DOCSLIB.ORG

Download Article

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Article Advances in Social Science, Education and Humanities Research, volume 469 Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020) Russian Provincial Musical Theatre in the First Quarter of the 20th Century in Saratov: Main Trends and Phenomena Irina Viktorovna Polozova1,* Arina Sergeyevna Chirila2,a 1Saratov State L.V. Sobinov Conservatoire, Saratov, Russia 2Alexandru Ioan Cuza University of Iași, Iași, Romania aEmail: [email protected] *Corresponding author. Email: [email protected] ABSTRACT Based on the archive materials, the article looks more closely at the development of musical theatre in Russian provinces in the first quarter of the 20th century in Saratov. The study is centred around the main trends in the development of the theatrical life of the city, the projects realized, as well as the personality of Saratov’s artist F.A. Palchinsky – an entrepreneur, stage director and musical critic. Various spheres of his activity reflect the key aspects of the development of Russian musical theatre of the time period in question, and namely popularizing the art of Russian composers, highlighting the didactic function of musical theatre, relying on local performers, especially the younger ones, and aspiring to make musical art widely accessible (Popular theatre). The above-mentioned artistic aims were fulfilled in Palchinsky's creative projects, as well as in numerous reviews in Saratov’s periodicals. The paper arrives at some conclusions concerning the intensity of the development of musical theatre in Russian provinces, the search for new forms of existence of musical theatre and the implementation of innovative directing principles. Keywords: musical theatre, Russian province, F.A. Palchinsky, the first quarter of the 20th century, Saratov, opera, theatre company modern opera, especially the Russian ones (for more I. INTRODUCTION details, see [3]). The performers of the main roles are In the first quarter of the 20th century Russian both well-known musicians from Saratov and those musical theatre sees a period of flourishing and coming from the capital or foreign operatic troupes. dynamic development. Operas and ballets by Russian New theatrical companies and interesting creative composers, the creation of private theatre companies projects are initiated by enthusiastic musicians. Among and troupes, the rise of performing art in musical the many famous people who devoted their lives to th theatre – all these aspects contributed to the realization Saratov’s musical theatre in the first quarter of the 20 of new innovative and often experimental ideas and the century (M. Medvedev, A.M. Gorin-Goryainov, D. renewal of the cultural space of both the capital and Yuzhin etc.) we will single out F.A. Palchinsky – the provincial cities. A good example of this is Saratov’s man who played a substantial role in the development musical theatre which reflects the common trends of the of Saratov’s musical theatre. development of Russian provincial musical theatre. This presupposes the organisation of numerous II. SARATOV'S MUSICAL LIFE AT THE exhibitions, educational lectures, disputes, publication BEGINNING OF THE 20TH CENTURY AS A of polemic articles on the issues of the development of REFLECTION OF COMMON TRENDS IN THE musical culture – the phenomena that are sure to contribute to the enrichment of artistic practice and the DEVELOPMENT OF RUSSIAN MUSICAL CULTURE appearance of new creative projects and ideas [1], [2]. Saratov’s musical life of the first quarter of the 20th century was a bright and dynamic one. There was In this paper we will turn to the first quarter of the Saratov’s branch of the Russian Musical Society with 20th century, when Saratov’s musical theatre goes its musical classes; a musical college opened in 1895, through active development, and the audience has an followed by the first provincial conservatoire in 1912. opportunity to get acquainted with the best examples of Copyright © 2020 The Authors. Published by Atlantis Press SARL. This is an open access article distributed under the CC BY-NC 4.0 license -http://creativecommons.org/licenses/by-nc/4.0/. 23 Advances in Social Science, Education and Humanities Research, volume 469 The city hosted concerts of chamber and symphonic Saratov’s stages, the beginning of his active interest in music, and among the guest performers were such the city’s musical life goes back to 1890s, as his outstanding musicians as L. Auer, G. Venyavsky, A. personal notes from 1895 until 1906 contain a detailed Yesipova, K. Davydov, S. Prokofiev, A. Rubinshtein, description of repertoire lists, mentioning not only the A. Skryabin, P. Sarasate, V. Safonov, N. Figner etc. As name of the performance and its date, but also the for Saratov’s performers, we have to mention the names names of the performers (and namely, their initials), of A. Vinogradsky, V. Zayts, A. Palitse, E. Tsendler, O. beneficiaries etc. Chaban, S. Eksner etc. The stages of Saratov’s theatres constantly presented musical theatrical