chaliapin donated money to a priest in Paris for the children of Russian émigrés, which was presented as helping "White Guards to fight against Soviet power"On May 31, 1927, in the Vserabis magazine by S. Simon. And on August 24, 1927, the Council of People's Commissars of the RSFSR, by a decree, deprived him of the title of People's Artist and forbade him to return to the USSR. This decree was canceled by the Council of Ministers of the RSFSR on June 10, 1991 "as unreasonable."

In 1932, he starred in the film "The Adventures of Don Quixote" by G. Pabst based on the novel by Cervantes.

In 1932-1936 Fyodor Chaliapin went on tour to Far East. In China, Japan, Manchuria, he gave 57 concerts.

In 1937 he was diagnosed with leukemia.

On April 12, 1938, Fedor died and was buried in the Batignolles cemetery in Pargiers, France. In 1984, his ashes were transferred to Russia and on October 29, 1984, they were reburied at the Novodevichy Cemetery in Moscow.

F. I. SHALYAPIN'S REPERTOIRE

1890. Stolnik - "Pebble" S. Monyushko.

1891. Ferrando - "Troubadour" by G. Verdi. Unknown - "Askold's Grave" by A. Verstovsky. Petro - "Natalka Poltavka" N. Lysenko.

1892. Valentine - "Faust" by Ch. Gounod. Oroveso - "Norma" by D. Bellini. Cardinal, Alberto - "The Cardinal's Daughter" ("Jew") F. Halevi. Matchmaker - "Mermaid" by A. Dargomyzhsky.

1893. Ramfis - "Aida" by G. Verdi. Mephistopheles - "Faust" by C. Gounod. Gudal - "Demon" by A. Rubinstein. Tonio - "Pagliacci" by R. Leoncavallo. Monterone - "Rigoletto" by G. Verdi. Gremin - "Eugene Onegin" by P. Tchaikovsky. Saint Bris - "Huguenots" by D. Verdi. Lothario - "Mignon" by A. Tom.

1894. Lord Cockburg - "Fra Diavolo" by D. Ober. Melnik - "Mermaid" by A. Dargomyzhsky. Tomsky - " Queen of Spades» P. Tchaikovsky. Don Basilio - "The Barber of Seville" by D. Rossini. Miracle - "The Tales of Hoffmann" by J. Offenbach. Tore - "Santa Lucia Embankment" by N. Taski. Bertram - "Robert the Devil" by D. Meyerbeer. Zuniga - "Carmen" by G. Bizet. Don Pedro - "African" by D. Meyerbeer. Old Jew - "Samson and Delilah" by C. Saint-Saens.

1895. Ivan Susanin - Life for the Tsar. Ruslan - "Ruslan and Lyudmila" by M. Glinka. Count Robinson - "Secret Marriage" by D. Cimarosa. Panas - "The Night Before Christmas" by N. Rimsky-Korsakov.

1896. Prince Vereisky - "Dubrovsky" by E. Napravnik. Judge - "Werther" J. Massenet. Vladimir Galitsky - "Prince Igor" by A. Borodin. Prince Vladimir, Wanderer - "Rogneda" by A. Serov. Nilakanta - "Lakme" by L. Delibes. Ivan the Terrible - "Pskovite" by N. Rimsky-Korsakov.

1897. Collen - "La Boheme" by D. Puccini. Prince Vyazminsky - "Oprichnik" by P. Tchaikovsky. Dosifey - "Khovanshchina" by M. Mussorgsky. Varangian guest - "Sadko" by N. Rimsky-Korsakov.

1898. Head - "May Night" by N. Rimsky-Korsakov. Holofernes - "Judith" by A. Serov. Salieri - "Mozart and Salieri" by N. Rimsky-Korsakov. Tsar Boris - "Boris Godunov" by M. Mussorgsky.

1899. Varlaam - "Boris Godunov" by M. Mussorgsky. Ilya - "Ilya Muromets" by V. Serova. Aleko - "Aleko" by S. Rachmaninov. Andrey Dubrovsky - "Dubrovsky" by E. Napravnik.

