ABOUT TEACHING Singing FW LYTVYN
among teachers of the Leningrad Conservatory important place belongs to Honored Artist of Kabardino-Balkar ASSR, the owner of a beautiful lyric-dramatic soprano Vera Ilyinichna Pavlovski, Borovik (1886-1975f, taught solo and chamber singing in the years 1933-1960. She trained at the St. Petersburg School of Performing Arts, graduating in 1910, dealt with the IP Pryanishnikov. In 1912-1913 Pavlov's, Borovik was invited to join the Hamburg Opera, where she sang with great success in "Carmen" (with E. Caruso), and other performances. In 1914-1918, she was a soloist at the Mariinsky Theatre, and later conducted concerts. An important milestone of his life, Pavlov Borovik said lessons with Outstanding singer Feliey Litvin. In the Cabinet of the manuscripts of the Russian Institute of Art History contains important material relating to scientific and methodological work Pavlovian-Borovik, and among them - a document entitled the author of "On the methods of teaching singing FV Litvin. It represents two copies of the typescript with corrections of the author. Document date is unknown, the text is not completed.
's name is prominent singer Felii Litvin (real name is Francoise-Jeanne Schutz) associated bright pages of world and national vocal school. One of the articles of those years, noted: "The Singing Litvin can not forget the one who has heard this voice, amazing combination of beauty and strength, powerful, full jet burst into sound waves in the orchestra, and these wonderful nursing notes, deep, sonorous, clear equally rich in all registers are equally beautiful in the strongest forte, and in the most delicate pianissimo \u0026lt;...>. The highest notes in the most difficult combinations of sounds it also freely as if it were the most common sound combinations, available height and location of sounds \u0026lt;...>. And there is no point in any party, which Litvin did not manage to technically brilliant, perfectly, perfectly. " In 1967 were published in Russian memories F. Litvin, which revealed many facts of life and art of the great singer. On his birth, among other things, wrote: "I was born in St. Petersburg in 1863. My father was Russian, his mother - Canadian, but came out in 1893, married a Frenchman, I was French. At birth, they gave me the name of Francoise-Jeanne \u0026lt;...>. Feliey christened me my first director, actor Victor Morel \u0026lt;...>.
My mother - a native of Canada, the granddaughter of a Scottish colonel Munroe de Fowl and the French of Madame de Lara. My grandfather, the Honourable Colonel John Munroe F. Cooper made one of the heroes of "The Last of the Mohicans."
My grandfather from my father was very is consistent; in St. Petersburg, he owned a huge house \u0026lt;...>. My father was Vasily Schutz prirozhdennm musician: he composed a very nice lovely waltzes and etudes \u0026lt;...> » . House, which says F. Litvin, also quite remarkable: he was on the site of the present St. Petersburg Conservatory.
Childhood Felii was associated with the name of Fiber Optic Leshetitsky who has studied the singer's sister Selina and Schütze lived in the house of AN Yesipova. Name F. Litvin arises in connection with the SV Rachmaninoff (Grandmother composer SA Butakova was born Litvinova). Later Rachmaninoff dedicated AF Litvin one of his songs (Op. 34).
Pavlov, Borovik was one of the few who could learn from F. Litvin. Written essay is dedicated to her appearance as a performing outstanding singer, and her teaching methods. We present it in its entirety, with some additional primemaniyami author '.
The purpose of this paper is twofold: first, to make the property Soviet vocal teachers thought about teaching methods, coming from the pen of Felii Vasilevny Litvin, a Russian singer, one of the most celebrated singers worldwide late XIX-early XX centuries, and, secondly, to fix the personal experience of student experiences on how to transfer these thoughts and the method by the teacher during the lesson. The author attaches great importance to the work is a direct narrative about teaching Felii Lytvyn in its close communicating with the pupil at the piano.
Because the brightness, uniqueness of individual human and artistic properties of the great singer, the author finds it necessary to confine description of her singing and teaching aspect, but stay on the characterization of her as a person in the theater btu, as the author knows from personal communication to and from unpublished sources.
So, first a few words about the singer.
Singer. In memory of my generation, that is my peers who heard Feliyu Vasilyevna Litvin 60-70 years ago, when he was already conscious twenty students, it has remained a unique phenomenon and to this day unmatched.
Among the many famous singers I've heard in Russia and abroad, the voice of Lytvyn, had no equal.
