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Sudarevo dityatko, a sudarevo miloye! Dear child, oh sweet child! Skol’ko u tebya detushek? How many children do you have? Semero, semero, batyushka! Seven, seven, father! Semero, semero, rodimen’koy! Seven, seven, my dear!

c (mezzo-soprano) Sudarevo dityatko, a sudarevo miloye! Dear child, oh sweet child! Skol’ko u tebya detushek? How many children do you have? Semero, semero, batyushka! Seven, seven, father! Semero, semero, rodimen’koy! Seven, seven, my dear! Transliterations and translations by Anastasia Belina Booklet Editor: Peter Bromley

Irina Shostakovich and Mark Fitz-Gerald at the world première of Odna, 12th April 2003, Theatre aan de Parade, Den Bosch, Holland.

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Dmitry Shostakovich (1906–1975) VOCAL TEXTS The Complete Score for the 1929–1931 Sound/Silent Film 3 (soprano) Konchen, konchen tekhnikum, konchena uchyoba, I just finished college, my studies are over, Odna (Alone), Op. 26 Ya zhivu na verkhu bolshogo neboskryoba. Now I live at the top of a big skyscraper. Score reconstruction by Mark Fitz-Gerald V neboskryobe etom tselïkh pyat’ etazhey. In the skyscraper there are five floors. 1 The Beginning (Overture) * – Allegro vivo 0:53 Reel 3: Kuzmina arrives ‘alone’ V kazhdom etazhe magazin ‘te-zhe’, In each floor there is a shop Tezhe shop, in the Altai Steppes ‘Te-zhim’ poroshkom chishchu zubï. I clean my teeth with the powder from Tezhe. Reel 1: Kuzmina in Leningrad Grebeshkom pricheshu, i bez pomadï svezhi gubï! I comb my hair, and my lips look fresh without The Altai people at work any lipstick! 2 Kuzmina wakes – Con moto 1:20 & Overtone singer 0:43 3 Song ‘Konchen, Konchen tekhnikum’ * The steppe of the Altai – Andante 0:57 Dva doklada predstoit eshche mne sdat’. I still have to deliver two reports. – Allegro giocoso 1:05 ( The Altai (Kuzmina arrives as the locals look on) Nado, nado prochitat’ snova zanovo. I must read Plekhanov again. 4 Morning exercises – Allegro 1:27 – Andantino 4:59 Plekhanova. Sorok vosemnadtsatïy tom. Forty-eighth volume. 5 March ‘The Street’ – Allegro 0:37 ) She meets the village chairman and some of the Dom, dom, dom, vsyo krugom, dom, House, house, house, all around me is house, 6 Barrel-Organ. Kuzmina waits for Sobolevsky locals – Adagio 3:38 A v dome tom, vsem izvestnïy fakt, And in that house—a well-known fact— – Andantino 0:42 ¡ Kuzmina in her peasant’s hut – Largo 3:07 Prozhivaet Zhakt. lives Zhakt. 7 Galop and song ‘How Good Life will Be!’ ™ Kuzmina takes courage – Allegro 0:25 Zhakt, Zhakt, Zhakt! R’yanïy filosof Zhakt! Zhakt, Zhakt, Zhakt! Zealous philosopher Zhakt! – Allegro 2:42 Ochen’ horosho! Very well! 8 March – Allegretto 0:45 Reel 4: Kuzmina starts teaching 9 (Original) Introduction * – Andante; the local children 7 ^ • (tenor) The crockery sings ‘Stay!’ – Andantino 3:59 Kakaya horoshaya budet zhizn’! How good life will be! £ Introduction – Andante 0:20 Kakaya horoshaya budet zhizn’! How good life will be! ¢ Reel 2: Kuzmina enlists as a teacher: The school class – Allegro 0:59 Kakaya zhizn’! What a life! ∞ her decisions and conflicts The Bai selects the children to tend the sheep Kakaya zhizn’! What a life! – Largo 2:53 Kakaya horoshaya budet zhizn’! How good life will be! 0 § Office typewriters – Marciale 0:04 Kuzmina is struck as she protests – Largo 0:43 Kakaya horoshaya budet zhizn’! How good life will be! ! A young girl signs up – March: Allegretto 0:59 ¶ The village chairman’s wife sings a lullaby to @ her baby – Andante – Lento 2:46 Music from loudspeakers during telephone box 9 (chorus, soprano, tenor) scene – Andantino (composed by Padre Martini, • Kuzmina sees the wife’s crockery and reminisces Ostan’sya, Ostan’sya, Ostan’sya! Stay, stay, stay! arr. Kreisler) ** 0:57 – Allegro 0:51 Etc… Etc. # Kuzmina starts to sign up ª The village Soviet chairman waking up – March: Moderato 1:05 – Adagio 3:04 ¶ (mezzo-soprano) º Kuzmina confronts the village chairman Kuzmina explains her situation to the supervisor Dear child, sweet child! – Allegro 1:16 Sudarevo dityatko, sudarevo miloye! What is your husband’s name? $ March – Allegro 0:47 ⁄ The village chairman drinks tea with his wife Kak u tebya zovut muzha to? Sidor, Sidor, father. % Barrel-Organ – Allegro 1:05 – Allegretto 0:41 Sidorom, Sidorom, batyushka. ^ The old janitor flirts with her – Allegro 0:31 Sidorom, Sidorom, rodimen’koy. Sidor, Sidor, my dear.