1900. Biron - "Ice House" by A. Koreshchenko.

1901. Galeof - "Angelo" C. Cui. Farlaf - "Ruslan and Lyudmila" by M. Glinka. Mephistopheles - "Mephistopheles" by A. Boito. Priest - "Feast during the plague" Ts. Cui.

1902. Eremka - "Enemy Force" by A. Serov.

1903. Dobrynya - "Dobrynya Nikitich" by A. Grechaninov.

1904. Demon - "Demon" by A. Rubinstein. Gaspard - "Corneville Bells" by R. Plunkett. Onegin - "Eugene Onegin" by P. Tchaikovsky.

1906. Prince Igor - "Prince Igor" by A. Borodin.

1907. Philip II - "Don Carlos" by D. Verdi.

1908. Leporello - "Don Giovanni" by W. Mozart.

1909. Khan Aswab - "Old Eagle" R. Ginsburg.

1910. Don Quixote - Don Quixote by J. Massenet.

1911. Ivan the Terrible - "Ivan the Terrible" by R. Ginsburg.

1914. Konchak - "Prince Igor" by A. Borodin.

The last performances of F. I. Chaliapin on the opera stage took place on March 30, 1937 in Monte Carlo and on April 5, 28 and May 6 in Warsaw: the artist performed in M. P. Mussorgsky's opera Boris Godunov.

The concert repertoire of F. I. Chaliapin was extremely rich, the singer performed with arias and ensembles from operas, performed many romances and songs (about 150 titles). The most frequently heard vocal works S. V. Rachmaninov, P. I. Tchaikovsky, M. I. Glinka, A. S. Dargomyzhsky, N. A. Rimsky-Korsakov, A. G. Rubinstein, A. S. Arensky, F. Schubert, R. Schumann, F. Mendelssohn, Russian and Ukrainian folk songs, etc. Last concert F. I. Chaliapin took place on June 23, 1937 in Eastbourne (England).

F. I. Chaliapin made the first recordings on the phonograph in 1898, but was extremely dissatisfied with the quality of sound reproduction. According to I. N. Boyarsky, a new attempt to write down concert numbers the singer undertook only in 1902 at the suggestion English company"Gramophone", but this time the singer's sound quality did not satisfy. F. I. Chaliapin began to regularly record records in 1907, when the sound recording technique became more advanced. AT further singer collaborated with many gramophone firms and recorded almost the entire opera and concert repertoire.

The last recordings of F. I. Chaliapin were made in 1936 during a tour in Tokyo: "Flea" by M. P. Mussorgsky and Russian folk song"Hey, let's go."

Records released in the West were dubbed in the Soviet Union and widely replicated in the 1920s and 1930s and, after a twenty-year break, since the 1950s.

From the book Raisins from a roll author Shenderovich Victor Anatolievich

Topical repertoire The struggle against voluntarism saved the young Oleg Tabakov from inevitable creative success: he leading role in a film about the youth of Nikita Sergeevich Khrushchev. Wander among the corn fields, feel the cobs, look into the distance optimistic

From the book of Emil Gilels. Beyond the Myth [with Pictures] author Gordon Grigory Borisovich

From the book of Emil Gilels. Beyond the myth author Gordon Grigory Borisovich

Gilels' repertoire and how he disposed of it There is no need to go into detail here about Gilels' repertoire: it is presented in Khentova's book, and discography - in Barenboim's book. In both cases there are significant flaws - for different, dissimilar reasons; that's about

From the book My World author Pavarotti Luciano

Repertoire Luciano Pavarotti RUDOLF La bohème G. Puccini Reggio nel Emilia, April 28, 1961 Covent Garden, 1963; "La Scala", 1965; San Francisco, 1967; Metropolitan Opera, 1968 DUKE "Rigoletto" G. Verdi Carpi, 1961 Palermo, 1962; Vienna, 1963; "La Scala", 1965; "Covent Garden", 1971 ALFRED

