January 2011

Kazarnovskaya Love - The Complete Tchaikovsky - Liuba Kazarnovskaya

Love Kazarnovskaya, soprano.
Love Orfenova, piano.

COMPLETE SONGS, VOLUME 1

a Song of Zemfira (Pushkin)
2 Midnight (an old classic romance)
3 Forget So Soon (A. Apukhtin)
4 (Cradle Song (A. Maikov)
5 Wait (N. Greeks)
6 Carry my heart is ringing in the distance (Fet)
7 As of hot ash ( A. Fet)
8 Do not depart from me (Fet)
9 He so loved me (an old classic song)
10 If only I knew (AK Tolstoy)
11 mountain quietly flew soul heaven (AK Tolstoy)
12 On the ground dusk fell (N. Berg (from the Adam Mickiewicz)
13 days whether the reigns (A. Apukhtin)
14 I Do in the field so no grass, which was (Surikov)
15 the night before (A. hamsters)
16 Gypsy Song (J. Polonsky)
1917 We are the meek shining star (A. Plescheev)
MP3

2. COMPLETE SONGS, VOLUME 2

Children's Songs Op.54
a grandmother and grandson (A. Plescheev)
Bird 2 (A. Plescheev)
3 Spring (A. Plescheev)
4 My garden (A. Plescheev)
5 Legend (A. Plescheev)
6 On the beach (A. Plescheev)
7 Winter Night (A. Plescheev)
8 (Cuckoo (A. Plescheev (from K. Gellert)
9 Spring (A. Plescheev)
10 Lullaby in the Storm (A. Plescheev)
1911 Flower (A. Plescheev (from LA Ratisbonne)
1912 Winter (A. Plescheev)
13 Spring Song (A. Plescheev)
Fall 1914 ( A. Plescheev)
15 Swallow (Surikov (from T. Lenartovich)
16 children's song (K. Aksakov)
Six romances or.73
17 We were sitting with you (D. Ratgauz)
18 Night (D. Ratgauz)
19 In this moonlit night (D. Ratgauz)
1920 Sunset (D. Ratgauz)
21 among the gloomy days (D. Ratgauz)
22 Again, as before (D. Ratgauz)
MP3

3. COMPLETE SONGS, VOLUME 3

a painful, and sweet (E. Rostopchina)
2 My genius, my angel, my friend (A. Fet)
3 you're the only one (A. Plescheev (from Kristen A.)
4 Do not Ask (A. Strugovshchikov (from Goethe)
5 Death (D. Merezhkovsky)
6 No, only someone who knew (L. Mey (from Goethe)
7 Why? (L. Mey (from Goethe))
8 First Date (K. Romanov)
9 Not a word about my friend (A. Plescheev by M. Hartmann)
10 Pimpinela (florentine song) (Florentine Song)
11 Sleep, a sad one (AK Tolstoy)
12 Mg I box (K. Romanov)
13 Already in the room lights were extinguished (K. Romanov)
14 Serenade (K. Romanov)
15 Why? (L. Mey)
16 I do not like you (K. Romanov)
17 Do not believe me, my friend (AK Tolstoy)
18 terrible minutes (NN (Tchaikovsky)
19 Sleep (D. Merezhkovsky )
20 I at first you do not love (K. Romanov)
21 The cornfields yellow (AK Tolstoy)
MP3

4. COMPLETE SONGS, VOLUME 4

1 How to build: you fool! (L. Mey)
2 Not long we walk (N. Greeks)
3 yesterday night (A. Hamsters)
4 I can say to you (Fet)
5 Simple (Nekrasov)
6 For a window into the shadow flicker (J. Polonsky)
7 night (J. Polonsky)
8 Nightingale (A. Pushkin (from B. Stefanovic)
nine simple words (NN (Tchaikovsky)
10 I would like to form a single word (L. Mey (from Heine)
11 Canary (L. Mey)
1912 Spring Blue Eyes (Mikhailov (from Heine )
13 So what (NN (Tchaikovsky)
14 Oh, if only you knew (A. Plescheev)
15 O sing that song the same, the native (A. Plescheev (from F. Gimmens))
1916 Reconciliation ( N. Shcherbina)
17 bless you, Forest (AK Tolstoy)
18 Evening (L. Mey (from Shevchenko)
19 It was early spring (AK Tolstoy)
20 Amid the din of the Ball (AK Tolstoi)
1921 feat ( A. Hamsters)
22 songs Mignon (F. Tiutchev (from Goethe)
MP3

5. COMPLETE SONGS, VOLUME 5

1 No, never call (N. Greeks)
2 Serenade (E. Tyurketi)
3 Frustration (P. Collin)
April Serenade (E. Tyurketi)
5 Let the winter ... (P. Collin)
6 Tears (A. Blanshkott)
7 Enchantress (P. Collin)
8 O, if only you could (AK Tolstoy)
9 No reviews, word or Hello (A. Apukhtin)
10 Modern Greek song (A. Maikov)
11 My spoiled (L. Mey)
12 Dead Love (M. Lermontov)
13 Thee I saw in a dream (K. Romanov)
1914 Oh no! For the beauty you do not love me (K. Romanov)
15 Understand once (Fet)
16 I with her have never said (L. Mey)
17 At bedtime (H. Ogarev)
18 See: von cloud (N. Greeks)
19, Ali's mother gave birth to me (L. Mey)
20 kinglets (L. Mey)
21 Serenade of Don Juan (AK Tolstoy)
MP3

Hope Obukhov - Tchaikovsky Romances - Nadezhda Obukhova - Tchaikovski `s songs

Party Piano MI sugars.

1. Reconciliation.
2. Not a word about my friend.
3. I dissolved the window.
4. Already extinguished the lights in the rooms.
5. On the child.
6. In the bright light of dawn (on fr. Lang.).
7. Where are you flying (in Fr. Lang.).
8. Pimpinella (IT. Lang.).
9. Am I in a field of grass, which was not so.
10. We are the meek stars were shining.
11. Weak fading light of a candle.
12. Terrible moment.
13. That was in early spring.
MP3

Marina Filippova - Tchaikovsky Romances - Marina Fillipova - Tchaikovski `s songs

16 SONGS FOR CHILDREN Op. 54

1. Grandmother and granddaughters (A. Plescheev)
2. Bird (A. Plescheev)
3. Spring (A. Plescheev)
4. My garden (A. Plescheev)
5. Legend (A. Plescheev)
6. On the shore (A. Plescheev)
7. Winter Evening (A. Plescheev)
8. Cuckoo (A. Plescheev on X. Gellert)
9. Spring (A. Plescheev)
10. Lullaby in the Storm (A. Plescheev)
11. Flower (A. Plescheev)
12. Winter (A. Plescheev)
13. Spring Song (A. Plescheev)
14. Autumn (A. Plescheev)
15. Swallow (Surikov)
16. Children song (K. Aksakov, 1881)

6 ROMANCE Op. 65

17. Serenade (E. Tyurketi)
18. Disappointment (P. Collin)
19. Serenade (P. Collin)
20. October Poem (P. Collin)
21. Tears (AMBlanshkott)
22. Rondell (P. Collin)
Artists:
Marina Filippova, mezzo-soprano
darbashin Dimitri, piano
MP3

Nina Rautio - Tchaikovsky Romances - Nina Rautio - Tchaikovski `s songs

1. If only I knew. Or.47 number 1
2. He was so fond of me. Or.28 № 4
3. Not depart from me. Or.27 № 3
4. Canary. Or.25 № 4
5. Song of Zemfira (Sergei Leiferkus - the reader). Or0 number 2
6. Song of the Gypsies. Or60 № 7
7. And painful and sweet. Or.6 № 3
8. Terrible moment. Or.28 № 6
9. Forget so soon. Or.0 № 4
10. I'm not in the grass, which was not so. Or.47 № 7
11. Carry my heart. Or.0 № 5
12. Lullaby. Or.16 number 1
13. Tell me, what in the shadow of the branches. Or.57 number 1
14. Evening. Or.27 № 4
15. We are the meek stars were shining. Or.60 № 12
16. Wait. Or.16 number 2
17. On sleep. Or.27 number 1
18. Day Is reigns? Or.47 № 6
Skrigin Simon - piano
All Saints' Church, Petersham, Surrey
MP3 Lossless