performances The analysis of Palchinsky’s lists shows that from a vast spectrum of classical and modern works. performances were given almost daily, by touring theatre companies. A year had two or three operatic Musical theatre was highly popular. Archive seasons: the first one, as a rule, opened in the second documents confirm that at that time 2-3 operatic troupes half of November, the second one – the spring one – used to perform simultaneously on Saratov’s stages. It used to start in April or early May. Besides, there were should be mentioned in this connection that by the also occasional summer theatrical seasons. Thus, beginning of the 20th century there had already been operatic performances could be seen during the most formed a large group of educated people who part of the year. understood the issues of musical art really well and could appreciate the quality of performance. Among the Saratov’s operatic repertoire on the verge of the centuries was quite vast. Foreign operas performed in constant attendees of musical theatrical performances were professional musicians, university professors, the city included the works by Verdi, Meyerbeer, students, as well as a vast number of merchants who not Rossini, Saint-Saëns, Bizet, Gounod, Wagner, infrequently spent substantial sums of money on the Moniuszko, Donizetti, Mozart, Delibes, Tomas, development of the city’s musical life. Thus, merchant Massenet, Humperdinck, Mascagni, Leoncavallo and G.V. Ovechkin invested his money in the construction Puccini. As for the Russian composers, theatres staged of a theatre building which hosted performances until Borodin, Rubinstein, Tсhaikovsky, Napravnik, 1918. Verstovsky, Glinka, Serov, Dargomyzhsky, Rimsky- Korsakov, Musorgsky and Rebikov. Compositions performed in Saratov were quite popular in Russian III. MUSICAL THEATRE IN SARATOV AND THE musical theatre of that period. In his notes on the season PERSONALITY OF F.A. PALCHINSKY of 1905/1906 Palchinsky provides us with a brief Feodor Akhimovich Palchinsky is a personality statistical analysis of the operatic repertoire: “Russian: whose name is occasionally referred to, in the studies 10 composers – 17 operas – 62 performances... Foreign: on local history centred around Saratov’s musical life, 12 composers – 19 operas – 65 performances…” [8]. as a musical critic and the organiser of several operatic The doubtless favourite among Russian composers was theatrical companies in 1905-1923 [4], [5], [6], [7]. He Tchaikovsky: his 6 operas were performed 35 times played an important role in the development of the during the season; his foreign counterpart was Verdi: city’s musical life, contributed to the initiation of a vast his 5 operas were performed 11 times, and the two audience into the academic art, and aspired to staged operettas – 2 times. modernise musical theatre by all possible means. Together with operatic performances, high The State Archive of Saratov region holds a popularity was achieved by operetta (or оперетка – the collection of F.A. Palchinsky’s personal documents, the way it was called by Saratov’s musicians of that study of which allows us to fill in several blank spaces period). Palchinsky’s list comprises data on the operetta in the history of the development of Saratov’s musical repertoire of 1905/1906, which contains 35 names, life in particular and that of Russian provinces in including some famous works by Offenbach (“La belle general. These documents make it possible to Hélène”, “La Périchole”, “Orphée aux enfers”), Strauss reconstruct some pages of Palchinsky’s life, to identify (“Der Zigeunerbaron”), as well as Planquette’s “Les his aesthetical preferences and innovative ideas, and to cloches de Corneville”, Hervé’s “Le petit Faust”, recreate numerous aspects of concert and theatrical life Audan’s “La mascotte”, Zeller’s “Der Vogelhändler”, of the city based on the study of his critical notes in and Decker-Schenk’s “Khadzhi Murat”. Quite Saratov’s periodicals. surprisingly, Verstovsky’s opera “Askold's Grave” is also on the list. This can be accounted for by the fact Biographical data on Palchinsky are extremely that оперетка was understood as a synthetic scarce. It is a well-known fact that he was a mechanical performance where an important role was attributed to engineer and in the period in question worked in musical pieces. Saratov, in the mobilization department of the Ryazan- Ural railway. Judging by Palchinsky’s notes in which The observation of Saratov’s theatrical life, he presents a list of performances of various troupes on acquaintance with its repertoire and its analysis in the 24 Advances in Social Science, Education and Humanities Research, volume 469 coming years proved to be of crucial significance for Palchinsky published his reviews on Saratov’s the composer’s critical and directorial activity. musical events not only in the local press, but also in Moscow. Thus, the State Archive of Saratov region In 1905 Palchinsky becomes a famous personality holds his correspondence with the former conductor of in the city’s musical life.