From book Selected works in two volumes (volume two) author

THROAT OF SHALYAPIN

From the book Cold Summer author Papanov Anatoly Dmitrievich

Theatrical repertoire RUSSIAN DRAMA THEATER (KLAIPEDA) 1947–1948 "Young Guard" (based on the novel by A. Fadeev) - Sergey Tyulenin "Mashenka" by A. Afinogenova - Leonid Borisovich "For those who are at sea!" B. Lavreneva - Rekalo"Dog in the Manger" Lope de Vega - TristanMOSKOVSKY

From the book Savva Mamontov author Bakhrevsky Vladislav Anatolievich

Creation of Chaliapin 1Second discovery Private Opera took place on May 14, 1896 in the Nizhny Novgorod Wooden opera house. In honor of the House of Romanov, on the day of the coronation of Emperor Nicholas II, they gave "Life for the Tsar." Mamontov again hid his participation in the troupe. This second

From the book I want to tell you... author Andronikov Irakli Luarsabovich

F. I. SHALYAPIN'S LETTER TO A. M. GORKY As already mentioned, an unknown letter from Chaliapin to Gorky was found in the Burtsev suitcase in Aktobe. It did not appear in the press, I announced it only on the radio. Meanwhile, it is interesting and very significant. And complements

From the book Man from the Orchestra [Blockade diary of Lev Margulis] author Margulis Lev Mikhailovich

SHALYAPIN'S THROAT In the Botkin hospital in Moscow, I somehow had to lie in the same room with wonderful actor and wonderful person - people's artist USSR Alexander Alekseevich Ostuzhev. If you have never seen him on stage, you must have

From the book of Sobinov author Vladykina-Bachinskaya Nina Mikhailovna

The repertoire of the Symphony Orchestra of the Leningrad Radio Committee during the Siege of Leningrad The sources for this list were: a notebook of K. I. Eliasberg's concert recordings, posters and programs stored in the music library of the Leningrad Philharmonic and

From the book To Music author Andronikov Irakli Luarsabovich

CONCERT REPERTOIRE L. V. SOBINOVA Glinka1. "Gulf of Finland".2. "Health Cup".3. “How sweet it is for me to be with you.”4. "To her".5. "Northern Star".6. "Autumn night".7. "Winner".8. "Do not tempt" (duet).9. “Forgive me, forgive me” (duet).10. "Remembrance" (duet).11. "Venetian

From the book by Elena Obraztsova [Notes on the way. Dialogues] author Sheiko Iren Pavlovna

OPERA REPERTOIRE L. V. SOBINOVA Wagner "The Wandering Sailor" Helmsman 1894 MoscowLeoncavallo "Pagliacci" Harlequin 1894 MoscowRubinstein "The Demon" Synodal 1897 MoscowGlinka "Ruslan and Ludmila" Bayan 1897 MoscowBorodin "Prince Igor" Vladimir Igorevich 1898 MoscowTchaikovsky "Eugene Onegin"

From the book Elena Obraztsova: Voice and Fate author Parin Alexey Vasilievich

Chaliapin's throat In the Botkin hospital in Moscow, I somehow had to lie in the same room with a wonderful actor and a wonderful person - People's Artist of the USSR Alexander Alekseevich Ostuzhev. If you haven't seen him on stage, you probably

From the author's book

Repertoire E. V. Obraztsova OPERA PARTS 1963. Marina "Boris Godunov" by M. P. Mussorgsky. Big theater. December 17, 1964. Milovzor "The Queen of Spades" by P. I. Tchaikovsky. Big theater. March 12. Polina "The Queen of Spades" by P. I. Tchaikovsky. Big theater. March 12. Maid "War and Peace"

From the author's book

Repertoire of Elena Obraztsova Opera parts Marina Mnishek - Boris Godunov by M. P. Mussorgsky, Moscow, Bolshoi Theater 1963. Polina, Milovzor, ​​Governess - The Queen of Spades, P. I. Tchaikovsky, Moscow, Bolshoi Theater 1964. Maid, Princess Marya - "War and Peace"

From the author's book

Concert repertoire