Chaliapin all his roles are Fyodor Ivanovich. Arias, romances, songs - Fyodor Chaliapin - sheet music. last years of life

Chaliapin's Throat In the Botkin Hospital in Moscow, I once 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 have never seen him on stage, then you probably

Repertoire of 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"

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”

Concert repertoire

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

Some biographical facts

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

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

Carier start

A turning point in the singer’s life occurred after he met the famous Russian millionaire and philanthropist S. Mamontov. He first met him while scouting for talent and recruiting him for 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 had big success and played a fateful role in the artist’s career, since it was in this production that his enormous talent was revealed 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.

Creativity flourishes

Mamontov's opera played an outstanding role in Russian culture. The fact is that on this private stage those operas were staged that were not shown in state theaters. 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. In general, this new theater was intended to popularize the music of the representatives of the “Big Handful”. And it was in this repertoire that the singer’s talent 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 roles. He began to sing big Russian opera: he was attracted by the strong, powerful and dramatic music composers who wrote their works on historical, epic and fairy tale themes. Traditional folk motifs the singer especially liked, and the paintings from ancient Russian history attracted by its picturesqueness 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 distinguished by a sharp and dynamic plot and, at the same time, the psychological depth of the image of the king and the inhabitants of the city. The music of this work was ideally suited to the vocal and artistic capabilities of the singer. In the role of this ruler, he was very convincing and expressive, so 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 did not act in films, and his first film did not deserve critical recognition.

Features of execution

For an objective assessment of the singer’s creativity, it is necessary to indicate in which operas Chaliapin performed the main roles. It is worth noting that there are many of them. The opera “The Pskov Woman” 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 valued, and gave it great importance in the development of world musical theater. Contemporaries noted that the singer’s popularity was explained not only by his amazing vocal abilities, but also by his artistry, ability to get used to the role and convey all the smallest shades of intonation with his voice.

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

“Boris Godunov” is an opera in which he sang the roles of the Tsar and the monk Pimen. His performance was particularly expressive, since he knew how to find a new musical language for each role. Mussorgsky was his favorite composer.

Episodes

Chaliapin's voice is a high bass. And although he became famous for performing primarily dramatic roles, he nevertheless had a good sense of humor, and as a great artist he perfectly played 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 performance leading 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-scène was positively noted by critics, who said that the artist managed to surprisingly accurately convey the image of a boastful warrior.

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

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 songs, which received a special sound in his performance. The song “Dubinushka” became especially famous, to which the workers gave a revolutionary sound. After the Bolsheviks came to power in 1917, Chaliapin became the de facto leader of the Mariinsky Theater and was awarded the title of People's Artist of the Republic. However, due to his frequent tours abroad and donations to the children of emigrants, he was suspected of being sympathetic to 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 this period of his work, it is necessary to indicate in which operas Chaliapin performed the main roles. Thus, J. Massenet wrote the opera “Don Quixote” especially for him. 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.

PREFACE

The art of Fyodor Ivanovich Chaliapin, a brilliant Russian singer who, in the words of M. Gorky, became “a symbol of Russian power and talent,” is still perceived throughout the world as the highest example.
A successor to the realistic traditions of the Russian musical theater, Chaliapin enriched and developed them, creating unforgettable images in the operas of Russian classics - M, Glinka, A. Dargomyzhsky, A. Serov, M. Mussorgsky, N. Rimsky-Korsakov, A. Borodin. The freshness of interpretation, depth and originality distinguished the parts of the Western European repertoire he sang, among which Mephistopheles in the opera of the same name by A. Boito and “Faust” by C. Gounod, Don Basilio in “The Barber of Seville” by G. Rossini, King Philip in “Don Carlos” especially stood out. "G. Verdi.

