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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 "