Nikolai Kopylov - Romances Tchaikovsky - Nikolai Kopilov - Tchaikovski `s songs

01. Among the noisy ball (Article by Tolstoy, op. 38, № 3)
02. NO, ONLY ONE WHO KNEW (Article L. Mey (from Goethe), Op. 6, № 6)
03. FEAT (Article Khomiakov, cit. 60. № 1)
04. EARTH Dusk PAL (Art. N. Berg (from the Adam Mickiewicz), Op. 47, № 3)
05. Not a word, O my friend (v. A. Pleshcheyev (from Garman), Op. 6, № 2)
06. We sat with YOU Art. (D. Ratgauza, Op. 73. № 1)
07. SERENADE Don Juan (ART A. Tolstoy, op. 38, № 1)
08. Reconciliation (Art. N. Shcherbina, Op. 25, № 1)
09. Terrible moments (Art. Tchaikovsky, Op. 28, № 6)
10. Bless you, forests (Articles by Tolstoy, soch.47, № 5)
11. SOLUTION I WINDOW (Art. KR, Op. 63, № 2)
12. MAD NIGHT (Art. A. Apukhtin, Op. 60, № 6)
13. Why? Art. L. Mey (from Goethe), Op. 6, № 5)
14. Again, as before ONE (Art. D. Ratgauza, Op. 73, № 6)
15. Would like in a single word (Article L. Mey (from Geynv), Op. 1875)
16. NIGHTINGALE (Art Pushkin, Op. 60, № 4)
17. DAY LEE reigns (v. A. Apukhtin, Op. 47, № 6)

Nikolay Kopylov - Vocals
Mark Weiner - piano
Record 2005
MP3

Tchaikovsky Romances - Various Artists - Various artists - Tchaikovski `s songs

01 (01) "Bless you, forests "
BR Gmyrya (bass) (1963)
ff. AKTolstoy

02 (02) "In the garden, near a ford"
GP Sakharov (soprano)
ZA Dolukhanova (mezzo-soprano)
BM Cosel, Piano (1947-1950)
ff. Shevchenko, trans. Surikov

03 (03), Ali's mother gave birth to me, "
SP Transfiguration, vocals (1946)
ff. Mickiewicz, trans. L. Mey

04 (04) "In this moon night "
S. Lemeshev (tenor) (1962)
BM Kozel, piano
ff. D. Ratgauza

05 (05) "Spring"
ND Spiller (soprano) (1958)
SK Stuchevskiy, piano
ff. AN Pleshcheeva

06 (06) "Evening"
S. Lemeshev (tenor) (1960)
cl. L. Mey, from Shevchenko

07 (07) "yesterday night"
N. Isakov (mezzo-soprano) (1960)
E. Brook, piano
ff. Khomiakov

08 (08) "In the bright light of dawn"
P. Nortsov (baritone) (1930-1950)
N. Walter, piano
ff. P. Collin, Russ. Text A. Gorcchakova

09 (09) "Spring Eyes Blue"
A. Orfenov (tenor)
ff. H. Heine, trans. Mikhailova

10 (10) "Mountain quietly flew soul heaven"
I. Kozlovsky (tenor)
ff. AKTolstoy

11 (11) "Day Do reigns "
ZA Dolukhanova (mezzo-soprano) (1948-1953)
BM Kozel, piano
ff. AN Apukhtina

12 (12) "Dremlyut Chinar" (old song)
N. Obukhov (mezzo-soprano) (1961)

13 (13) "If you only knew"
I. Kozlovsky (tenor) (1966)
ff. AN Pleshcheeva

14 (14) "Outside, in the shadow flicker"
L. Sobinov (tenor) (1901)
Sl. YP Polonsky

15 (15) "To forget so soon"
MP Maksakova (soprano) (1938-1950)
BA Yurtaykin, piano
ff. AN Apukhtina

16 (16) "Sunset sun"
VI Borisenko (mezzo-soprano) (1957)
ff. D. Ratgauza

17 (17) "Why"
I. Arkhipova (mezzo-soprano) (1965)
SK Stuchevskiy, piano
Sl. L. Mey

18 (18) "Winter"
S. Lemeshev (tenor)
ff. AN Pleshcheeva

19 (19) "And the pain, and sweet "
ZA Dolukhanova (mezzo-soprano) (1950)
Sl. E. Rostopchina

20 (20) "How to hurt me"
PG Lisician (baritone)
Sl. T Galina

21 (21) "As over the hot zoloyu"
S. Lemeshev (tenor) (1947)
SK Stuchevskiy, piano
Sl. Tyutchev

22 (22) "Lullaby"
G. Oleinichenko (soprano) (1965)
In accom. ensemble of violinists and cellists
quartet Bolshoi Soviet
by Y. Reentovicha
Sl. L. Mey

23 (23) "canary"
G. Oleinichenko (Soprano) (1965)
In accom. ensemble of violinists and cellists
quartet Bolshoi Soviet
by Y. Reentovicha
Sl. A. Maikova

24 (24) "Cradle Song in a storm "
S. Lemeshev (tenor) (1962)
BM Kozel, piano
ff. AN Pleshcheeva

25 (25) "Korol'ko"
GM Nelepp (tenor) (1963)
Sl. L. Mey

26 (26) "Cuckoo"
S. Lemeshev (tenor)
SK Stuchevskiy, piano
Words AN Pleshcheeva (from K. Gellert)

27 (27) "Only you alone"
SP Transfiguration ( soprano) (1949)
Sl. A. Christen, per. AN Pleshcheeva

28 (28) have passed the passion "
S. Lemeshev (tenor) (1962)
Kudryavtseva (mezzo-soprano)
BA Kozel, piano
Sl. AKTolstoy

29 (29) "On the ground dusk fell "
ZA Dolukhanova (mezzo-soprano) (1958)
Sl. Mickiewicz, trans. N. Berg

30 (30) "Serenade of Don Juan"
S. Lemeshev (tenor) (1962)
Sl. AKTolstoy

31 (31) "Oh, if only you knew"
S. Lemeshev (tenor) (1962)
ff. AN Pleshcheeva

32 (32) "Oh the lights went out in the room"
ZA Dolukhanova (mezzo-soprano) (1951)
Sl. KR

33 (33) "We the stars shone meek "
BR Gmyrya (bass) (1963)
ff. AN Pleshcheeva

34 (34) "Why"
BR Gmyrya (bass) (1963)
Sl. H. Heine, trans. L. Mey

35 (35) "Autumn"
BR Gmyrya (Bass) (1963)
ff. AN Pleshcheeva

36 (36) "Last Minute"
BR Gmyrya (bass) (1963)
Sl. NN (Tchaikovsky)

37 (37) "We were sitting with you"
BR Gmyrya (bass) (1963)
Sl. D. Ratgauza

38 (38) "Tell me what in the shadow of the branches"
S. Lemeshev (tenor) (1962)
BA Kozel, piano
Sl. V. Sologub

39 (39) "My garden"
VV Barsov (soprano) (1961)
ff. AN Pleshcheeva

40 (40) "Not long we walk"
VI Borisenko (mezzo-soprano) (1957)
Korolkov, piano
ff. N. Grekov

41 (41) "My genius, my angel, my friend"
N. Isakov (mezzo-soprano) (1960)
E. Brook, piano
Sl. Fet

42 (42) "Night of insane"
AF Vedernikov (bass) (1960)
Sl. AN Apukhtina

43 (43) On the Beach
S. Lemeshev (tenor)
NG Walter, forteppiano
ff. AN Pleshcheeva

44 (44) "He loved me"
Igor Maslennikov (soprano) (1954)
ff. AN Apukhtina

45 (45) "The cornfields yellow "
MO Reizen (bass) (1954)
ff. AKTolstoy

46 (46) "Do not depart from me"
ZA Dolukhanova (mezzo-soprano) (1948-1953)
BM Kozel, piano
ff. A. Fet
47 (47) "Serenade" ("Oh, baby ...") (lyrics KR)