The singer's voice - a high (baritone) bass, basso cantante of a soft, velvety timbre was delivered by nature. He was famous not so much for his power and strength, breadth of range, but for his extraordinary flexibility, richness of intonations, shades, and ability to convey the most complex range of experiences. Masterfully mastering the art of bel canto and cantilena, the singer never made mastery an end in itself, his singing was always filled, as conductor A. Pazovsky wrote, with “deep feeling and specific figurative thought.” He always “sang as he spoke,” but he sang, intoned the word is musical, conveyed the meaning and meaning of the word through full-sounding musical speech"Like Caruso among tenors and Titta Ruffo among baritones, Chaliapin became the standard bass," asserted Italian singer Lauri-Volpi.
F. I. Chaliapin was born on February 1/13, 1873 in Kazan in the family of a city government clerk. His early childhood was spent in the village of Ometyevo, and the singer’s memory retained memories of village holidays and round dances for the rest of his life. Chaliapin heard his first folk songs from his mother. As a boy, he sang in a church choir and learned the basics unusually quickly. musical notation

. Participation in church services introduced the future singer to music and developed natural musicality. "Sacred song. lives inseparably and inseparably with that simple plain song, which, like a bell, also shakes the darkness of life. There is a lot of bitter and bright things in a person’s life, but sincere resurrection is a song, true ascension is a chant,” Chaliapin wrote in his book “The Mask and the Soul.” “The first theatrical burns,” according to Chaliapin’s memoirs, were associated with fair festivities and performances by the farce “grandfather” Yakov Mamonov. Yu. Zakrzhevsky. At the same time, Chaliapin began performing as an extra in dramatic and opera performances, and at the age of seventeen he received his first engagement in Ufa, becoming a chorister in the operetta troupe of S. Semenov-Samarsky.
Chaliapin's stage debut took place in the small role of Stolnik in S. Monyushko's opera "Galka" on December 18, 1890. In his first benefit performance, the aspiring artist successfully performed the role of the Unknown in A. Verstovsky's opera "Askold's Grave." While wandering around the south of Russia as part of various provincial troupes, often left without a livelihood, the young Chaliapin reached Tiflis, where he met his first teacher D. A. Usatov, once a tenor of the Moscow Bolshoi Theater, the first performer of the role of Lensky. “From this meeting with Usatov my conscious artistic life, wrote Chaliapin. - He awakened in me my first serious thoughts about the theater, taught me to feel the character of various musical works, clarified my taste and - what I have considered throughout my career and still consider the most precious - clearly taught musical perception and musical expression of the pieces performed"

A year after his debut in Tiflis, where such roles as the Miller in Dargomyzhsky’s “Rusalka” and Mephistopheles in Gounod’s “Faust” were first performed, Chaliapin tries his hand at the capital on the stage of the famous Mariinsky Theater. However, he did not stay here long. In 1896 in Nizhny Novgorod the singer met S.I. Mamontov, a meeting with whom determined his future fate. Mamontov sensed and guessed Chaliapin’s future; in the creative, life-giving atmosphere of the Moscow Russian Private Opera, the artist’s talent developed and grew stronger by leaps and bounds.
Leading place Russian opera occupied the repertoire of the Mamontov Theater. Chaliapin’s first triumph was associated with the role of Ivan the Terrible in Rimsky-Korsakov’s “The Woman of Pskov.” Mamontov’s thoughtful direction, impressions of the paintings of I. Repin, V. Schwartz, V. Vasnetsov, and the sculptures of M. Antokolsky contributed to the creation of a contradictory, complex image of the tyrant king. For the first time, contemporaries felt something new that was characteristic of all of Chaliapin’s subsequent work - a unique synthesis of dramatic mastery with rare musicality. Having seen Chaliapin the Terrible on the tour of Mamontov’s opera in St. Petersburg, V. Stasov, the recognized patriarch of Russian art, exclaimed in the article “Immeasurable Joy”: “ Great happiness fell from the sky on us. New great talent