Load more

Recommended publications
  • The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
    THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice.
    [Show full text]
  • A Midsummer Night's Dream
    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
    [Show full text]
  • Tchaikovsky.Pdf
    Tchaikovsky CD 1 1 Orchestrion It wasn’t unusual, in the middle of the 19th century, to hear sounds like that coming from the drawing rooms of comfortable, middle-class families. The Orchestrion, one of the first and grandest of mass-produced mechanical music-makers, was one of the precursors of the 20th century gramophone. It brought music into homes where otherwise it might never have been heard, except through the stumbling fingers of children, enduring, or in some cases actually enjoying, their obligatory half-hour of practice time. In most families the Orchestrion was a source of pleasure. But in one Russian household, it seems to have been rather more. It afforded a small boy named Piotr Ilyich Tchaikovsky some of his earliest glimpses into a world, and a language, which was to become (in more senses then one), his lifeline. One evening his French governess, Fanny Dürbach, went into the nursery and found the tiny child sitting up in bed, crying. ‘What’s the matter?’ she asked – and his answer surprised her. ‘This music’ he wailed, ‘this music!’ She listened. The house was quiet. ‘No. It’s here,’ cried the boy – he pointed to his head. ‘It’s here, and I can’t make it go away. It won’t leave me.’ And of course it never did. ‘His sensitivity knew no bounds and so one had to deal with him very carefully. Every little trifle could upset or wound him. He was a child of glass. As for reproofs and admonitions (with him there could be no question of punishments), what would have been water off a duck’s back to other children affected him deeply, and if the degree of severity was increased only the slightest, it would upset him alarmingly.’ Despite his outwardly happy appearance, peace of mind is something Tchaikovsky rarely knew, from childhood to his dying day.
    [Show full text]
  • Iolanta Bluebeard's Castle
    iolantaPETER TCHAIKOVSKY AND bluebeard’sBÉLA BARTÓK castle conductor Iolanta Valery Gergiev Lyric opera in one act production Libretto by Modest Tchaikovsky, Mariusz Treliński based on the play King René’s Daughter set designer by Henrik Hertz Boris Kudlička costume designer Bluebeard’s Castle Marek Adamski Opera in one act lighting designer Marc Heinz Libretto by Béla Balázs, after a fairy tale by Charles Perrault choreographer Tomasz Wygoda Saturday, February 14, 2015 video projection designer 12:30–3:45 PM Bartek Macias sound designer New Production Mark Grey dramaturg The productions of Iolanta and Bluebeard’s Castle Piotr Gruszczyński were made possible by a generous gift from Ambassador and Mrs. Nicholas F. Taubman general manager Peter Gelb Additional funding was received from Mrs. Veronica Atkins; Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi; music director and the National Endowment for the Arts James Levine principal conductor Co-production of the Metropolitan Opera and Fabio Luisi Teatr Wielki–Polish National Opera The 5th Metropolitan Opera performance of PETER TCHAIKOVSKY’S This performance iolanta is being broadcast live over The Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Valery Gergiev America’s luxury in order of vocal appearance homebuilder®, with generous long-term marta duke robert support from Mzia Nioradze Aleksei Markov The Annenberg iol anta vaudémont Foundation, The Anna Netrebko Piotr Beczala Neubauer Family Foundation, the brigit te Vincent A. Stabile Katherine Whyte Endowment for Broadcast Media, l aur a and contributions Cassandra Zoé Velasco from listeners bertr and worldwide. Matt Boehler There is no alméric Toll Brothers– Keith Jameson Metropolitan Opera Quiz in List Hall today.