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decades. Estonian-born Paavo Järvi has been the new Chief Conductor of the Frankfurt Radio Symphony Orchestra Reel 5: Kuzmina teaches in the open air Reel 7: Kuzmina’s rescue by aeroplane since 2006. Järvi is one of the prominent conductors of his generation and musical variety will again be one of the while the sheep are being tended watchwords of his tenureship. Under his baton, the orchestra continues to enjoy an outstanding reputation worldwide. b The village chairman meets with the locals ¤ The children play and dance with her – – Allegro 0:28 Adagio – Allegretto 2:12 c Kuzmina close to death in bed – Poco lento 0:57 Mark Fitz-Gerald ‹ The Bai and the sheep trader, a sheep is d The village chairman and meeting – Allegro 0:26 slaughtered – Adagio 2:48 e The children come to comfort Kuzmina Mark Fitz-Gerald studied in London at the Royal College of Music, where › Kuzmina protests – Allegro 1:24 – Andante 1:08 his professors included Norman Del Mar, winning all the major prizes ﬁ The Bai shouts back at her – Moderato f The village chairman plans her funeral for both orchestral and operatic conducting. It was during this time that – Presto 1:11 “at the expense of the community” – Adagio 0:55 Henze invited him to take part in the first Cantiere Internazionale d’Arte ﬂ The locals conspire to murder Kuzmina g The locals express themselves violently in Montepulciano, as a result of which he was invited regularly to as she goes to report them – Allegro 1:39 Switzerland as Guest Conductor of the Basel Sinfonietta. From 1983 to – Allegro vivace – Adagio 4:44 h The aeroplane from Moscow arrives to rescue 1987 he was Artistic Director of the RIAS Jugendorchester (West Berlin) “the teacher” – Finale – Allegro 3:46 where his innovative Filmharmonic Concerts received much acclaim and Reel 6: Attempted murder of Kuzmina were later made available on CD. He returned there to continue the series as she is abandoned in the snow *** with the Berlin Rundfunkorchester in 1992. Since then he has performed * Not used in final version of film the very specialised task of accompanying silent films live with orchestra, ‡ with much success in many countries and festivals throughout the world. Kuzmina on her way to the next town ** Solo violin: Ulrich Edelmann His performances of the Trauberg/Shostakovich classic New Babylon – Allegretto 2:06 *** The film for this reel has been lost ° (1929) have received much critical acclaim, in particular at the Japanese A snowstorm starts to build – Allegro **** 1:13 **** Theremin: Barbara Buchholz première of the work in 2000 and the Rotterdam Gergiev Festival 2001. · Snowstorm – Presto 2:18 With the help of Mrs Irina Shostakovich and Krzysztof Meyer he has Kuzmina almost freezes to death The score of Odna was restored in 2003 by Mark Fitz- restored the complete score to another Trauberg/Shostakovich film, Odna ‚ Largo 1:33 Gerald, with the encouragement and support of Irina (1929-31), and conducted the world première (the first Shostakovich a Largo 4:47 Shostakovich, Krzysztof Meyer, and Theodore van Houten première for over twenty years) in Holland and later in Paris, with who was responsible for the first public performance in enormous success. His restoration is now published in the new complete edition of the composer’s works, and he Den Bosch, Netherlands, on 12th April, 2003. conducted the United Kingdom première at the Barbican centre in 2006. In 1986 he was appointed Music Director of Kentish Opera, and has assisted regularly at the Vienna Staatsoper, as well as the Vienna Kammeroper. In 1992 he made his début at the Vienna Volksoper with The Cunning Little Vixen, and in 1994 conducted the world première of an opera by the Mexican composer Victor Razgado at Spoleto. His career has brought guest engagements with orchestras throughout Europe and in Japan. From 1989 to 1993 he was Associate Conductor of the Orquesta de Porto (Orquesta Classica do Porto, Portugal). He was Assistant Conductor in Strasbourg both at the Philharmonic Orchestra and at the Opéra du Rhin from 1997 to 2002.

