sign in sign up
<<
Home , Aida Garifullina, Aleksandra Pakhmutova, Arno Babajanian, Constantine Orbelian, Dmitri Hvorostovsky, Irina Arkhipova

Dmitri Hvorostovsky Singing of Love

DE 3565 - SINGING OF LOVE

1. PIOTR BULAKHOF: Shine, shine, my star (Gori, gori, moya zvezda) (4:01) (Lyricist: Vladimir Chuyevsky)

2. ARNO BABAJANIAN: Do not hurry (Ne speshi) (3:47) (Lyricist: )

3. VERDI: Don Carlo: O Carlo, ascolta (O Carlos, now listen) (4:23)

4. MOZART: : Deh vieni alla finestra (Come to the window) (2:55)

5. LEONCAVALLO: Pagliacci: Prologue “Si può?” (If I may?) (5:42)

6. GOUNOD: : Valentin’s aria “Avant de quitter ces lieux” (Before I leave this town) (4:14)

7. WAGNER: Tannhaüser: Wolfram’s aria “Oh du mein holder Abendstern” (4:45) (Oh, star of eve, thy tender beam)

8. TCHAIKOVSKY: : Robert’s Aria “Who can compare with my Mathilde?” (2:36)

9. TCHAIKOVSKY: : Mazeppa’s Aria “Oh Maria, Maria!” (5:27)

10. ALEKSANDRA PAKHMUTOVA: Tenderness (Nezhnost) (2:56) (Lyricists: Sergei Grebennikov/Niklay Dobronravov)

11. KIRILL MOLCHANOV: Wait for me (Zhdi menya) (4:31) (Lyricist: Konstantin Simonov)

12. GLINKA: I recall a wonderful moment (Ja pomnu chudoe mgnovnie) (3:24) 13. TCHAIKOVSKY: Serenade, “O Child, beneath thy window” (Serenada, “O, ditya”) (3:10)

14. TCHAIKOVSKY: Tell me, what in the shade of the branches (3:51) (“Skahzi, o chom v teni vetvey”)

15. CAESARE ANDREA BIXIO: Parlami d’amore, Mariù (Speak to me of love, Mariù) (3:16) (Orchestration: L. Logi)

16. EDUARDO DI CAPUA/GIOVANNI CAPPURO: ‘O sole mio (My sun) (4:40) (Orchestration: Giancarlo Chiaramello)

17. MATVEY BLANTER: Wait for me (Zhdi menya) (4:53) (Lyricist: Konstantin Simonov)

18. ARNO BABAJANIAN: I’m grateful to you (Blagodariu tebia) (3:39) (Lyricist: Robert Rozhdestvenskiy)

19. YAN FRENKEL: Cranes (Zhuravli) (4:16) (Lyricist: Rasul Gamzatov)

CONSTANTINE ORBELIAN, conductor Chamber Orchestra Philharmonia of State Academic Symphony Orchestra of Russia Novaya Orchestra Style of Five Ivari Ilja, piano

Total Playing Time: 75:34 “Dmitri Hvorostovsky… one of the voices of the century” —

“Some of the most beautiful and eloquent sounds that can be heard from any human throat” —

“the Verdi of our time” —Los Angeles Times A BOUQUET FOR THE AGES mances, as they were called in the early nineteenth century, flourished along- From early childhood to the last months side Russian art songs, and eventually of his life, Dmitri Hvorostovsky lived to became the basis for popular Russian sing. And through his wonderful record- songs of the twentieth century. Dmi- ings, Dmitri continues to sing for us — tri knew these “domestic” nineteenth gloriously, tenderly and passionately. century romances from an early age, hearing them sung by his father, and “Shine, Shine, My Star” (track 1) described the songs as “refined and comes from I Met You, My Love — Old delicate.” Evgeny Stetsuk, arranger and Russian Romances, one of Dmitri’s first member of the Style of Five ensemble, albums for Delos. These “domestic” ro- made unique arrangements for our Russian Romances recording.

The sentimental popular Russian twen- tieth century songs that developed from the older romances are represent- ed here on tracks 2, 10, 11, 17, 18 and 19. Our Delos series originated in the summer of 2001, when label founder Amelia Haygood and I were relaxing with Dmitri and conductor in a Moscow restaurant after a recording session. Dmitri and Con- stantine began describing these spe- cial songs to us, and took turns singing phrases from their favorites.

DE 3293 It was fascinating to hear them com- delosmusic.com/recording/i-met-you- pare notes about growing up with this my-love-old-russian-romances music — Dmitri in and Constan- 1 Five again contributed a special Russian flavor to the arrangements.