In close collaboration with the artists who designed the performances at the Mamontov Private Opera - V. Polenov, V. Serov, K. Korovin, M. Vrubel, who taught the singer to be attentive to makeup, costume, and the plastic solution of each role - they created bright, striking novelty images of the Varangian guest in "Sadko", Salieri in "Mozart and Salieri" by Rimsky-Korsakov, the Assyrian military leader Holofernes ("Judith" by Serov), Dositheus ("Khovanshchina" by Mussorgsky), the role of Boris Godunov in Mussorgsky's opera, which became the best creation of the artist, Chaliapin took place together with Sergei Vasilievich Rachmaninov, who was invited to conduct the performances of the Private Opera. At the same time, the friendship between the artist and composer began, who performed together in concerts many times. Rachmaninov dedicated several of his romances to Chaliapin and loved to accompany the singer. Going through opera roles, and then learning romances for joint performance in concerts, the sensitive, brilliant singer picked up the slightest instructions or advice from the more musically educated Rachmaninov and performed things as only he could do it,” recalled cousin and Rachmaninov’s biographer S.A. Satina.
In 1899, Chaliapin returned to the imperial stage, becoming a soloist of the Bolshoi and Mariinsky theaters. The beginning of the twentieth century is associated with the flourishing of his creativity, fame and recognition at home and abroad. In 1901, he went on tour for the first time in " opera capital"Europe Milan to sing Mephistopheles in Boito's opera on the stage of La Scala. The recognition of the Milanese, who warmly accepted the performance of the Russian singer, was expressed in his enthusiastic response by the famous Italian tenor Angelo Masini, who wrote to the newspaper "New Time": I am writing to you under the fresh impression of the performance with the participation of your Chaliapin. This and wonderful singer and an excellent actor, and in addition he has a straight Dantean pronunciation." Chaliapin's participation in historical Russian concerts in Paris (1907), and then in the Russian seasons organized by S. P. Diaghilev (1908-1914), becomes a huge event in the musical life of Europe.
Unusually demanding of himself, Chaliapin never stopped working on his roles, constantly improving those images that seemed to his contemporaries to be real masterpieces. In my soul I carry image of Mephistopheles“, which I never managed to realize,” he wrote in his late life.”
Even when the music of the opera was imperfect, like, say, “Don Quixote” by J. Massenet, the artist was able to enrich the part so deeply with deep content, expressive plasticity, and inspired playing that the audience forgot about the weakness of the musical drama. The singer's concert repertoire was extensive and varied. His performances on the stage constituted a special, brilliant page of chamber singing. A great dramatic gift and the power of stage imagination helped Chaliapin create a whole gallery of portraits, psychologically exact characters

, be it the infernal Mephistopheles (“Song of the Flea”) or the unfortunate peasant doomed to death (“Trepak”). The singer invariably included in his programs and lyrical works : songs by F. Schubert, R. Schumann, J. Brahms, romances by Glinka, Tchaikovsky, Rimsky-Korsakov. B.V. Asafiev recalled: “Chaliapin sang truly
chamber music , it happened, so concentratedly, so “deeply” that it seemed that he had nothing in common with the theater. Complete calm and restraint took possession of him. For example, I remember: “In a dream I cried bitterly” by Schumann - one sound, a voice in silence, the emotion is modest, hidden, but it’s as if the performer is not there, and this large, cheerful, generous, clear person, generous with humor, affection, is not there. A lonely voice sounds - and everything is in the voice: all the depth and fullness of the human heart." Gorky considered Chaliapin a “symbolic face,” “an image of democratic Russia.” The famous “Dubinushka”, sung by Fyodor Ivanovich in the Metropol restaurant in 1905 (this episode was included in Gorky’s novel “The Life of Klim Samgin”, seemed to the writer a harbinger of future revolutionary events. Knowledge of the depths and hardships folk life made Chaliapin's performance of Russian songs especially soulful. “Chaliapin among our singers is like a Russian song among all the music we listen to. an organic product of the Russian climate, Russian nature, the free expanses of the Russian steppes, the fresh air of Russian forests, the entire breadth and depth of Russian character and Russian national genius." - wrote the composer and

musical critic V. G. Karatygin. After October, Chaliapin worked especially intensively - as a singer, opera director,
public figure last concerts the then beginning singer S. Ya. Lemeshev visited.