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Dmitry Shostakovich (1906–1975) Barbara Buchholz Odna (Alone), Op. 26 Barbara Buchholz studied music at the University of Bielefeld. In the 1980s she toured Shostakovich’s first full-length film score, for Kozintsev to Leningrad, waving cheerily to her happy charges, it as bass player with the women’s orchestra Reichlich Weiblich. Later, the recipient of and Trauberg’s New Babylon (1929), was an infamous is not clear that she has managed to institute much numerous music awards, she played and sang in projects which crossed the boundaries scandal despite some good reviews. Unknown to change: despite Shostakovich’s deliriously positive of art, music, poetry and dance. As a composer and performer, Barbara Buchholz has audiences, however, censors had forced massive cuts at music the plane makes its exit over the still drying horse- worked for a wide range of theatres; as artistic director she conceived and produced the last minute and Shostakovich’s desperate efforts to skin. “Tap It Deep”, a unique blend of midified tap dance and new jazz, as well as “Theremin: bring his music into line with the new version were By 1930, after years of experimentation, Berlin–Moscow”, a collaboration with the Russian computer painter Olga Kumeger, compromised by copying errors and the musicians’ synchronized soundtracks were becoming ubiquitous in among others. Barbara Buchholz’s current musical works focus on the theremin, the animosity to the new and difficult music. Nevertheless the West. Shorin and Tager had been unsuccessfully only existing musical instrument played without touch. As a master student of Lydia the directors loved the music and asked him to score developing rival Soviet systems since around 1927. Kavina, the grandniece of the inventor of the theremin, Lev Thermen, she has revived their next film, Alone. Inspired by a newspaper report Synchronization would avoid New Babylon-type the tradition of this instrument, finding new applications and means of expression in about a teacher’s difficulties in Karelia (they moved the catastrophes as well as demonstrating that the USSR various kinds of contemporary music. Together with Lydia Kavina she founded the action to the Altai on the Mongolian border) it looks at was technologically equal to the West. Despite this, for project “Touch! Don’t Touch!”, a workshop for new compositions for the theremin. the rôle of education in bringing the distant republics several years slightly different sound and silent versions into the twentieth century and under the Soviet umbrella. would have to be made and intertitles would continue to The Russian title, Odna, makes it clear that the explain the action and report speech, as only a few Vocal Ensemble of the Frankfurt am Main Hochschule für Musik und Darstellende Kunst protagonist is female and initially she was to be Soviet cinemas were equipped for sound. In the overcome by the difficulties and commit suicide but the meantime Alone was planned as the first Soviet sound The vocal ensemble of the Hochschule für Musik und Darstellende Kunst, Frankfurt am Main, was created directors cannily changed the ending. film. In the event it was beaten to the tape in 1930. The especially for the concert and recording of Shostakovich’s Odna. The group comprises seventeen young singers The recently qualified teacher Kuzmina (the documentary Plan velikikh rabot (The Plan for the Great from the School of Music: characters are deliberately given the actors’ real-life Works) was little more than an assemblage of newsreel names for greater realism) looks forward to getting a footage with an asynchronous soundtrack laid on top Soprano: Johanna Greulich, Anne Frank, Simone Schwark, Joo-Eun Lee, Young-Joo Lee job in Leningrad and setting up home with her fiancé but Vertov used sound more adventurously in Entusiazm Alto: Desiree Hall, Charlotte Quadt, Julia Diefenbach, Katharina Magiera Pyotr (played by the real-life Elena Kuzmina’s husband, (Enthusiasm). Both were about Soviet industrialisation Tenor: Lars Lettner, Gustavo Quaresma Ramos, Robert Gardiner, Sören Richter Pyotr Sobolevsky). They go window-shopping, staring but also actually demonstrated it by having soundtracks. Bass: Christian Janz, Dominik Herrmann, Tobias Frank, Kai Florian Bischoff longingly at a tea-service (which sings to them), and The recording quality, however, for these and Ekk’s play a crazy duet on cello and kitchen pots (though Putyovka v zhizn’ (The Road to Life), 1931, the Shostakovich chose to ignore this instrumentation). fictionalised story of educationalist Anton Makarenko, Frankfurt Radio Symphony Orchestra Despite her protestations, however, Kuzmina is assigned was execrable. Even in Alone, finally released in to work in the Altai. The first thing she sees when she October 1931, the indecipherability of the words to the The Frankfurt Radio Symphony Orchestra