    [Show full text]
  • BIO-Sulimsky AUG20.Pdf
    Vladislav Sulimsky Baritone Belarussian Verdi baritone Vladislav Sulimsky has rapidly become one of the leading singers of the world. In the summer of 2018, he made his debut at the Salzburg Festival as Tomsky (Queen of the Spades) under the baton of Mariss Jansons, followed by Count Luna (Il trovatore) at the Berlin State Opera, Jago (Otello) at the Vienna State Opera, and his role debut as Scarpia (Tosca) at the Malmö opera. He also made his house debut at the Munich State Opera with Count Luna and will appear for the first time at the Frankfurt Opera in the role of Siriex (Fedore) in January 2021, as well as with the Berlin Philharmonic and Kyrill Petrenko as Lanceotto Malatesta in Rachmaninov’s Francesca da Rimini. His house debut at the Paris Opera was cancelled due to the Covid-19 pandemic. Since 2004, baritone Vladislav Sulimsky has been a member of the Mariinsky Theatre in St. Petersburg, where he has sung countless parts including the title roles in Eugen Onegin and Gianni Schicchi, Ibn-Hakia (Iolanta), Kovalev (The Nose), Rodrigo (Don Carlo), Silvio (Pagliacci), Andrei Bolkonsky (War and Peace), Enrico (Lucia di Lammermoor), Giorgio Germont (La Traviata), Renato (Un ballo in maschera) and Ford (Falstaff). In 2010 Sulimsky sang Enrico Ashton (Lucia di Lammermoor) at the Mariinsky alongside Nathalie Dessay and Belcore in L’elisir d´amore with Anna Netrebko as Adina, followed by Giorgio Germont (La Traviata) and Robert in Iolanta. A frequent guest at the Bolshoi Theatre in Moscow, he has performed Prince Kurlyatev in Enchantress by Tchaikovsky and his parade title role Eugen Onegin.
    [Show full text]
  • La Traviata at Its 1956 London Language of the Russian Court, While the Act III Ball in Premiere
    CHOThe magazinRe of Opera HoUlland Park | AuStumn 2019 CHORUS AUTUMN 2019 page 2 Discovery matinee Dates On Sunday 21 June, we will be hosting our first Discovery matinee. This performance of Rigoletto will be aa relaxed performance with Touch for your Tour, audio-description and accessible ticket pricing, to allow newcomers to calendar Dates for your diary discover opera. 2020 Season at a glance February 27 Young Artists’ Circle Launch The Gore London ● Eugene Onegin, 7.30pm YA Young Artists performance ● Rigoletto, 7.30pm ● Discovery matinee, 2pm March ● The Merry Widow , 7.30pm 11 Young Artists Masterclass with Amanda Roocroft Pushkin House ● Margot la Rouge / Le Villi, 7.30pm 18 Monstrous and sublime: Verdi's Rigoletto Italian Cultural Institute ● Royal Ballet School, 7.00pm ● matinee, 2pm 25 Supporters’ Spring Reception Chris Beetles Gallery ● Pirates of Penzance , 7.30pm 31 Waltz, schmaltz, cash and champagne: Lehár's The Merry Widow Mathiessen Gallery May June 30 Eugene Onegin Dress Rehearsal Opera Holland Park Theatre Mon Tues Weds Thur Fri Sat Sun June 4 Rigoletto Dress Rehearsal Opera Holland Park Theatre 1 2 345 6 7 ● ● ● 9 Pre-show Talk with Lada Valešová Opera Holland Park Theatre 8 ●9 ●10 ●11 ●12 ●13 14 18 Pre-show Talk with Dane Lam Opera Holland Park Theatre 15 16 17 18 YA 19 20 21 23 Pre-show Talk with Professor Jeremy Black Opera Holland Park ● ● ● ● ● Theatre 22 ●23 ●24 ●25 ●26 ●27 28 29 30 July 16 The Merry Widow Dress Rehearsal Opera Holland Park Theatre 17 Margot la Rouge / Le Villi Dress Rehearsal Opera Holland Park Theatre July 23 Pre-show Talk with Martin Lloyd-Evans Opera Holland Park Theatre Mon Tues Weds Thur Fri Sat Sun 30 Pre-show Talk with Tim Ashley Opera Holland Park Theatre 1 ●2 ●3 ●4◗ 5 678910 11 12 13 14 15 16 17 ●18 19 Opera Holland Park 20 ●21 ●22 ●23 ●24 ●25 26 Christmas Concert 2019 27 ●28 ●29 ●30 ●31 Toast the festive season with Opera Holland Park at our Christmas Concert on Saturday 7 December, 7pm , at St August Columba's Church in the heart of Knightsbridge.
