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Medea Figner War Zudem Auch Eine Brillante Konzert- Und Liedsänge- Rin

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Medea Figner War Zudem Auch Eine Brillante Konzert- Und Liedsänge- Rin Figner, Medea [„Ich kam einfach auf den Gedanken, ich könnte in Russ- land bleiben und eine russische Sängerin werden. Das un- begreifliche Schicksal machte das gute, alte Russland zu meiner zweiten Heimat! Als ich die Partie der Tatjana einstudiert hatte, bat ich [...] Peter Iljitsch Tschaikowsky, mich zu beraten. Er hörte mich etliche Male an, machte aber keine Bemerkungen dazu, und als ich daran schier verzweifelte, sagte er mir, ich sei eben die Tatjana, deren künstlerische Verkörperung er sich immer vorgestellt hat- te, und dass es nichts gäbe, worauf er mich hinzuweisen habe.“] (Medea Mei-Figner zit. nach: Nadir Širinskij. "Sud'ba sdelala Rossiju moej vtoroj otčiznoj" [„Das Schicksal machte das gute, alte Russland zu meiner zweiten Hei- mat“], in: "Moskovskij žurnal" 2001, Nr. 2 ( http://rusk.ru/st.php?idar=800446) Profil Medea Mei-Figner war eine berühmte Sopranistin und Mezzosopranistin, die Triumphe in ihrer Heimat Italien sowie in ihrer zweiten Heimat Russland feierte. Sie war eine der Lieblingssängerinnen der Zarenfamilie und ei- ner der Stars des Mariinski-Theaters in St. Petersburg. Medea Mei-Figner erwarb sich große Verdienste um das Opernschaffen von Peter I. Tschaikowsky. Sehr produk- Die Sängerin Medea Mei-Figner tiv war ihre Zusammenarbeit mit ihrem Ehemann, dem russischen Startenor Nikolaj Figner. Medea Mei-Figner Medea Figner war zudem auch eine brillante Konzert- und Liedsänge- rin. * 4. April 1859 in Florenz, Italien Orte und Länder † 8. Juni 1952 in Paris, Frankreich Geboren in Florenz, Italien war die zukünftige Sängerin Opern-, Konzert- und Liedsängerin (Mezzosopran, in ihrer Heimat ausgebildet. Blitzschnell wurde sie zum Sopran) Weltstar und feierte größte Erfolge in Italien (Florenz, Turin, Modena, Genua, Milan, Bergamo, Bologna usw.) "Мысль о том, что я останусь в России и буду русской sowie weltweit, darunter in Spanien (Sevilla, Barcelona, певицей, мне и в голову не приходила. Madrid), England (London: "Covent Garden"), Deutsch- Непостижимая судьба сделала милую Россию моей land (Berlin) Südamerika (Buenos Aires, Montevideo, второй отчизной! Когда я приготовила партию Rio de Janeiro, São Paulo) usw. Im Russischen Reich Татьяны, я попросила […] Петра Ильича wurde sie eine Lieblingssängerinnen der Zarenfamilie Чайковского дать мне указания. Он несколько раз und einer der Stars des Mariinski-Theaters in St. Peters- прослушал меня, но не сделал мне никаких burg; neben St.- Petersburg (bzw. Petrograd, später: Le- замечаний и, когда я от этого пришла в отчаяние, ningrad) trat sie in Moskau, Kiew, Odessa, Tiflis, Baku, сказал, что я именно та Татьяна, которую он всегда Tula, Nischni Nowgorod usw. auf Ihre künstlerische Tä- желал видеть в олицетворении артистки, и что ему tigkeit entwickelte sich sehr produktiv in Paris, wo Fig- нечего мне указать". ner verstarb. – 1 – Figner, Medea trat die Medea Mei-Figner in Moskau, Kiew, Odessa, Tif- Biografie lis und Nischni Nowgorod auf, ebenso im Ausland, dar- Medea Mei wurde am 4. April 1859 in Florenz in die Fa- unter 1887 in London (am Covent Garden Theatre), 1903 milie eines armen Handwerkers hineingeboren. Ihre in Südamerika (zusammen mit Enrico Caruso), in Japan, Mutter starb, als das Mädchen neun Jahre alt war. Mit Deutschland usw. 14 Jahren begann Medea Mei am Konservatorium in Flo- Am 6. Dezember 1894 wurden Medea und Nikolai Figner renz Gesang bei einem Professor namens Bianchi zu stu- mit dem Titel "Solisten seiner Kaiserlichen Majestät" aus- dieren. Später nahm sie Privatunterricht bei Heinrich Pa- gezeichnet. 1903 hatte Medea Mei-Figner eine leiden- nofka (1807-1887) und bei Carlotta Carozzi-Zucchi schaftliche Affäre, was 1904 zur Trennung führte. 1912 (1831-1898). 1875 macht sie ihr Debüt auf der Opernbüh- verließ Medea Mei-Figner das Mariinski-Theater. Von ne als Azucena in Verdis "Il trovatore". Zwischen 1877 1918 bis 1930 unterrichtete sie an verschiedenen Musik- und 1887 trat Medea Mei vor allem in Italien auf (Turin, schulen in Petrograd/Leningrad. Ihr letzer Konzertauft- Modena, Genua, Milano, Bergamo, Bologna) und feierte ritt fand am 15. November 1925 im Konzertsaal der Le- auf Gastspielreisen Triumphe in Spanien (Sevilla, Barce- ningrader Philharmonie statt. 1926 wurde Medea Mei-Fi- lona, Madrid) und in anderen europäischen Ländern, gner mit dem Titel "Verehrte Künstlerin der RSFSR" aus- ebenso in Russland sowie in Südamerika. Zu ihren Büh- gezeichnet. nenpartnern gehörten die prominenten italienischen Te- 1931 zog sie nach Paris, wo sie bis zu ihrem Tod 1952 leb- nöre Angelo Masini (1844-1926), Mattia Battistini te. Sie unterrichtete Gesang und trat sporadisch mit (1856-1928), Francesco Tamagno (1850-1905) sowie ihr Romanzen russischer Komponisten im Konzert auf. Me- zukünftiger zweiter Ehemann, der russische Startenor Ni- dea Mei-Figner starb am 8. Juli 1952. kolai Nikolajewitsch Figner (1857-1918). Würdigung Im Frühjahr 1887 erhielten Nikolai Figner und Medea Mei eine Einladung vom Hauptregisseur des Mariinski- Medea und Nikolai Figner erwarben sich große Verdiens- Theaters in St. Petersburg, Gennadi Petrowitsch Kondrat- te um die Opern Peter I. Tschaikowskys. Sie übernah- jew (1834-1905). Mit dieser Einladung und den darauf men bei der Uraufführung der Oper "Pique Dame" folgenden erfolgreichen Auftritten am Marientheater in (1890) die Partien von Lisa und Hermann und bei der Ur- St. Petersburg begann für die beiden Sänger eine glänzen- aufführung der "Jolanthe" (1892) die Rollen von Jolant- de Karriere auf der wichtigsten Opernbühne Russlands: he und Godefroy de Vaudémont. Ihre Partien studierten Medea Mei erhielt 15000 Rubel und Nikolai Figner sie unter Anleitung des Komponisten ein. Bei der Konzep- 25000 Rubel jährlich, während die anderen führenden tion und Komposition dieser Werke berücksichtigte Solisten des Marientheaters bestenfalls 12000 Rubel Tschaikowsky die stimmlichen und darstellerischen Mög- jährlich verdienten. Die beiden Sänger wurden bald auch lichkeiten und Begabungen des Künstlerpaars. In seinen die Lieblingssänger der Zarenfamilie. Skizzen zu "Pique Dame" schrieb der Komponist sogar Am 8. Februar 1889 schloss das Künstlerpaar den Bund an einer Stelle "Figner" statt "Hermann" (Polina Efimov- der Ehe, und Medea Mei wurde Medea Iwanowna Fig- na Vajdman. Fignery Nikolaj i Medeja; http://www.clas- ner. Ihre beiden Kinder aus erster