He forever remembered how the artist said goodbye to the Moscow public. “One thing is clear,” Lemeshev later wrote, “after Chaliapin it was no longer possible to sing the way they sang before him. The great singer discovered new possibilities for expressively sung words and the powerful forces hidden in romance, in song, in an operatic image, and showed the whole world the greatness of Russian music.” The last sixteen years of Chaliapin's life were spent in a foreign land. Returning to his homeland for him, as for many other figures Russian culture , in the difficult political atmosphere of that time it turned out to be impossible. Chaliapin died in Paris on April 12, 1938. In 1984, the ashes of the great artist were transferred to Moscow to.
Novodevichy Cemetery There is enormous and inexhaustible interest in Chaliapin’s work here and abroad, his voice is constantly heard on the radio and from numerous records. This collection from the singer’s repertoire - the third in a row, published by the Muzyka publishing house - includes arias from operas, romances and songs that will complement the performance of fans vocal music
about his creative appearance.

• E. Dmitrievskaya
• M. Glinka. Rondo Farlafa from the opera "Ruslan and Lyudmila"
• A. Verstovsky. Song of the Unknown from the opera "Askold's Grave"
• M. Mussorgsky. Song of Varlaam from the opera "Boris Godunov"
• A. Arensky. Cavatina of the Hermit from the opera "Dream on the Volga".
• W. A. ​​Mozart. Recitative and aria of Figaro from the opera “The Marriage of Figaro”. Translation by M. Slonov
• C. Gounod. The Spell of Flowers from the opera "Faust". Translation by P. Kalashnikov
• J. Massenet. Serenade of Don Quixote from the opera "Don Quixote". Translation by F. Chaliapin
• A. Boito. Ballad of Mephistopheles (with whistling) from the opera "Mephistopheles". Translation by F. Chaliapin and M. Slonov
• M. Glinka. Night viewing. Words by V. Zhukovsky
• A. Dargomyzhsky. Miller. Words by A. Pushkin
• A. Rubinstein. It swirls like a wave. Russian text by P. Tchaikovsky.
• M. Mussorgsky. Trepak. Words by A. Golenishchev-Kutuzov
• N. Rimsky-Korsakov. The stormy day has gone out. Words by A. Pushkin.
• S. Rachmaninov. Yesterday we met. Words by Ya. Polonsky
• G. Lishkn. She laughed. Words by A. Maykov (from Heine)
• J.P. Martini. Aria ("Love's Delight")
• F. Schubert. Double. Words by G. Heine, translation by M. Svobodin
• R. Schumann. I'm not angry. Words by G. Heine, translation by F. Berg
• In my dream I cried bitterly. Words by G. Heine, translation by M. Mikhailov.
• J. Massenet. Elegy. Words by L. Galle
• Night. Russian folk song. Arranged by M. Slonov

Songs performed by Fyodor Ivanovich Chaliapin

Title: "Dubinushka"
File size: 3.06 MB, 128 kb/s

Title: "Two Grenadiers"
File size: 2.79 MB, 128 kb/s

Title: "Elegy"
File size: 3.83 MB, 128 kb/s

Title: “Because of the island on the land”
File size: 3.61 MB, 128 kb/s

Title: "Black Eyes"
File size: 3.17 MB, 128 kb/s

Title: “Along along Piterskaya”
File size: 1.77 MB, 128 kb/s

Title: “Down, along Mother, along the Volga”
File size: 3.07 MB, 128 kb/s

Title: “Hey, let’s whoop!”
File size: 2.93 MB, 128 kb/s

Title: “Calm down, worries, passions...”
File size: 4.06 MB, 128 kb/s

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