    [Show full text]
  • Download Booklet
    CHAN 3042 BOOK 29/01/2016 14:55 Page 2 Pyotr Ilyich Tchaikovsky (1840–1893) Eugene Onegin KG A Opera in three acts Text by the composer and Konstantin Shilovsky after Alexander Pushkin’s verse novel Eugene Onegin English translation by David Lloyd-Jones Eugene Onegin....................................................Thomas Hampson baritone Tatyana......................................................................Kiri Te Kanawa soprano Lensky..........................................................................Neil Rosenshein tenor Prince Gremin....................................................................John Connell bass A Captain/Zaretsky....................................................Richard Van Allan bass Monsieur Triquet..............................................................Nicolai Gedda tenor Madame Larina..................................................Linda Finnie mezzo-soprano Filippyevna............................................Elizabeth Bainbridge mezzo-soprano Olga................................................................Patricia Bardon mezzo-soprano Pyotr Ilyich Tchaikovsky Orchestra and Chorus of Welsh National Opera Gareth Jones chorus master Sir Charles Mackerras 3 CHAN 3042 BOOK 29/01/2016 14:55 Page 4 COMPACT DISC ONE TimePage TimePage No. 5 Scene and Quartet Act I 8 ‘Mesdames, I hope that you’ll excuse me’ 1:4897 1 Introduction 2:3992 Lensky, Onegin, Madame Larina 9 ‘Now tell me, which of them’s Tatyana?’ 1:4297 Scene 1 Onegin, Lensky, Tatyana, Olga No. 1 Duet and Quartet 2 ‘Oh, did you hear the lovesick shepherd boy’ 5:0892 No. 6 Scene and Arioso Tatyana, Olga, Madame Larina, Nurse 10 ‘How perfect, how wonderful’ 2:14 098 No. 2 Chorus and Dance of the Peasants Lensky, Olga, Onegin, Tatyana 3 ‘My legs ache and can no longer run’ 2:3994 11 ‘How I love you, I adore you, Olga’ 3:16 099 Leader (John Hudson), Peasants, Madame Larina Lensky, Olga 4 ‘In a cottage by the water’ 2:0594 No. 7 Closing Scene Peasants 12 ‘Ah, here you are!’ 2:40100 No.
    [Show full text]
  • Download Booklet
    554844 bk Grishko2 EC 5|12|02 3:29 PM Page 20 Nikolay Andreyevich Rimsky-Korsakov Mikhail Ivanovich Glinka DDD (1844-1908) (1804-1857) Sadko Ruslan and Lyudmila Russian Opera Arias 8.554844 1 Introduction 2:24 9 Bayan’s song 4:22 2 Sadko’s Melismatic Song 3:47 There is a deserted land Ah, you dark oak grove! A Life for the Tsar Sadko • Prince Igor • Rusalka • A Life for the Tsar 0 Krakowiak 7:02 Pyotr Il’yich Tchaikovsky ! Sobinin’s aria 6:03 Vladimir Grishko, Tenor (1840-1893) Brothers. Into the snow storm! The Slippers 3 Danse des cosaques 3:20 Nikolay Andreyevich Rimsky-Korsakov 4 Vakula’s aria 2:51 (1844-1908) Does your heart not hear my terrible grief? The Tsar’s Bride @ Lïkov’s Arioso (Act I) 2:54 Sergey Rachmaninov It is all different (1873-1943) # Lïkov’s Arioso (Act III) 2:47 Aleko The thundercloud has scurried past 5 Men’s dance 4:31 6 The young gypsy’s romance 1:25 Pyotr Il’yich Tchaikovsky See, beneath yon firmament (1840-1893) The Maid of Orleans Alexander Sergeyevich Dargomïzhsky $ Entr’acte (Act II) 3:16 (1813-1869) Iolanta Rusalka % Vaudémont’s Romance 3:41 7 Prince’s cavatina (Act III) 5:44 No! The charm of a feisty beauty’s embraces Involuntarily I am drawn 8 Gypsy dance 2:58 Alexander Porfir’yevich Borodin (1833-1887) Prince Igor ^ Polovtsian March 5:04 & Vladimir’s Aria 5:34 Slowly the day was fading 8.554844 20 554844 bk Grishko2 EC 5|12|02 3:29 PM Page 2 Vladimir Grishko Zhdyosh’ li? wafting dreams of love, Russian Opera Arias, Vol.