Ehe (nach anderen Qu- sic-music.ru/figner.html). ellen nur eine Tochter) blieben in Italien. Auch für Niko- Medea Mei-Figner hatte eine kräftige Stimme von gro- lai Figner, dem Nachkommen einer aus Deutschland ßem Umfang und zarter Klangfarbe, die ihr erlaubte, So- stammenden Familie, der vor seiner professionellen Aus- pran- und Mezzosopranpartien zu übernehmen. Zugleich bildung zum Sänger ein Offizier des Zaren gewesen war, verfügte sie über eine große darstellerische Begabung war es die zweite Ehe. Seine erste Ehe, aus der eine Toch- und ein markantes dramatisches Temperament. Sie ar- ter hervorgegangen war, wurde geheim gehalten, und beitete kontinuierlich und mit großem Fleiß sowohl an ih- nach der Trennung unterstützte der Sänger seine erste rer Stimme als auch an einer korrekten russischen Aus- Familie auch weiterhin finanziell. Aus der Ehe mit Me- sprache. Bei der Erarbeitung einiger Partien wurde sie dea Mei-Figner gingen zwei Söhne und zwei Töchter her- u.a. von den Komponisten Peter I. Tschaikowsky und Gia- vor, Nikolai und Georgi sowie Lidia und Jewgenia (http:/ como Puccini sowie von der berühmten Sängerin und Vo- /www.rusdeutsch-panorama.ru/jencik_statja.php?mo- kalpädagogin Carolina Ferni-Giraldoni (1839-1923) bera- de=view&site_id=34&own_menu_id=2859). ten. Ab 1900 trat sie auch in Opern Richard Wagners Neben ihrem ständigen Engagement am Marientheater auf. – 2 – Figner, Medea Hohe Wertschätzung erfuhr auch ihre Interpretation der Repertoire Carmen in Georges Bizets gleichnamiger Oper. So be- zeichnete der Kritiker Eduard Alexandrowitsch Stark I. Opern (Komponist, Oper, Rolle): (Künstlername: Siegfried) ihre Darstelung dieser Rolle als "верх совершенства в смысле пластической Georges Bizet: выразительности, наряду с выразительностью "Carmen": Carmen; музыкальной" ("Gipfelpunkt des plastischen Ausdrucks sowie der musikalischen Expression" (Ėduard Stark (Zig- Arrigo Boito: frid). „Peterburgskaja opera i eë mastera“ [„Die Peters- "Mefistofele": Margherita; burger Oper und ihre Meister“]. Leningrad/Moskau 1940, S. 186-189). Francesco Cilea: "Adriana Lecouvreur": Adriana Lecouvreur; Mehr zu Würdigung Eduard Franzewitsch Naprawnik (1839-1916) widmete Michail Glinka: Medea Mei-Figner seine Romanze "Barcarola", op. 59 "Ruslan und Ludmila": Gorislawa; (1895). Der italienische Bildhauer Raffaello Romanelli Charles Gounod: (1856-1928) schuf eine Büste von Medea Mei-Figner, die "Faust": Marguerite; sich im Museum des Marientheaters in St. Petersburg be- "Roméo et Juliette": Juliette; findet. Nikolaj Nikolajewitsch Becker (1877-1962) malte etliche Ruggiero Leoncavallo: Porträts von Medea Mei-Figner; ihr Verbleib ist unbe- "Pagliacci": Nedda; kannt. Medea Mei-Figner wurde mit den Titeln "Solistin seiner Pietro Mascagni: Kaiserlichen Majestät" (1894) und " Verehrte Künstlerin "Cavalleria rusticana": Santuzza; der RSFSR (1926) ausgezeichnet. Jules Massenet: Rezeption "Werther": Charlotte; Medea Mei-Figner wurde von ihren Zeitgenossen sehr ve- rehrt. Gemeinsam mit ihrem Ehemann Nikolaj Figner Giacomo Meyerbeer: galt sie als Inbegriff des großen "kaiserlichen" Stils des "L'Africaine": Selica; Mariinski-Theaters in St. Petersburg. Nach der Oktober- revolution von 1917 wurde im sowjetischen
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