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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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