is one of the most innovative and flexible ensembles of its kind in arrives is an ominous drying horse-skin, both a fertility songs Kakaya khoroshaya budet zhizn’ (How Good Life Germany. With an extraordinarily broad repertoire, an impressive number of CDs under its belt, and a breath-taking symbol and a sign of a village in thrall to superstition. Will Be) 7 and Ostan’sya (Stay!) 9 meant that range of concerts each year, the orchestra of the German Public Radio of Hessen has built up an outstanding The Soviet is run by a lackadaisical leader, and gradually the texts were reduced to endless repetitions international reputation since its foundation more than 75 years ago. A regular collaborator with the world’s best Kuzmina’s classes are thwarted by the villagers’ of the titles. In 1931 Shostakovich said that, despite the conductors and soloists, it is equally at home unearthing old, nearly forgotten repertoire as it is in exploring new, insistence that the children tend sheep, though they enjoy excellence of the orchestra and conductor, the recording experimental music. It also sees children and youth work as one of its top priorities. It was the orchestra’s first their lessons. The villagers plan to leave Kuzmina to die quality made it seem that all the work was for nothing. conductor in 1929, Hans Rosbaud, with his emphasis on both traditional romantic repertoire and contemporary in a snowdrift but “thanks to the Soviet state” (as the Elena Kuzmina herself claimed that Alone was shot music, who forged the path the orchestra has trodden ever since. Following the end of World War II, Kurt Schröder intertitle tells us) a plane is despatched to rescue her. silent, with the decision to add sound coming later. Her and Winfried Zillig set about rebuilding the orchestra, but it was Dean Dixon, Eliahu Inbal, Dmitri Kitaenko and The end is left slightly open as, though she is returned memory is mistaken, however, perhaps as the bulky Hugh Wolff, who have established and carried on the orchestra’s truly international reputation in subsequent

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Dmitry Voropaev recording equipment could not be taken to the Altai, so wedding; then when she receives her posting (will life the soundtrack was added later. In fact, Shostakovich in the Altai without her fiancé really be good?); as a The tenor Dmitry Voropaev was born in Baku in 1980. In 1987 he entered the M.I. was always part of the team, though Sovkino explicitly bitter comment on the lazy village head (the chiming Glinka Choral College, and on completing his studies there in 1998 with a certificate told him to avoid the mistakes of New Babylon and his clock, tea-drinking and the same intertitle: “time to get of excellence, entered the St Petersburg Conservatoire, where he joined the conducting controversial opera The Nose. He was to be in charge of up” underlining the ironic contrast with her own idyllic and choral singing department. He joined the Mariinsky Young Singers’ Academy in the entire soundtrack, which used some speech as well Leningrad morning), and finally when the words appear 2000 and has subsequently participated in Academy concerts at the Mariinsky Theatre as mixing recordings of street sounds with his music. onscreen as she flies out. But is it her return to Leningrad and abroad, performing on the stage of the Graz Opera, the Théâtre du Châtelet, Opéra In one change from the usual way of working, a shaman or the improvements that she has brought to the village de Bordeaux, Aix-en-Provence Festival, Wigmore Hall and St John’s Smith Square in was filmed and recorded at the same time, though he that are being celebrated? London. He is a prizewinner of the Fourth International Rimsky-Korsakov Competition had to be brought to Leningrad and a technical failure During the wartime bombing of Lenfilm Alone was and in 2004 he won fourth prize, as well as the prize for the best performance of a meant it had to be reshot. one of several films that were destroyed in total or in Finnish song in the Mirjam Helin International Singing Competition In Finland. In One lesson Shostakovich did learn from New part. In the 1960s it was restored using prints from other summer 2004 he was a prize-winner of Placido Domingo’s OPERALIA competition. Babylon was that large musical structures are intractable sources but, sadly, the reel in which Kuzmina is lost in In 2001 he was invited to sing symphony concerts with the Estonian State Philharmonic if a film is re-edited, and this may have influenced his the snow could not be found in any archive and there Orchestra. He made his début on the Mariinsky stage under Valery Gergiev as Don decision to score Alone with a mosaic of smaller pieces appear to be no stills, despite it having been shown Ottavio in Don Giovanni in 2002, and has also toured Japan with Gergiev. Recent that could be more easily edited, repeated or