48 (48)" Reconciliation "(lyrics by N. Shcherbina)

49 (49) "No, the only one who knew" (lyrics by Goethe, trans. L. Mey)

50 (50) "Ask not" (Lyrics by Goethe, trans. Strugovshchikov AA)

51 (51) "If only I knew" (lyrics by A. Tolstoy)

52 (52) "Gypsy Song" (lyrics by J. Polonsky)

53 (53) "Carry My Heart" (lyrics by A. Fet)

54 (54) "That was in early spring" (lyrics by A. Tolstoy)

55 (55) "Serenade" ("Where are you flying ...")( lyrics. A. Tyurketi )
I. Arkhipova (mezzo-soprano) (1965)
SK Stuchevskiy, Piano

56 (56) "No, never call"
SI Migai (1948)
ff. A. de Musset, trans. N. Grekov

57 (57) "No echo, no word, no greeting,"
Lemeshev S. (1951)
ff. AN Apukhtina

58 (58) "Night" ("Why I Love You")
Gmyrya BR (1953)
ff. J. Polonsky

59 (59) "Serenade of Don Juan"
Gmyarya BR (1963)
ff. AKTolstoy

60 (60) "Not a word about my friend!"
Dolukhanova Z. (1958)
ff. A. Pleshcheyev

61 (61) "First Date"
Lemeshev S. (1949)
ff. KR

62 (62) "Understand once"
A. Pirogov (1947)
BM Yurtaykin, piano
ff. A. Maikova

63 (63) "Sorry, do not remember the days of falling"
Lemeshev S. (1947)
SK Stuchevskiy, piano
ff. N. Nekrasov

64 (64) "Simple Words"
D. A.
ff. Tchaikovsky

65 (65) "Let the winter"
Lisician PG (1957)
N. Korolkov, piano
ff. P. Collin, per. AA Gorcchakova

66 (66) "Am I in the field so no grass, which was"
N. Obukhov (1943)
ff. IZ Surikov

67 (67) "Song of Zemfira"
Z. Dolukhanova
ff. Pushkin

68 (68), "Mignon's song"
T. Tugarinov
ff. Tyutchev of Heine

69 (69) "Pimpinella" (Florentine Song)
Arkhipov (1966)
Sl. drug.

70 (70) "Feat"
Petrov (1965)
SK Stuchevskiy, piano
ff. Khomiakov

71 (71) "I would like to form a single word"
Petrov (1965)
SK Stuchevskiy, piano
ff. L. Mey from H. Heine

72 (72) "Amid the din of the ball"
Petrov (1965)
SK Stuchevskiy, piano
ff. Tolstoy

73 (73) "It takes all"
Lisitsian
ff. D. Ratgauza

74 (74) "I'm alone again"
PG Lisician
ff. Bunin from Shevchenko

75 (75) "Disappointment"
Kozlovsky (1966)
ff. P. Collin

76 (76) "I will not like me"
M. Maksakova (1946-50)
BM Yurtaykin, piano
ff. KR

77 (77) "A tear trembles"
Kozlovsky (1956-1966)
ff. Tolstoy
MP3

Friday, January 21, 2011

Tenergy Universal Smart Charger Manual

- Vocal Parallels - Lauri-Volpi - Voci Parallele - Galliardi - Raisa

J. Lauri-Volpi

VOCAL PARALLELS

Translated from Italian Yew, Ilyina

CHECHIL Gallardo

This singer Born in Rome, her voice was different density and endurance of stone growing in her native land of the pines. Tall, strong build, it is justified свою фамилию.*

* Gagiiardo — смелый, напористый.

                   Пишущий эти строки видел и слышал ее в 1922 году в «Бале-маскараде», marching on the stage of the Madrid Theatre "Real". She just sang the song of the third act, and suddenly the words "Like a stalk of dried leaving a" staggered and lost consciousness, fell to the forefront. Most of the public spared actress and expressed sympathy, some began to banter - the tragic, and funny in our world goes hand in hand. From that day on Cecilia Gagliardi as a singer did not speak.

At least some of these cases be explained by improper breathing technique. It is known that singing breathing men and women differently: phrenicocostal in women phrenicocostal-abdominal in men. It is not excluded that a certain kind of diseases are generated in the female body use of abdominal type of breathing. Nizhnebryushnoe deep breath causes irritation of tissues of the uterus that can lead to development of the disease, sometimes incurable. Add to this the wrong breath yet and the impact of dramatic excitement, which, acting on the singer's every day, can cause neurosis, giving fonasteniyu against the general disorder of the body. These observations are confirmed by no means rare examples of psychophysiological disasters occurring with vocalists, where the singing has some higher law to exist, where it is not a product of the spirit, but merely a fact of physiology, there is short-lived, like ashes, like a sigh, as has been said and the word died away.

vain, we would deny the spirituality of singing, its ultimate justification in the minds of those singers who proved that the decline has no control over them, that the wear rates they are not threatened. Conversely, the threat of decline constantly hangs over the singers, who, whether through disability, inexperience or ignorance, have not developed in themselves an artist. That artistry is necessary complement to technology, it was he who protects the voice from the devastating adversary. Positive science records only external events that can be calculate, measure and predict she learns how to use the tool, which is available to provide the nature of the singer and his own body. But it's not all. When you purchased your playing skills on your instrument, there is little to be able to extract from it more or less perfect note. Need go beyond biology and beyond vocal technique, to enter into direct contact with the reality of the heart. And when your spirit take possession of this reality, your body become easy, physical effort will decrease, breathing easily cope with all the obstacles, the emission of sound will be spontaneous and natural.

We have witnessed the extinction of the magnificent votes in recent memory ended abruptly, and sometimes the lives of their owners. Cecilia Gagliardi is still alive, but her voice, as if mummy, embalmed dreams and memories buried in the sarcophagus of her soul. Today, it could, together with Carmen Melis, said: "Bring me back the theater, I would sing quite differently. "

Cecilia Gagliardi during the First World War and the preceding her five years she sang mostly in Verdi. And Verdi's adamant in their demands. It requires the vote within his capabilities. Big voices not able to relax on pritushennyh notes on air singing, "stopped", or wear a short period of time, or are forced to change the repertoire and performing style. Think even about what kind of exercise for the singer is the third act of "Aida"! Not only that aria Aida "here Radames waiting "is full of challenges and full of sudden high notes. Is followed by two duets and terzetto in which the passions bordering with the physical Violence: Radames and Amonasro attacking (in their own way and for their own interests) to any innocent "dear Aida." Not there is a singer, whose vocal apparatus and whose body is at the end of this act would not have been ishlestany fatigue. For nearly an hour shaking the diaphragm bodies lower division abdomen, flailing at him as if the language on the walls of the bell.

no artistry, no perfect skills no vote will not be able over time to withstand such a grueling workload, it is ruthlessly imposed on the nerves and vocal chords voltage, this irreplaceable loss of energy required for singing (inspired by it) in a high tessitura, where the need for clear slovopodachi, superimposed on the expression of the image becomes a real torture.

However, it is possible that the incident occurred with Gagliardi, was summoned, and other causes. The author just wanted to share their own views on this matter. But be that as it may, in the evening amazing voice was silent forever.

ROSE RAIZA

; The winner of votes, a remarkable volume and timbre of color, Raiza Rose attracted attention in Rome, speaking in "Frances" Dzandonai. She attacked the audience armed with their youth and beauty, and she, of course, was Frances, and nobody else it could be. Paolo played Aureliano Pertile, a great artist and a humble man, worthy of overshadowing the beauty of her voice and face.