    [Show full text]
  • 4932 Appendices Only for Online.Indd
    APPENDIX I MUSIC AWARDS IN COMPOSITION Key to award cycles: 1941 for works from 1934–40 1942 for works from 1941 1943 for works from 1942 1946a for works from 1943–44 1946b for works from 1945 1947 for works from 1946 1948 for works from 1947 1949 for works from 1948 1950 for works from 1949 1951 for works from 1950 1952 for works from 1951 Not included here: 1953 for works from 1952, no awards made 1954 for works from 1952–53, no awards made (see Appendix IV) Table 1. Awards in Composition by Genre Unusually high numbers are in boldface ’41 ’42 ’43 ’46a ’46b ’47 ’48 ’49 ’50 ’51 ’52 Opera2121117 2 Cantata 1 2 1 2 1 5 32 Symphony 2 1 1 4 1122 Symphonic poem 1 1 3 2 3 Suite 111216 3 Concerto 1 3 1 1 3 4 3 Ballet 1 1 21321 Chamber music 1 1 3 4 11131 Piano pieces 1 1 Film scores 21 2111 1 4 APPENDIX I MUSIC AWARDS IN COMPOSITION Songs 2121121 6 3 Art songs 1 2 Marches 1 Incidental music 1 Folk instruments 111 Table 2. Composers in Alphabetical Order Surnames are given in the most common transliteration (e.g. as in Wikipedia); first names are mostly given in the familiar anglicized form. Name Alternative Spellings/ Dates Class and Year Notes Transliterations of Awards 1. Afanasyev, Leonid 1921–1995 III, 1952 2. Aleksandrov, 1883–1946 I, 1942 see performers list Alexander for a further award (Appendix II) 3. Aleksandrov, 1888–1982 II, 1951 Anatoly 4.
    [Show full text]
  • Constantine Orbelian, Conductor DE 3517 with Asmik Grigorian, Soprano State Academic Symphony Orchestra of Russia
    Dmitri Hvorostovsky sings of War, Peace, Love and Sorrow Constantine orbelian, conductor DE 3517 with Asmik Grigorian, soprano State Academic Symphony Orchestra of Russia Helikon Opera Chorus 1 Dmitri Hvorostovsky Sings of War, Peace, Love and Sorrow PROKOFIEV: War and Peace (Scene 1) TCHAIKOVSKY: Mazeppa (Mazeppa’s Aria) Iolanta (Robert’s Aria) • Queen of Spades (Tomsky’s Ballad; Tomsky’s Song) RUBINSTEIN: The Demon (Scene 6) with Asmik Grigorian, soprano Irina Shishkova, mezzo-soprano • Mikhail Guzhov, bass Igor Morozov, tenor • Vadim Volkov, countertenor Constantine Orbelian, conductor Academic State Symphony Orchestra of Russia, “Evgeny Svetlanov” • Helikon Opera Chorus Total Playing Time: 53:51 Dmitri Hvorostovsky Sings of War, Peace, Love and Sorrow 1. Sergei Prokofiev: War and Peace, 4. Tchaikovsky: Queen of Spades, Scene 1 (11:47) Tomsky’s Ballad (5:42) "Svetlaje vesenneje nebo” "Odnazdy v Versale, au jeu de la Reine” (The radiance of the sky in spring) (One day at Versailles, at the Jeu de la Reine) with Asmik Grigorian (Natasha) with Mikhail Guzhov (Surin) and Irina Shishkova (Sonya) and Igor Morozov (Chekalinsky) 2. Pyotr Ilyich Tchaikovsky: Mazeppa, 5. Tchaikovsky: Queen of Spades, Mazeppa’s Aria (5:27) Tomsky’s Song (2:17) "O Mariya, Mariya!” "Yesli b milyye devitzy” (O Maria, Maria!) (If cute girls) 3. Tchaikovsky: Iolanta, Robert’s Aria (2:36) 6. Anton Rubinstein: The Demon, "Kto mozhet sravnitsja s Matildoj moej” Scene 6 (26:03) (Who can compare with my Mathilde) with Asmik Grigorian (Tamara) and Vadim Volkov (Angel) Constantine Orbelian, conductor State Academic Symphony Orchestra of Russia, “Evgeny Svetlanov” Helikon Opera Chorus Total Playing Time: 53:53 2 ussian is one of the most difficult languag- This studio recording, made in Moscow over es to sing: too many noisy consonants! five consecutive days in October of 2015, brings RNevertheless, some of the most beautiful this plan closer to reality.