shuffled overseas. Nevertheless Shostakovich’s titles and music productions include his début at La Monnaie in Brussels in Boris Godunov. as the film progressed towards its final version. score give an idea of dramatic flow and in live A studio preview went well and Shostakovich’s presentations of the film title-cards explain the action music was particularly praised but Moscow banned the while the music continues. The young Shostakovich had soundtrack, saying that the repetitions of How Good Life a penchant for unusual instruments and here he evokes Mark van Tongeren Will Be might “put audiences into an undesirable frame the desolate landscape with the eerie wailing of the of mind”. Changes were made, though the song theremin, an early electronic instrument. Mark van Tongeren is a Dutch singer and researcher specialising in unusual vocal remained, and the film was passed a few days later. Another post-release problem for the film was that techniques. He has made many field-work trips to Siberia and performs in contemporary Trauberg later claimed to have dictated the song to the score itself lay unedited so that previous recordings music, improvisation and theatre projects. His book/CD Overtone Singing (published Shostakovich but, though the director was certainly have been incomplete. When the film was prepared for by Fusica, 2004) is a standard work in the field. He is currently studying for a doctorate musical (he wrote and directed operettas and wrote a live presentation Mark Fitz-Gerald led a team that at the Faculty of Creative and Performing Arts at Leiden University. He leads the book on Offenbach), his claim is currently unsupported. recreated the soundtrack from published and Paraphony Laboratory in exploring new possibilities with choral overtone singing, and As several critics noted at the time, Shostakovich’s unpublished sources, filling in the missing parts by studies its older, indigenous forms in Tibet, Sardinia, South Africa, and Taiwan. score does much to propel the action as there is not much laboriously transcribing the music from the soundtrack synchronized speech, though many intertitles. The itself. Discoveries included The Beginning (Overture) repetitions and variations bind the film together and 1, a little fanfare-prelude which in the event was not throw ironic lights on different scenes. The Street 5 and used in the film, as well as Kreisler’s Andantino @, Barrel Organ 6 are leitmotifs for Leningrad and another example of Shostakovich’s love of popular versions reappear later, underlining Kuzmina’s music. This plays over a tannoy, with a babbling crowd miserable fate. Similarly, when she lies in bed close to replacing Kuzmina’s voice while she makes a desperate death she is visited by the children and a minor-key phone call to her fiancé, evoking her frustration but variation of music that had played during their lessons handily also avoiding the technical difficulties of [e and ¢]. synchronized speech, though it makes Kreisler all but As Moscow noted, the song How Good Life Will inaudible in the film. Be occurs several times and it charts Kuzmina’s fortunes This makes this the first complete recording of one through the film: initially as she looks forward to her of Shostakovich’s best film scores, one where he was

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able to develop his dramatic instinct while learning more developed a wide range of techniques to make individual Irina Mataeva about cinema technology. These were lessons that would harmonics audible, thus taking advantage of a musical stand him in good stead, not only in the thirty or more realm in the human voice that is usually neglected. The soprano Irina Mataeva was born in Tjumen. She studied at the St Petersburg State films he scored through the rest of his life, but also in his How do they do that? Throat-singing or overtone- Conservatory from where she graduated in 1999. Since 1998 she has been a soloist of other music. singing requires very precise articulation with the the Young Academy of the Mariinsky Theatre in St Petersburg, with which she has tongue, the lips and the jaw. They also modify the basic toured extensively to Finland, China, America, Germany, Italy and Britain. She has John Riley sound of the voice by adding pressure on the larynx been invited to take part in many master-classes, including those with Obratzova, from the abdomen. The resulting guttural voice quality Renata Scotto and Larissa Gergieva. She has a wide and varied repertoire, and has sung Author of Dmitri Shostakovich: A Life in Film makes the overtones relatively strong, and suppresses many rôles including those of Tatiana in Eugene Onegin, Lisa in La Sonnambula, (I.B. Tauris, London & New York, 2005) the fundamental. During the actual singing in the film Susanna in Le nozze di Figaro, Natasha in Prokofiev’s War and Peace, Sofia in the the singer is invisible. But in