After a time in Buenos Aires, Teatro Colon had to happen unbelievable. Let's "Aida." The crowd was eager to hear the world-famous by Enrico Caruso. Expect so much and with such a bias, as a result of voice Caruso, zatisnuty in difficult tessitura of the first act the romance is not found already included in the legend of the merits, thus the public interest was switched to "paradise creature, the Nile valley lovely flower." Radames walked to the sidelines a daughter, "Grim Ethiopia" was declared the winner of the vocal tournament. Tournament purely conventional, since Caruso's voice, deeply elegiac and sentimental, is not suited to the heroic characters created by Verdi.

Voice as Rosa Raizy embracing three octaves, which sounded remarkably smoothly, seemed to be deliberately created for this napoennoy hot breath of the desert music. Melodic, lined, clear, like polished from top to bottom, he enthralls audiences and experts, and the profane. Within five years, she reigned in the Chicago Opera House, but the lake environment of Michigan for her was harmful. In 1933 she, along with Lauri-Volpi sang in "The Huguenots" at the Verona Arena. By this time She has lost no value, no, but the brilliance of their sound. A few months later she sang in "Tosca" on stage opera vishiyskoy again with Lauri-Volpi and Vilone Borghese. Her statuesque figure and a beautiful, noble posture, his face as if carved from ivory, delighted. But her vocals like podernulsya film, voice, where previously a single note as it flowed from the other X-ray looked like before. Recent unsuccessful childbirth almost dried up the sound source.

PARALLEL Gallardo - RAIZA

These two voices could be called the twins (they were characterized by the same magnitude and FIR), if they did not differ in tone and manner of emission. In addition, singer-Roman woman and singer-polka could not would resemble each other like two drops of water. Bright timbre coloration and chanted diction were inherent in the first; dark, most northern timbre and slurred diction is characterized by the latter. But the throat of both spawned notes, equally rich in sonority, even if followed by a vocal jet directed in resonators with unequal skill.

Rosa Raiza studied singing in Milan , at the very Marquis, who prepared the Toti Dal Monte. It is curious that the courses have the same teacher on the same system can lead to results not just different, but quite the opposite in the sense of the relation between word and sound, this perennial problem faced by any vocal school and that will not be allowed to until vocal pedagogy will not be able to reconcile the biological side of sound production with psychology.

Positivism of this century and penetrated into the region of the vocal art in which the exact sciences is almost nothing better to do than nepochatym edge of the work available there for those who study mental life of man. Intelligence analyzes, installs differences classifies lifeless and living matter, organic and inorganic, but the mysterious and ever-new relationships that arise in the mind of any singer in the course of his work on the operatic stage, yet escape sight of intelligence. There is something intangible and deeply personal, that is not subject to rational thought as long as it can not be worked out technical exercises or taken over by imitation. Sagacity of his criticism refuses to acknowledge the existence of the complexities of the soul, in this lies the main reason why we prematurely lose countless singing voice, large and sonorous, make people happy, but not delivered, so to speak, psychologically.

To save the song from the banality of animal howls from causing nausea profanity , There is only one drug - developed for teachers of singing something like a vocal or fonopsihologii metaphysics, without which no speakers or singers, nor the actors never will find those "something" and "how" that throbbed in her voice singer Claudio Muzio or actress Eleonora Duse. But who, speaking of metaphysics, and even in connection with the singing can be sure that he did not rashohochutsya in the face and did not declare his holy fool?

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Rosa Raisa

Bellini - Norma

Atto I - Casta Diva (Pathe 60088-1917, Vocalion 55001-1920)

Meyerbeer - L'Africaine

Act II - Sur mes genoux (Pathé 60055-1917)

Verdi - Ernani

Act I - Ernani, Ernani involami (Brunswick 15174-1929)

Verdi - Il Trovatore

Act IV - Fear of me ... D'amor sull'ali pink (H & D Vocalion 54007-1918)

Act IV - Mira, of bitter tears (with Giacomo Rimini - Brunswick 90004-1928)

Verdi - The Sicilian Vespers

Act V - Mercè beloved friends (Vocalion 30115-1921)

Verdi - Aida

Act III - O my country (Vocalion 7007, 1922)

Mascagni - Cavalleria rusticana

Single Act - you know, or mom (H & D Vocalion 30010-1918, Brunswick 15174-1929)

Puccini - Madama Butterfly

Act II - Un bel dì vedremo (Vocalion 70036-1924)

Kalinka (trans.) (Vocalion 30160-1922)

Golden Hair (trans.) (Pathé - 1917)

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Lauri-Volpi - Vocal Parallels - Lauri-Volpi - Voci Parallele - Capella - Cigna

J. Lauri-Volpi

VOCAL PARALLELS

Translated from Italian Yew, Ilyina

dramatic soprano

Juanita CHAPEL

; This singer, whose voice was endowed with a purely dramatic sound power, was born in Argentina. In 1912, she sang Aida in the play, staged at the Rome stadium In other words, in the open air (it was one of the first grand experiment of this kind), and then firmly established her nickname "Taman in a skirt." Its partners have been first-class singers: Gabriella Bezantsoni, Kodo tenor, baritone Gone. All of them were voices ringing metal. And yet, when all this huge space was filled with an avalanche of sound, the ears, like a battering ram, orchestra, chorus and soloists instantly faded. The impression was so deep that the actress immediately engaged by the next winter season to sing Norma in the theater "Costanzi. And sonic battering ram was brought before the audience double sacred oak druids invested in the mouth of high priestess, who led persuading recalcitrant head of the Roman general. Second vote, which could compare with it in terms of sonority, the ability to penetrate any choir and orchestra, it was not and I think it never will be. And then? Then the singer suffered disaster. While in the prime of his youth and strength, she was struck by a terrible, incurable disease, and from the tops of his greatness nizrinulas into the abyss of oblivion. She disappeared, and today you will not find mention of it, as if her leg had never set foot on this planet.

In contrast, the vast majority of singers Juanita Capella had no voice, "cone-shaped" (ie, tapering to uppercase), and wide, cylindrical, in other words, uniform and had the same "thickness" from bottom to top. Singer stands alone, this giant on the opera stage, who knew a lot of great voices, among them such "vocal pipes," as Pasini-Vitale, Poly-Randachcho, Eugenio Burtsev and Cecilia Gagliardi .*

* Speaking of voices, going beyond the normal, we should recognize worthy of special attention to two of foreign singers. I'm talking about Lehman and Flagstadt, singer-vagneristkah that, for all its immensity of sound did not dare yet to take up the "big" Italian repertory - for the part of Norma, eg. It is known that Flagstadt worked on this opera a good two years under the leadership of the venerable maestro Deller from the theater at the Metropolitan and at the end all lay down its arms. She refused to sing this role, which, besides a large and beautiful voice, requires a virtuoso technical skill.

Review on the biography of the singer (in English)

GINA CHINYA

; Gina French's voice is somewhat like a voice Chini Argentine Chapel. It sounded bright and wide in the upper register, but a few pritemnenno and gloomy at the bottom, while keeping the scale of the entire range. Chinya thundered performance as Turandot, Amelia, Gioconda. Bright external data helped her reign on the Italian and South American opera stages from 1934 to 1939, eclipsed Bianca Skachchati. This was followed by a duel between Chiney and Mary Canillo. This fight did not last long: Chinya suddenly and inexplicably lost vocal form and prematurely left the stage. It was a big disappointment for lovers of opera, accustomed to her charm, lightning prosverkam temperament, to her singing, in which loyalty to the text combined with hot spontaneity sounding. Such arias as "O sorrow, you are the gift of a sinister" from "Gioconda," as "love zaley rays" from the "Ball-Masquerade" or "Hear, stranger" from "Turandot" performed by her, showed striking vocal abilities, when added to the uncommon experience of a musician (Chinya was still and excellent pianist). The famous duo of the third act of "Bala-masquerade, the most beautiful and endearing piece of the whole opera, not one singer after She did not sing so brilliantly sound and unrestrained impulse.