Featuring extraordinary beauty and fullness of sound, the freedom and latitude, he captivatingly combines strength and softness. For example, with remarkable ease was a massive sound of this vote at the top in a most difficult arias Judith [from] II of [opera AN Serov's "Judith"] "I get dressed in fine linen, where the crowning aria top "To" absolutely did not seem to limit the note her dramatic voice. Brunhild cry of "Valkyrie" [R. Wagner], "Hoey-oh-oh-ho» (II act) poured into the auditorium Meeting with unbridled power and overwhelming joy of life, and it seemed that he comes from some sort of supernatural, legendary creature, and not from Singing behind the scenes live singer.
Felia Litvinne - D'amor sull'ali rosee - Il Trovatore - Verdi
Voice Litwin was then a kind of benchmark, a measure of elusive, but real. Be "Something similar to Litvin" is the highest and most flattering praise for the dramatic soprano. I remember how was flattered and delighted the lead singer Mariinsky Theater, MB Cherkasy heard this is the tip of his mouth from the gray-haired scholar in the dressing after her performances in the concert of the Academy Arts on Jan. 16, 1912.
Feliya Lytvyn for his dramatic roles (or rather - the heroic), soprano, but her stories, I've heard from her personally, One of her debut role at 18 or 19 years was Gilda (Rigoletto) at the Brussels Theatre de la Monnaie. Her first teacher of the M-metal Barlte Banderali not allow her to sing in the early youth dramas. Educational material Felii Lytvyn years of study were the party of light soprano, making her, in her words, has acquired в дальнейшем возможность расширить палитру красок своего драматического голоса, так как он сохранил нежность звука («lе tendre de la voix»).
Певческий диапазон her party was huge, I would have said, embracing: Gilda, Marguerite, and other lyric party, Valentine's "Huguenots", Judith, Mermaid, all of Wagner, Dalila, and among the 17 memorized, but not to sing contralto listed party Orpheus in Gluck's opera.
Voice Litvin was unusually expressive and rich colors. Never was not in her singing sound for sound, for the sake of admiring his marvelous voice. Sound was at the service of music and composer. Listening to her, the opera was forgotten about her
game so the voice itself was carrying his characteristic way and scenic situations.
stage behavior Felii Litvin different parsimony gestures, always plastic and expressive. A lot of "play" on the stage it was not necessary, since her voice and gesture, without limiting all expressed, so "static" her stage was expressive conduct another external "dynamics", especially since the nature of its abundance of heroic repertoire of gestures granulate be vocal monumentality. In its static stage was an internal movement of sound poetry, which riveted the attention and experience of the listener. In his memoirs, describing and examining petye her party Feliya Litvin elevates this economy of gesture in principle, and strongly recommends that a young singer at least gestures ("le moins de gestes») and then only in very specific theatrical moments. Clearly it and the game was required, as in singing, the minimum expenditure of energy, as This, she felt a maximum impression. She was very full, but at a time when I heard it, how many fat people, moved easily and beautifully.
With its great power of imagination and insight of the executable, it is deeply pondered
features of each party. For example, for Natasha in "Mermaid", it recommends that: to try to understand this role
Russian soul. Even the voice has to be Slavic. (P. 244 "Rrenez l` ame russe pour interpreter ce role; la voix-meme doit etre slave »').
To same applies to the songs.
As I was told her performance was extremely expressive and rich colors. She argued it in every opera party, but once in a concert she had me shocked.
It was in Paris in the spring of 1914. Was assembled, with charity for the concert. One of the rooms was Feliya Litvin. After classical arias by Gluck and two songs by French composers (like a program I can not remember) for an encore of ceremonies announces: "Mussorgsky. "Hopak" and explains: "Hopak» - «dance petite-russienne» (gopak - Little Russian Dance). "I was dumbfounded: it is necessary to stage a famous singer in the chic Concert toilet of pale-blue velvet, with diamonds on her neck and head, and she will sing nothing but a "Hopak" by Mussorgsky. It should be pointed out that before Venison D'Algeym this work, because of the purported izilishney realism of the text does not appear in programs, and Lytvyn will not sing it in a specially dedicated to Mussorgsky program, which would be required to characterize his work, and among the national team program.
And suddenly - a miracle! I do not know Felii Litvin: she sings, without gestures, and any "support" techniques, the Russian "simple woman", sings quite new and unusual "Russian" voice, woman almost crying, singing, jolly sort of bitter, unhappy fun. Further - more, but what is with the word "fig" in the mouths of the singers with diamonds neck and head? And now: the most remarkable in the interpretation of this work Feliey Litwin was the word. Three times she sang Feliya Litwin at the request of the public that evening, "Hopak" and three times uttered the word "fig" in different ways - something angrily, then accusingly, then with a light usmeshechkoy. It is also very vividly and expressively she sang the word "truth" at the end of the work, as if to emphasize his realistic sushnost.