the end, when the aeroplane same composer’s Semyon Kotko, Luisa in Betrothal in a Monastery, and Zerlina in Don A Song without Words: is taking off and the entire nomadic community rejoices Giovanni. Further engagements have included Chloe in Pique Dame at the Los Angeles A Note on Overtone-Singing in the saving of Kuzmina’s life, we see the singer Opera, Micaela in Carmen at the Washington Opera, a recital with the Mariinsky playing his lute, sporting that typical facial expression Academy at the Wigmore Hall in London, a recital with Larissa Gergieva at St John’s The change from teacher Kuzmina’s familiar Leningrad of a throat-singer, with strongly protruded lips. Smith Square as a part of the Rosenblatt Series, Tatiana in Eugene Onegin at the environment to that of the Altai is a dramatic one. All of In the Altai, the art of throat-singing was and is Théâtre du Châtelet in Paris and at the Opéra de Marseille, Zerlina in Don Giovanni a sudden the camera offers a panoramic view of an strongly connected with the bardic tradition of epic at the Washington Opera, and Henri Tomasi’s Sampiero Corso at the Opéra de utterly different landscape, that is characterized first of recitation, or kay, and through that link, perhaps, even Marseille. The sponsors’ circle (CIAM) of the Théâtre du Châtelet awarded her the all by its emptiness. The sound that accompanies the with shamanic practices, of which Odna also gives us a prize of most popular artist of the year for her portrayal of Tatiana in January 2003. She has been engaged to sing transition is perhaps the most dramatic that could be short glimpse. In all of these performing traditions, Natasha in War and Peace at the Metropolitan Opera in New York. chosen. It is a strange voice that intones a song, but singers create and express - in one way or the other - the which in fact does not sound like a human voice at all &. non-ordinary worlds of the mythical, the supernatural It lacks words, that human trait that defines most vocal and the spiritual. In addition, for nomadising herdsmen Anna Kiknadze music. It even lacks the familiar colour of the human kömey throat-singing seems to have been a way of voice, carrying instead an ethereal flute-like melody communicating directly with the real, natural The mezzo-soprano Anna Kiknadze studied at the Tbilisi State Conservatory and was across the steppes. What is that sound which heralds environment, in a cyclical exchange of visual and sonic a member of the Young Singers Academy of the Mariinsky Theatre in St Petersburg, Kuzmina’s new episode in her life as a school teacher in impression and vocal expression. home of the Kirov Opera, for three years. In 1998 she made her début at the Tbilisi the Republic of Altai, the Soviet Oyrot Autonomous Odna was made just in time. Not long after the film Opera and Ballet Theatre as Lola in Mascagni’s Cavalleria rusticana and went on to Region, as it was called at the time? was completed, traditional performing arts and religious sing the title rôle in Bizet’s Carmen. At the Mariinsky her rôles have included That voice is one of the unique sound-markers of the practices of Russia’s tribal peoples began to be either Maddalena in Verdi’s Rigoletto, Suzuki in Puccini’s Madama Butterfly, Cherubino in Altai area: an authentic piece of throat-singing, or altered or repressed by the Soviet authorities. After Le nozze di Figaro, and Amneris in Verdi’s Aida. In 1999 she won a Diploma in the kömey. Throat-singers produce two sounds at the same periods of decline, the recent revival of throat-singing Republican Young Singers Competition and took the Special Prize for Artistry and time. With the lowest, fundamental tone they create a proves that the sound of aeroplanes can coexist Musicality in the International Rimsky-Korsakov Competition in St Petersburg in drone most of the time. Above it, they produce a melody peacefully with Inner Asia’s archaic sonic arts. 2000. She was a finalist in the 2001 Cardiff Singer of the World Competition and which they masterfully select from a wide range of so- 2002 Placido Domingo Operalia Competition in Paris. She has sung Olga in Eugene called overtones or harmonics. These harmonics are Mark van Tongeren Onegin at the Graz Opera, with the TROS Orchestra in Rotterdam and Utrecht and at present in any human voice, but are usually all perceived the Teatro de la Maestranza, Seville. She has also sung Mavra in Los Angeles with together, giving rise to the sensation of colour or timbre, Author of Overtone Singing: Physics Esa-Pekka Salonen and Pauline in Pique Dame at the Bavarian State Opera, Olga in or vowel quality. Singers living around the Altai and and Metaphysics of Harmonics in East and West Eugene Onegin at the Theater St. Gallen, Marquise Melibea in Il viaggio a Reims at Sayan mountain ranges of Siberia and Mongolia have the Théâtre du Châtelet and Love for Three Oranges at the Madrid Teatro Real.