What's the truth, clear Italian pronunciation, good diction, this French could not boast. The audience was delighted with her magnificent voice, but among the passages and hues, wavelets and accents could not "find" words. Neglect of the same word hurts vocal apparatus and reduces the expressiveness of the vocal line. If the word and sound do not go hand in hand, much of the individual actor remains unexpressed. The overall impression will be carved up as dark spots, which do not compensate no, even the lightest sound. Not to mention the fact that the incoherent, poorly articulated floor dulls the listener's attention, preventing him to empathize the feelings that are occurring spring drama, there are grounds to suspect that the reason for the unexpected decline of Gina Chini partly lies in the Her lack of "desire to say", which features the singer tool from all other musical instruments.

PARALLEL CHAPEL - CHINYA

Voice Choir Juanita was not as beautiful as the voice of Gina Chini, but it had more fullness and volume. Chanted, dramatic slovopodacha and commitment to higher education, the "perfect" the embodiment of his character gave the performance of Capella sculpture relief.

Inherent Chine gift of rationalist thought was pushing it to all sorts of experiments; she is constantly weighing the various probabilities, calculates and trying, trying to solve the eternal riddle scene podmostok. In this case, however, it always knew how, by mobilizing all its strengths, owning interests of the public and never disappoint her, despite the absence of verbal expression, as described above.

Both of them were singing repertoire, requiring enormous voice data, ultimate commitment and associated costs such nervous and physical energy, which lie at the limit of endurance of the female body. And both were forced to capitulate long before the deadline.

Gina Chinya, entering into fashion, burn themselves recklessly, trying to one hundred percent use the favorable moment, her moment. In this race with obstacles she left behind Skachchati and Arangio-Lombardi, but the rear its already overtook another competitor, younger and stronger than her. Fear of defeat and the fever competition deprived her of proper breathing: first, her voice has appeared variegation, then M & As, and finally she fell silent forever.

Chapel for several years, lost not only his voice, and lives. Theatre - it's an octopus-spider. It can deprive the singer of his weapon, and can kill.

say in parenthesis good word of one such timeless vocalist who disarmed, the Giannini Russ. While waiting for his last day she moved in the House of Verdi * whose walls housed many artists who have suffered life-shipwreck. Sublime and soulful singer, she was dressing opera. Today everyone thinks its dead, like her former rival Madzoleni Esther, who teaches at Palermo. Next to a pair of Capella - Chinya by association should remember a couple of Russ - Madzoleni.

Do that and the other the voices of the heroic sound zvenevshie metal. Similar in range and singing style, they were unequal in size. Voice of Russ was much greater volume, and while listening to smooth from top to bottom.

Thus, four excellent - and completely neglected to vote. The ashes of oblivion cover of these living dead. Yes, the actor, stopped singing, it is considered dead, even if he is alive. What is left to us from the four former famous singer? A bad record, hum Gina Chiney - it's not even the shadow of her brilliant, some Star soprano. Microphone, alas lied and at this time.

* House of Verdi - hospice for the elderly and the poor singers founded by Giuseppe Verdi.

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The Legendary Gina Cigna

CD 1

C. Gounod - Faust:
Sir, is granted (with N. De Anglis) - 1929

G. Verdi - La Forza Del Destino:
Me pilgrim and orphaned - 1930

G. Verdi - La Forza Del Destino:
Mother, piteous virgin - 1930

C. Gounod - Faust:
How I wish I could - 1930

C. Gounod - Faust:
All "steep, all" slope (with Civil P., T. Pasero) - 1930

A. Ponchielli - La Gioconda: Suicidio
- 1931

U. Giordano - Andrea Chenier: His mother died
- 1931

G. Verdi - Un Ballo in Maschera: Morro
, but first in grace - 1932

A. Boito - Mefistofele:
Knight
illustrious and wise (with I. Mannarini, Civil P., T. Pasero) - 1932

A . Catalani - La Wally: Ne
"maidunque - 1932

F. Cilea - Adriana Lecouvreur
I am I" humble servant - 1932

F. Cilea - Adriana Lecouvreur Poveri
flowers - 1932

G. Puccini - La Fanciulla del West:
there in Soledad - 1932

G. Verdi - Aida:
Return victorious - 1937 CD 2

G. Verdi - Aida:
Here you will Radames - 1937

G. Verdi - Aida: Act III Duet
(with B. Gigli) - 1937

V. Belini - Standard:
seditious voices - 1937

V. Belini - Norma: Casta Diva
- 1937

V. Belini - Standard:
Ah Beautiful, Return to me - 1937

G. Verdi - Aida:
The fate of "weapons (with Elmo C.) - 1941

A. Ponchielli - La Gioconda:
L "as love and the light (with C. Elmo) - 1941

F. Cilea - Adriana Lecouvreur:
I am his (with C. Elmo) - 1941

G. Verdi - Otello:
God you merry (with A. Pertile) - 1942

R. Zandonai - Francesca da Rimini:
Welcome, Lord (with A. Ziliani) - 1942

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Bellini - Norma Norma

- Gina Cigna,
Adalgisa - Ebe Stignani;
Oroveso - Tancredi Pasero;
Pollio - Giovanni Breviario;
Flavio - Emilio Renzi;
Clotilde - Adriana Perris.

EIAR Symphony Orchestra and Chorus of Torino, 1937
Conducted by Vittorio Gui.

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Puccini - Turandot

Franco Ghione, Director (1938)
Turandot Calaf Gina Cigna, Francesco Merli

Liu Luciano Neroni, Magda Olivero
Timur
El Emperador Armando Giannotti Afro Poli

Ping Pang Pong Gino Adelio Zagonara
the Lord
A MandarinGiuseppe Bravura
Orchestra: Turin RAI de

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Giannina Russ Mascagni - Cavalleria rusticana Turiddu mi tolse l'onore

Giannina Russ Rossini - Semiramide Dolce pensiero - 1904

Giannina Russ Verdi - Aida Ritorna vincitor - 1905

Wednesday, January 12, 2011

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Russian arias for mezzo and contralto - Music - Russian arias for mezzo and alto - free scores

Russian arias for mezzo and contralto - notes

Russian arias for mezzo and alto - free scores

Here I share my collection of music from arias for mezzo and contralto from operas by Russian composers.
Composers in alphabetical order by surname.
Divisions chronology no!
collection is constantly updated.
Watch!

Here I would like to share some scores with Russian arias for mezzo and contralto.
Composers are given in alphabetical order.
Here is no cronological order!
The collection is frequently updated!
Follow the changes!

Alexander Borodin - Borodin Aleksandrov

Prince Igor - Prince Igor

Konchakovna `s cavatina - Cavatina Konchakovna

Alexander Dargomizhskii - Alexander Dargomyzhsky

The stone guest - Stone Guest

Laura `s first song-the first song of Laura

Mikhail Glinka - Mikhail Glinka

A life for the Tzar - Life for the Tsar

Vanya `s song - Song Vani

Ruslan and Lyudmila - Ruslan and Lyudmila

Ratmir `s aria - Aria Ratmir

Modest Moussorgsky - Modest Mussorgsky

The Fair at Soroshchintsi - Sorochinskaya Fair

Khivrya `s ; scene and song - Scene and Song Khivrya

Boris Godunov - Boris Godunov

The Nurse `s aria - Aria Nurse

Marina` s aria "How tediously and sluggishly" - Aria Marina

Scene and Marina `s aria - Scene and Aria Marina

Khovanshchina - Khovanshchina

Marfa's Divination - Divination Martha

Marfa `s song - Song Martha

Salambo - Salammbo

Salambo `s aria - Aria Salammbo

Sergei Prokofiev - Sergei Prokofiev

Alexander Nevski - Alexander Nevsky

Girl` s song - Song Girls

Nicolai Rimski-Korsakov - Nicola Rimsky-Korsakov

Kashchey the Deathless - Kashchei immortal

Arioso of Kashcheyevna - Arioso Kashcheyevna

The Snow maiden - Snow Maiden

Lel `s third song - the third song Lola

Spring Beauty` s aria - Aria Spring

The Tzar `s Bride - The Tsar's Bride

Ljubasha `s aria from 3rd act - Aria Lyubasha" Here, how I survived ... "

Igor Stravinski - Игорь Стравинский

Oedipus Rex - Царь Эдип

Nonn`erubeskite, Reges - Ne probentur Oracula

Sergei Taneev - Сергей Танеев

Orestea - Орестея

Clytemnestra`s scene and arioso - Scene and aria Clytemnestra

Pyotr Tchaikovski - Pyotr Tchaikovsky

Enchantress - Enchantress

Princess's Arioso - Arioso Duchess

Queen of Spades -Queen of Spades

Pauline's Aria

The Maid of Orleans - Maid of Orleans

Adieu forets

Rodion Shchedrin - Rodion Shchedrin

Non only love - not only love

Varvara `s song and ditties - Song and ditties Barbara

Wednesday, January 5, 2011

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Nodar Andghuladze - Homo Cantor - The Mystery of Irina Arkhipova.