    [Show full text]
  • Diapositiva 1
    TchaikovskyTchaikovsky BiographyBiography Piotr Ilich Tchaikovsky was born in 1840 in Vótkinsk, Russia, and he died in 1893. He was a composer from the romantic period and he composed many classical works, however I am only going to focus on two of them, the ballets of Swan Lake and The Nutcracker Suit. He was born in a middle class family and his education was focused on preparing him to be a civil servant, in spite of his musical talent. But against his familiy’s wishes, he decided to persue his musical career in the Saint Petersburg Conservatory. His life had many personal crises and times of depression due to his repressed homosexuality and to his fear of others finding out about it. The Swan Lake is a ballet composed by Tchaikovsky in 1876. It consists in four acts and it’s inspirated in Russian folk tales. It tells the story of Odette, a princess turned into a swan by an evil sorcerer's curse. The choreographer of the original production was Julius Reisinger. The ballet was premiered by the Bolshoi Ballet on 4 March 1877 at the Bolshoi Theatre in Moscow. Julius Reisigner • http://www.youtube.com/watch? v=fghta46Fcyk • http://www.youtube.com/watch? v=dbhb3DHUfhI The Nutcracker is a ballet composed by Tchaikovsky and choreographed by Marius Petipa and Lev Ivanov in 1892. It consists in two acts. The performance of the ballet was a double première toguether with Tchaikovsky’s last opera, Iolanta, on 18 December 1892 at the Imperial Mariinsky Theatre in St. Petersburg, Russia. Marius Petipa also wrote the libretto adapting the Hoffman’s story The Nutcracker and the Mouse King.
    [Show full text]
  • 08.09.2020 Page 1 of 2 CANTO+ Gmbh Lichtentaler Str
    ANTON LUBCHENKO - conductor, composer CV The young composer and conductor Anton Lubchenko, born in 1985, is valued by critics all over the world for his extraordinary musicality. In 2010, at the age of 25 years, Anton Lubchenko became the youngest Artistic Director and Chief Conductor in the history of Russia, heading the State Academic Opera and Ballet Theater of the Republic of Buryatia in Ulan-Ude. In 2013 he was appointed General Director, Artistic Director and Chief Conductor of the newly built State Primorsky Opera and Ballet Theatre in Vladivostok. There, it was his task to create a new symphony orchestra, choir, ballet and ensemble of opera singers. During his three-year tenure in Vladivostok, Anton Lubchenko staged 15 opera and ballet performances. Thanks to his initiative no less than 9 international festivals were held at the State Primorsky Theatre and he was invited, together with his orchestra and ensemble, to perform in the Great Hall of the Moscow Conservatory, the Mariinsky Theatre in St. Petersburg, and the Brucknerhaus in Linz, Austria. Since 2015, Anton Lubchenko is composer in residence for the annual ball at Dresden’s Semperoper. On the occasion of the premieres of his compositions, he conducted the Staatskapelle Dresden. Since 2016, he is the official composer for Lenfilm (St. Petersburg), the oldest film studio in Russia. Until now Anton Lubchenko has created the music for 5 feature movies. From 2017 to September 2020 Anton Lubchenko held the position of Artistic Director and Chief Conductor of the Sochi Symphony Orchestra. The list of his other engagements is impressive, and includes the following: - In 2019 his string sextet op.106 Souvenir de Leonardo accompanied the exhibition “Mona Lisa - a smile for Europe” in the Red City Hall in Berlin.
    [Show full text]