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Irina Shostakovich and Mark Fitz-Gerald at the world première of Odna, 12th April 2003, Theatre aan de Parade, Den Bosch, Holland.

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8.570316 FILM MUSIC CLASSICS 79:56 8.570316 DDD Dmitry Shostakovich Set in late 1920s Leningrad and then in the Made in Canada www.naxos.com Altai Mountains in Russian Mongolia, SHOSTAKOVICH: Odna (Alone)

& Odna (Alone) 1929–1931 Shostakovich’s second film ODNA (ALONE) WORLD PREMIÈRE COMPLETE RECORDING features a dazzling score for a huge orchestra 2008 Naxos Rights International Ltd. including a banda (8 brass band instruments), 1 The Beginning (Overture) 0:53 theremin, (Shostakovich was one of the first 2–9 Kuzmina in Leningrad 12:37 composers to write for this new electronic 0–^ Kuzmina enlists as a teacher: instrument), barrel-organ, a soprano, mezzo- her decisions and conflicts 5:29 soprano, tenor, an overtone singer and choir. It &–™ Kuzmina arrives ‘alone’ in the has been reconstructed from the official Altai Steppes 13:49 Russian version of the film by Mark Fitz- £–⁄ Kuzmina starts teaching the Gerald, with the official approval of Mrs Irina local children 13:33 Shostakovich. The recording also restores a ¤–ﬂ Kuzmina teaches in the open air short Overture [track 1] and a beautiful, lyrical while the sheep are being tended 12:19 prelude [track 9] that were not used in the film. ‡–a Attempted murder of Kuzmina as The booklet includes notes on the music by she is abandoned in the snow 11:57 leading Shostakovich film music expert, John b–h Kuzmina’s rescue by aeroplane 9:19 Riley, and on overtone singing by Mark van A full track list can be found in the enclosed booklet Tongeren who performs on the recording. Irina Mataeva, soprano • Anna Kiknadze, mezzo- There are also transliterations and translations soprano • Dmitry Voropaev, tenor • Mark van of the vocal score. SHOSTAKOVICH: Odna (Alone) SHOSTAKOVICH: Tongeren, overtone singer • Barbara Buchholz, Also available from Naxos are the complete theremin • Vokalensemble der HfMDK Frankfurt Frankfurt Radio Symphony Orchestra film scores for Shostakovich’s HAMLET Conducted by Mark Fitz-Gerald (8.557446) and THE FALL OF BERLIN Score Reconstruction by Mark Fitz-Gerald (8.570238). 8.570316 A co-production with Hessischer Rundfunk • A part studio and part live recording (evening of 1st December) made at the Sendesaal of Hessischer Rundfunk, Frankfurt, from 29th November to 1st December, 2006 Producer: Hans-Bernhard Bätzing • Engineer: Thomas Eschler • For Naxos: Peter Bromley Assistant to Mark Fitz-Gerald: Geoffrey Paterson • Publisher: © Musikverlag Hans Sikorski, Hamburg (Germany) Cover: Kuzmina’s arrival in the Altai Steppes (adapted from film still)