Nodar Andghuladze

Homo Cantor. Essays vocal iskustssva.

MYSTERY Irina Arkhipova

(Interview with G. Orehanovoy. "Our contemporary», № 4, 2000)

- I have repeatedly had to say about the unique role of Arkhipova in history muse-ki. To move the contest Glinka, I joined a little later it was founded. What I see in Irina Arkhipova and what distinguishes it from all contemporary initiators competitions? Let's say there is competition in Spain, Vinas. As far as I know, it does not Viñas OS novyval, competition simply appropriated his name. As of Italy is the competition "Verdi vote. " I know about torture in Renata Scotto create your own contest. One of my students participated in it. Against this background, as well as in the context of American, French, non-metskih competitions, which I have an idea, I would like to evaluate the Glinka Competition. There, behind the Roubaix-pulp, a very different approach - they are led to the action-kantilnomu interest, a kind of market orientation within our vocal life ...

For me the competition Glinka and Arkhipov - Monotonous phenomenon. In what sense?

in the competition program of Glinka, in his style, his focus originally introduced what Irina Arkhipova as an artist, a master of vocals, as an actress, as an opera figure aesthetically and Mi-rovozzrencheski considers for a principle. And in this he differs from all other contests.

For me, Arkhipova - a classic. Classic vocals. It is primarily concerned with performing its part, the vocal and musical. Critics love the contrast voice and music. I do not accept this. Vocal music has its own region, its scope and specificity, and in this sense Arkhipova - class-sik. Classic post-war Russian opera.

Say, Obukhov, too, was a classic. Even as the artist-Wrubel, Isabella Vrubel, for which a swarm of Rimsky-Korsakov wrote a special party (remember, at the Metropol Hotel in Moscow, MO zaichnye panel with her roles in operas - The Swan Princess and others). But in her performance lacks the classic succession which is a Arkhipova. Glinka gave a huge tribute to the romance in his work. Thematically, it is romantic, but the form itself cast of musical imagery and musical structure of his classic. In this sense, I'm talking about the class sitsizme (and not in a formal sense) Arkhipova. Glinka, more than anyone else, is close to Russia-or, Mozart, Bellini, especially Haydn, here, in this sense I'm talking about classicism Arkhipova - Martha, or the same Marina Mnishek - you always have the ne-ed themselves by all the accessories that meet the style of opera, classic pattern. In what sense? Clean shapes! Elegance of form, anywhere there is no gag, are not permissible because of lishestva. The singer herself grinds its own performance, making its dash, and the grinding determines the classical pattern.

Why am I particularly draw your attention to this? In the vocal arts, the history of its development is very important to keep this inner wholeness. Once we fall in a stylistic impasse, whether verism or vagnerizm, or even the naturalism to some extent Russian operas, if they are not understood well how often understand Rimsky-Korsakov - stops the development of opera. But Arkhipova and Rimsky-Korsakov - is another phenomenon! It is very important to keep вот этот стержень, содержать в чистоте остов тех достижений, которые сами по себе уже являются результатом, сами являются основанием каких-то других achievements. Without them, everything falls apart.

activity contributes Arkhipova Irina Konstantinova ensure that persisted in the world-local achievements. This is amazing! Of course, I do not mean that Arkhipova in this respect, the method works-cally. But her personality, her personality is in itself creates an image of the cast, which to some extent be compared with, say, antique-mi samples in fine arts. All may change in the world, but there is no escape from Egyptian sculpture. And the fact that it is in Arkhipova - under emergency expensive because it is crucial for us. I really feel sorry for people who do not understand.

This is the mystical, esoteric level of existence in the art that over time you, antireflection and goes out. He acts so far from the Inside, and very, very important that there? Chaos or order of magnitude? Harmony! This fact is the essence of personality!

I the archive is recording her operatic roles with the Bolshoi Theatre soloist of the USSR Zurab Andzhaparidze, with whom she sang a lot of Arkhipova, I often look at record her performance of "Carmen" with Mario del Monaco. And everywhere is visible, this Bezout-prechnost, elegance of its execution.

And all this has passed into the contest by Glinka. In Verdi is a saying: "Bach - the eternal Father German Coy music, Palestrina - Ancient Italian father-ray Music. Glinka - the eternal father of Russian th-of Music. On this fact and built a classic rod, the classical model, which exists in the music of Glinka. And in performance Irina Arkhipova. For me it is - the matching phenomenon. And they were in flesh, in the form of competition Glinka. Therefore, this con-course so interesting. It is very difficult. Second round - just dreadful. But over the years I became increasingly convinced that the best way to go! Under the banner of preserving the unshakable foundations. And then can, roughly speaking, the "walk" in different directions. But the rod should be! And the more he is more powerful (and yet flexible, I mean the vocal purity of intonation, purity intervaliki, the correct reading of the dynamics of the work, the correct reading of the muse-local phrase), the more important - then begins one to speak something great.

Hegel in Volume I of Aesthetics, "where he As for the CEE-one audio and forms, there is a thought: "Higher attainment of the art in occurs when the material is justified." Say, the painting is the color, but not pro-hundred color and it perfect form. And about the sound, he says, no matter how one teacher, unfortunately, did not say: the singing should not be much movement of the body, producing a sound. In this contest, unfortu-nately, often heard work of this body, but not overcome it, the implementation of clean-sounding, when all physical and even psychological cargo-lifting are and expose the truth, singing sound. In the Executive Board nenii Irina Arkhipova was from the beginning! I well know that, because he sang with her since the early 60's.

- Tell me, Nodar Davidovich, which izrabot Erie, Ny Konstantinovny Arkhipova most incredible to you?

; - Martha! I have one entry, which is not da same for Irina Konstantinova. By the way she ode-ta, Arkhipova made a suggestion that a record performance "La Scala". In Georgia, there is such a lover of art that reaches an incredible record. He is a fan of Callas and Arkhipova. Its Martha ... There is a ta-Kie mezzo-soprano who take "mass"-sounding of his voice and thus maintain their singing "I". At Irina Arkhipova is nothing like the first no. No "Vanity fair" - Vanity Fair! It is felt in the singers always appears just at those foreign competitions, which I govo-reel first. In it, in Arkhipova No, but this primordial! Because it sounds so sacred music, because these are still unsurpassed in its performance of Ave Maria, because her voice blends with Orthodox choirs! She characterized the full-Autrey solution, it is spiritual in nature of performance. In music it is totally naked - embodied spirituality. And this is great art.

When adds some fine-STRAS Tishka - immediately decreases the artistic level, and we immediately see and hear.

phenomenon Irina Arkhipova unique. What fairy-NOMEN Maria Callas? In conjunction with the Italian bel canto Greek tragedy. There are clearly reflected-Xia tragedy of her soul. Too classic, refracted peculiar. And implemented it in the context of the muse-local strategy and policy of the Western approach to art.

Arkhipova - it is quite another thing. When I first-voril the lack of it, "Vanity Fair", this self-serving actor's expression, I implied shaft its uniqueness in every note, and it favors exists a spiritual mood.