The hall was going incredible: the audience by nationality was mixed, and hear (as often in Paris before the war in 1914) and Russian speech. The enthusiasm was unanimous.
The next day in class I Feliya V. said: "This woman sings a funny song, but she was unhappy in
my life, I feel sorry for her and I love to sing this work." Is not penetrate to the heart Mussorgsky's works! A friend Felii Litvin Madame Elise in regular conversation told me that «Madame Litvinne each time repeats the" Little Russian Dance "three times, as if to sing only twice, thinks that allegedly sang "without success".
Feliya Lytvyn - a fragment of the aria Aida (by Fr. Language) - "Aida" by Verdi That
Litvin was out of the auditorium and in opera and in concert. When personal acquaintance and communion with her, she captivated the extraordinary modesty, simplicity encircled, alien to hint at the importance, a hint of the consciousness of his superiority, which gave her human form unique charm. Nobleness of her nature closely intertwined with her art: she loved to interpret the characters on stage dedicated, full of warm feelings and high aspirations and actions. Not for nothing that her favorite parties was Alceste by Gluck and Wagner's Isolde.
Theatre and creativity in the theater so filled her mind that her personal life, a life woman retreated to her seat. Her youthful intention to retire from the world into a monastery, which, of course, opposed her parents, as it already anticipate its denial for the sake of ideas from many of opportunities to arrange their personal lives than on their own earnings, but on wealth, title and other tempting mirages capitalist society. But it was true only in the theater and the theater was thinking to live: «chanter c'est vivre * (« sing - it means to live ") was her motto.
When the war began in 1914, she suffered and for Russia and for France. I was told in Paris in 1925, during the war, she sang in the streets of Paris, and since it knew in the face and recognized her voice, at once gathered a crowd of listeners. She stopped the first passing soldier, and his hat collecting money, which now also surrendered to the appropriate organization.
teacher. pedagogical method Felii Litvin, in contrast to her performing has hardly been studied and published it has two manuals shortly after the release of (1921 and 1923) were in Paris, a rarity. Unknown to them and we, being absent in the main stacks of our country. Available from the author of these lines of individual specimens were obtained as a gift from the most Felii Vasilevny.
Living permanently in Paris, and appearing in Russia short time of their tour, Feliya Litvin was unavailable as a teacher, the vast majority of Russian singers. Driving around the world with tours, it does not combine pedagogy with the theater, and only on the slope of a brilliant career, second request of the French opera singers to go with them the party, she was occasionally share with them the experiences and principles of its interpretation. Work and over the sound did not hesitate to invade her "advice", and pedagogy to fully come to Felii Litvin quietly to herself.
clearly delineating the classes with the artists and beginners to learn to sing, Feliya V. modestly called lessons given by professionals, "advice": it has never advertised his studies with renowned artists, usually did not like even to call their names, thinking that an artist with a reputation for hands-free might be "desirable to find himself in the eyes of the public in the role of student." She worked with each separately, starting tips for professional artists purely a matter of personal and intimate, and tips related to the interpretation of the role, even off the record. For beginners it is considered harmful to listen to other students, as deficiencies can unconsciously perceived and transmitted from one person to another. In this matter the opinion Litvin coincides with the opinion IP Pryanishnikov, who also gave each student a lesson "without witnesses".
Her loud reputation as a teacher came in Russia, suddenly and firmly established, thanks to the results of her studies with Ivan A. Alchevsk.
As is known, the most talented actor of the Emperor Alchevsk theaters had early in his career major audio bugs, but after studying with Feliey Litwin in Paris, and after consultation on its advice to the famous tenor Ian Reschke - relative Felii Litvin - Alchevsk discovered on his return to Russia completely updated to vote, get rid of bad throat sound, which gave him the opportunity to fully show their extraordinary vocal and stage talent, to conquer their former enemies and detractors and become a series of singers who are considered the pride of Russian opera. Not just a rumor, but theater historians acknowledge this undeniable merit Felii Litvin.
As Alchevsk, the pedagogical practices of the famous singer Russian artists who made use of in Paris, her pedagogical directions are exceptions; You can still call Nina Koshetz and Nicholas Nikanorovich Kuklin.
As well as one of those few vocalists Speaking as someone who double happiness in life (1914 and 1925) deal in FV Litvin, I consider it my moral and social duty to summarize and publish all that gave this exceptional singer not only me personally but vocal pedagogy in general.
Nina Koshetz - Lullaby Volkhova - Sadko Rimsky - Korsakov
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