How Arkhipova sang Haydn's on open jumping-sa! And it affected the audience at all the contestants on the jury. This is a contest of Glinka, this is a contest Arkhipova Glinka. Organizational moments of torturing her, the sponsors, the Ministry of Culture, co-Thoroe not send money ... This is heroism in our time, so be art! Her singing is always sensitivity exists ethical moment. Not to recall the Stanislavsky: "Do not apply to the art itself, and to devote themselves to serving the art! This is at a constant Russian intelligence. " One that we, the non-Russian, appreciate in Russian culture.

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Scenes from operas on subjects Pushkin

Modest Mussorgsky (1 839 - one thousand eight hundred and eighty-one) Boris Godunov [1871-1872]
1.stsena bedroom Marina [3 action. 1 painting] / 17.17 Rangoni - Eugene Kibkalo
2.Stsena the fountain [3 action 2, the picture] / 14.29 Pretender, Vladislav Pyavko
Pyotr Ilyich Tchaikovsky (1840 - 1893)
Mazeppa; [1833]
Z. chorus and wailing Love [1 action 2, the picture ] / 3.41 4.Stsena Love and Mary [2 by 2 picture] / 8.19 Maria Tamara Milashkina
Queen of Spades (1890)
5.Stsena vspalne Countess [2 action 2, the picture] / 6.07
Herman - Vitali Tarashchenko
Lisa - Natalya Datsko
Anton Stepanovich Arensky (1861-1906) music to the poem "The Fountain of Bakhchisarai [1899]
6.Monolog Zarema / 9.57

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Download a book Nodar Andghuladze "Homo Cantor. Sketches of vocal art "

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Nodar Andghuladze - Homo Cantor - Singing Zurab Andzhaparidze.

Nodar Andghuladze

Homo Cantor. Essays vocal iskustssva.

SINGING ZURAB Andzhaparidze

Honor singers and honor to repay all the required people,
What on earth live: it penyu singers trained Муза сама.

Гомер, «Одиссея»

               Закатилось солнце грузинского Song of art, passed away Zurab Andzhaparidze. Together we must mourn his passing. But the constant and infinite mortal remains to his singing in the heart of Georgian people. His mastery of the brilliant singer-actor remains "immortal by this." So to me his favorite image, its uniqueness, the height and greatness, his disarming charm. I do not want to give these lines form an obituary ...

Fine Italian tenor Fernando de Lucia, before his death said to his disciple Gennaro Barra: "Remember: the voice dies after us!" voice and singing Zurab Andzhaparidze not die ever, but will always sound like children-in our hearts.

In Homer at the mention of the singers found the words: "Divine" "Inspired". Through the words of the singers at the time said the gods themselves. And muse in ezii, Calliope, is translated as "prekrasnogolosaya. The ancient Greeks are well knew the value of singing and HMG-zu. Aristotle refers to Moses, saying: "For death is the highest pleasure - ne-of." And Plato, agrees: "Chorea consists of ne-and dances so well-mannered person should be good at singing and dancing. "

The gods are dead. The singers were orphaned.

Gods replaced first conductors, and then re-zhissery whose actions resemble nadzirate-lei penal colonies. There was a violent and voluntarism in practice included the suppression of the individual artist. Excluded creative relationships dialogue. Therefore, our opera houses were Poho-zhimi in orphanages. There reigns a completely different atmosphere, similar to the one described by the same Plato who recalled the "Works and Days" Hesiod: "Potter hates potter, the AED makes no aeda ... »

In Milan, during a walk with the maestro Barro, we often walked past the beautiful buildings, the PA-latstso, which the maestro once told me: "Here was formerly the Opera House, and now - the bank." Odnazh-dy I ventured to ask him: "Maestro, if you were young and had a young voice with bounded Romney experience, would like to sing in the theater?" No "- answered he told me. "Why?" - "Because now reigned cattiveria (anger, acrimony, bezobra-manifold), and we loved each other."

These the circumstances. Such was the case both in our thirties, and then came darkness.

And in the darkness shone the morning star: the stage of the Opera Studio at the Tbilisi Conservatory Georgian society saw and heard Zurab Andzhaparidze. Since that day, this star never stopped shining.

Delighted Akaki Khorava hugged David Andes-guladze and said: "This student you raised yourself of monuments." Returning home Andghuladze David said to his wife Barbara: "You can not currently be represented, what Zurab.

After how I brought Zurab to our home in September 1947, that he decided, was it worth it is continuing to study singing, and whether he was a tenor, we could not provide жизни друг без друга и без театра. Восстала из мертвых дружба, о которой так мечтал Дженнаро Барра.
 

 Зураб Andzhaparidze - Verdi - Il Trovatore - Di Quella pira

The portrait, which I have now created, and history, co-toruyu know all details, and where no one has for-glyadyval, of course, highly subjective and that is why the end is true.

To study such an event as an art Zurab Japaridze An-through "objectivist" methods Dov impossible and not necessary.

I want to compare Zurab Andzhaparidze, that is his singing (for Zurab and singing is the same), with Germany catfish, messenger between gods and men, to whom Apollo himself built lira. But for Andzhaparidze god is man himself. He extols the divine-human sequence. Here again we come to the antique-th quality of talent Zurab Andzhaparidze. In general, any real talent in art all his at-ributami brings us back to antiquity. In singing Zurab we know and the smile of Dionysus.

said the ancient Greeks conceived of the whole body, their thinking was plastic art and craftsmanship scrap ("Techno" meant, and one other). Zurab sings all over, every tick of its thrills and loading-is music. This musical energy is initially concentrated in the heart, as in a capacitor waves, and only then transferred to vocal cords, which become merely an instrument exteriorization of internal musical feelings.

Ceychas lot of talk and write about a particular emotional hearing. This is a great theory. Its creators would be enough to prove an example of Zurab Andzhaparidze.

I accidentally thought of Hermes. The name of this god has used the philosophy of interpretation and called itself hermeneutics.

I would like to draw attention one characteristic of the method of understanding, which is associated with the singing of Zurab Andzhaparidze. This is a "sympathetic and understood the unity of understanding" (N. Chavchavadze). That is what creates the unity of the singing Zurab Andzhaparidze. The listener understands it. It is the ACT-proper establishment of higher forms of understanding - WMO-doo in an "open meaning." Singing Zurab always open it to the audience: when he appears on stage, random-Châtel feels that Zurab exists only for a no-go, that the singer likes a listener, and it is this love and sympathy lays the groundwork for understanding. This Zurab Andzhaparidze reaches his singing ta-Lanta, a fully which can only hold a person of outstanding artistic quality. Even hermeneutics must stay in front of him, for dealing with the very Hermes.

Zurab Andzhaparidze never overloads the case of Chatel and the spectator, never imposes his their feelings. He feels himself on fire. Absorbs its own fire, and the listener is directed to a mu-fire, falls into his arms, holding my breath, attention-maet him. Plato said, "the voice - the fire of the soul." In this contemplation again heard antiquity.

Singing Zurab Andzhaparidze born out of suffering. This is not sentimentality, not salon passion. This tragic sense of life, so characteristic of creative nature. This is exactly what anguish, in the middle-property which "a man perceives his self. And then the spirit-keeper Zurab Andzhaparidze leads him ver-term road For the singing Zurab heard not only naked flour, but there is a sweet flour. This is the eastern aesthetics!

It is immediately understood and appreciated Italy. This case-tions has during the Bolshoi Theater in Mi-Lanskoy "The Rock" when Zurab appeared as Herman.

Eugenio Gara wrote in his journal "Europea": "Zurab Andzhaparidze always elevated, as in singing and in action. "

In connection with this performance, I would like to quote here a few previously unpublished information.

After the Bolshoi Theater in Tbilisi, was riding an old journalist, someone Dolgopolov, who in the 30 years he wrote reports on the work of the Greater and the well-known David Andghuladze. He came into the conservative vatorsky class, where my father worked, and I remembered there are many. Told he told us about the old and new. According Since he attended a tour of La Scala, and he knew that Zurab was a student of my father, then the distribution has told us the following: "Our first performances of" Boris Godunov "and" Prince Igor "had decency, LIMITED success in Milan, but the true success of the Bolshoi Theater began with andzhaparidzevskogo Herman. -The words direct the witness!

Zurab from Italy brought a large, enclosed in a simple white envelope and letter plate. As usual, the gave me these things and said: "Read, in zhaluysta, and translated to me."

Letter addressed Zurab Andzhaparidze belong to a certain sting Silvio Dzenoni. The record also was unusual: it was not for sale. The largest Italian music publisher "Ricordi" specially recorded voices of older singers with their own commentary to the actual trajectory ditsiya sound and the theoretical postulates of the old Italian school would have remained only an oral tradition. This was also presented to Dzenoni Plas Tinka. I first publish full translation of his letter to the preservation of the author's style:

«Dear tenor Zurab Andzhaparidze , you Nature gave two things: a great voice and mind to technically manage voice.

If the first - the voice - not controlled second-mind, the voice will soon be lost as lost voices of our age, who, not knowing about the technology issue, sing naturally.

Masters of this century taught us through the transition of-use tool of our throats, even naturally vote, so we were able to technically under-change, and thus protect themselves from the voice of destruction. So you could understand, I append the record to the letter with my poor, aged voice, together with the voices of the gods, who sang in my time. This record will attest to you that they have done themselves and taught others, including you and me, in the sense of the range and color.

So sang and taught Battistini, Masini, Cotton-singers, who in the last century reached Facebook Why can not reach modern singers because of poor surface of vocal technique.

Singing Roubini, Gaillard, Masini has left us in a superposition of heroic singing ... Only Scott of women deserves to be called a singer, for singing males can not find the path issue, co-torym had Caruso and Bonch.

Know, tenor, if, after listening to your singing, ten musicians know the chosen you for a pause, and ninety students at himself against you for Ocie erroneously issue, it is not their applause until the counting you, and can be they osvischut you.

I do not know whether you, the young, prefer to come to sing and work out for me, already old singer of the last century. I am a friendly would suggest you re-four vocal exercises! If you come, you'll find me every day from three to four hours in the hostel for the elderly musicians named Giuseppe Verdi. Maybe Pravda, your newspaper, do not dare to directly ska show that the Italians after Gigli can not sing.

If you do not come, nothing. Only when encountered, quiet music critic of Pravda, give after-shat him the record and say that I am "by the competent" be happy if he finds me at least one Russian singer who could write songs four-tyrmya votes.

Cheers, I wish you luck in the artistic future, fellow tenor.

Silvio Dzenoni

Nursing musicians them. Giuseppe Verdi.

Str. Buonarroti, 29. Milan. The letter was written immediately after watching "Pee-kovoy Ladies.

Zurab Andzhaparidze - Puccini - Tosca - E lucevan le stele

; Silvio Dzenoni put Zurab Andzhaparidze next to the great singers: J. Rubin, A. Masini, M. Battistini, and A. Cotton, E. Caruso, Bonch, B. Gigli and R. Scott.

In youth we are often involved in the class of my father. Zurab was already well-known seasoned singer, I'm - a newbie. I remember after one brilliant-no other word find - a lesson David Andghuladze said Zurab: "How did you do today, keep the same spirit. With this approach, you will find joy in life in singing and will forever счастливым».

           Пение Зураба несет с собой именно эту радость. Это радость встречи с жизнью.

             I have not touched the evolution of creativity Zurab Angie paridze, because just wanted to tell about this artistic phenomenon, respectively, without his temporary limb. I play it as an eternal present.

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Zurab Andzhaparidze - Arias

01. R. Lagidze - Song of Tbilisi
02. Paliashvili - Aria Abesaloma (Abesalom and Eteri ")
03. Paliashvili - Duet Abesaloma and Murman ("Abesalom and Eteri")
04. Paliashvili - Aria Malkhaz (Daisi ")
05. F. Cilea - E la solita storia del pastore ("Arlésienne")
06. G. Puccini - Recondita armonia ("Tosca")
07. G. Puccini - E lucevan le stelle ("Tosca")
08. G. Puccini - Donna non vidi mai ("Manon Lescaut")
09. G. Puccini - Ah! Non V'avvicinate! No, no, pazzo son ("Manon Lescaut")
10. Verdi - Se quel guerrier io fosso! Celeste Aida ("Aida")
11. R. Lenkavallo - Recitar! Vesti la giubba ("Pagliacci")
12. Verdi - Ora e per sempre addio! ("Othello")
13. Verdi - Si pel ciel marmoreo guiro! ("Othello")
14. Tchaikovsky - What is life? Game! (The Queen of Spades ")
15. Georges Bizet - Final ("Carmen")
16. Verdi - Di quella pira ("Il Trovatore")

Zurab Anjaparidze - Opera arias

1. R. Lagidze - La canzone su Tbilisi (song)
2. Z. Paliashvili - Aria di Abesalom (Abesalom and Ethers)
3. Z. Paliashvili - the duets Abesalom and Murman (Abesalom and ethers)
4. Z. Paliashvili - air Malchaz (Dais)
5. Cilea - Federico's lament (Arlesina)
6. G. Puccini - The first aria of Cavaradossi (Tosca)
7. G. Puccini - The second aria of Cavaradossi (Tosca)
8. G. Puccini - The first air de de Grie (Manon Lescaut)
9. G. Puccini - The third air de Grie (Manon Lescaut)
10. G. Verdi - The Romance of Radames (Aida)
11. R. Leoncavallo - ariozo Canio (Pagliacci)
12. G. Verdi - The scene and duet Otello (Othello)
13. G. Verdi - Il Duetto Otello and Iago (Othello)
14. P. Tchaikovsky - The air of Germany (Пиковая Dame)
15. J. Bize - Il duetto finale di Carmen e Joze (Carmen)
16. G. Verdi - La cabaletta di Manrico (il Trovatore)

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Tchaikovsky - Queen of Spades - Tchaikovski - The Queen os Spades

Zurab Andzhaparidze (German) - Herman - Zurab Anjaparidze
Mikhail Kiselev (Tomsk) - Tomski - Mikhail Kiselev
Yuri Mazurok (Yeletsky) - Eletski - Yuri Mazurok
Valentine Levko (Countess) - Countess - Valentina Levko
Tamara Milashkina (Lisa) - Lisa - Tamara Milashkina
Andrei Sokolov (Chekalinsky) - Chekalinski - Andrei Sokolov
Valery Yaroslavtsev (Surin) - Surin - Valeri Yaroslavtsev
Irina Arkhipova (Pauline) - Pauline - Irina Arkhipova
M. Mityukova (Governess).
soloists, chorus and orchestra of the Bolshoi Theater. Conductor Борис Хайкин.
Conductor - Boris Haikin

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Verdi - Don Carlo

Fillippo II - Петров И. - I. Petrov
Don Carlo - Анджапаридзе З. - Z. Anjaparidze
Rodrigo - Валайтис В. - V. Valaitis
Il Grando Inquisitor - Ярославцев В. - V. Yaroslavtsev
Elasavetta Valua - Milashkina T. - T. Milashkina
Eboli - Arkhipova I. - I. Arkhipova
Conductor - found.
Conductor - Naiyonov
Chorus and Orchestra of Bolshoi Theatre

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Puccini - Tosca

Tosca - Tamara Milashkina
Cavaradossi - Zurab Andzhaparidze
Scarpia - Oleg Maple
Angelotti - Valery Yaroslavtsev
Sacristan - Georgy Pankov
Spoletta - Andrei Sokolov
Skyarone and jailer - Yuri Korolev
Pastora - V. Maksimenko, R. Zalyalyutdinov, V. Brikins
State Russian Academic Choir Boys Choir

USSR State Symphony Orchestra
Conductor - Evgeni Svetlanov
Record 1967.

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Verdi - Aida

Aida - Galina Vishnevskaya
Radames - Zurab Andzhaparidze
Amneris - Irina Arkhipov
Amonasro - Paul Lisitsian
Ramfis - Ivan Petrov
Choir and Orchestra Bolshoi Theatre
Conductor Alexander Melik-Pashayev
1961

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Download a book Nodar Andghuladze "Homo Cantor. Sketches of vocal art "