“Do not hurry” (track 2) and “I’m grateful to you” (track 18) are the beautiful work of Armenian composer Arno Babajanian, based on deeply emo- tional love poems. “Tenderness” (track 10) is a touching gem by Aleksandra Pa- khmutova, inspired by the first manned space flight. We include two settings

DE 3515 delosmusic.com/recording/where-are- you-my-brothers-hvorostovsky tine in . And as Amelia and I discovered while working on the subsequent recordings, the beauty and sentiment in these songs have a lasting emotional impact, even for people who had not grown up with them. In fact, their effect was so strong on all of us that we recorded three albums of the songs: Where Are You, My Brothers; DE 3339 Moscow Nights; and Wait for Me. For delosmusic.com/recording/ all three, Evgeny Stetsuk and the Style of moscow-nights

2 soldier’s heartbreaking fantasy about joining his fallen comrades, whose souls may have turned into white cranes fly- ing above in a “blue-gray haze.”

Tracks 3 and 4 are from Verdi Opera Scenes, a live recorded concert at the Great Hall of the Moscow Conservato- ry in 2008, featuring solos and duets by Dmitri and soprano Sondra Radva- novsky. One of Dmitri’s hallmark Verdi solos is Rodrigo’s moving aria from Don

DE 3475 delosmusic.com/recording/wait-for-me of the sentimental “Wait for Me” text, which came from a letter that journalist Konstantin Simonov sent to his sweet- heart during the Second World War. The version composed by Kirill Molch- anov (track 11) comes from our Mos- cow Nights program and the version by Matvey Blanter (track 17) is featured on our third program of songs, enti- tled Wait for Me. The final track on DE 3403 this compilation, “Cranes” (track 19), delosmusic.com/recording/ composed by Yan Frenkel, expresses a verdi-opera-scenes

3 Carlo, “O Carlo, ascolta” (track 3). Ro- drigo, fatally wounded by an assassin, bids farewell to his dear friend Don Car- lo and pleads with him to continue their struggle to bring freedom to the Neth- erlands. The famous Mozart serenade, “Deh vieni alla finestra,” (track 4) is an encore from the concert. As annotator Harry Pack put it, “in Hvorostovsky’s in- terpretation it becomes an irresistible invitation, erotic to the core.”

The Verdi Opera Scenes live perfor- mance was also made into a video after its release as an audio CD. The title of the video is “Hvorostovsky in Mos- DE 3365 cow — with guest star Sondra Radva- delosmusic.com/recording/ novsky” (Delos DV 7006). If you would heroes-and-villains enjoy watching Dmitri sing these arias, (track 5) finds the clown “uncommonly and also duets with Sondra, here is a link eloquent . . . with heartfelt lyricism he providing you with more information urges the audience to look beyond the about the video: characters’ meager costumes and into delosmusic.com/recording/hvoros- their souls” (George Loomis, annotator). tovsky-in-moscow Valentin’s aria from Faust (track 6), is a Tracks 5, 6 and 7 are from Heroes and touching and much-loved prayer sung Villains, Dmitri’s wonderful aria album by a young man going off to battle, and dedicated to Amelia Haygood, who entreating God to look after his beloved died just before the recording’s release. sister, Marguerite. Wolfram’s aria from Tonio’s Prologue aria from I Pagliacci Tannhaüser (track 7) is a prayer to a

4 bright evening star, seeking light, help (Maya Pritsker, annotator). In Mazeppa’s and guidance for his beloved Elizabeth aria, from Mazeppa: “O Maria, Maria” as she treads a dangerous path. (track 9), the military leader “contem- plates his love for Maria and invokes her enchanting image.”

Tracks 12, 13 and 14 represent two of Dmitri’s albums of Russian art songs: Pushkin Romances, and Tchaikovsky Romances. Track 12 is Glinka’s setting of the powerful Pushkin poem “I recall a wonderful moment,” expressing a

DE 3517 delosmusic.com/recording/dmitri-hvoros- tovsky-war-peace-love-sorrow Tracks 8 and 9 stem from Dmitri Hvo- rostovsky Sings of War, Peace, Love and Sorrow, recorded in 2015. Robert’s aria from Iolanta: “Who can compare with my Mathilda,”(track 8), expresses DE 3392 “Robert’s vivid and passionate descrip- delosmusic.com/recording/ tion of Mathilda’s beauty and virtues” pushkin-romances-hvorostovsky

5 beautiful and loving image that kept re- turning to the narrator as an inspiration throughout a difficult life.

Track 13, “O child, beneath your win- dow,” is a serenade that “brings out the composer’s graceful playfulness, theatricality and melodic inventiveness” (Maya Pritsker). Track 14, “Tell me, what in the shade of the branches” is an intense plea to hear the word “love.”

DE 3290 delosmusic.com/recording/ passione-di-napoli Dmitri recorded a program of his favor- ite Neapolitan songs for Delos, entitled Passione di Napoli. Of these songs, represented here by “Parlami d’amore, Mariù” (track 15) and “O sole mio” (track 16), he said: “There’s a feeling of Neapolitan pride, enthusiasm, energy and the sheer joy of singing. And the po- DE 3393 etry is naïve and beautiful, very sensitive. delosmusic.com/recording/ These songs are an opportunity to let go, tchaikovsky-romances-hvorostovsky to be hot-blooded and follow the heart.” — Carol Rosenberger 6 1. Gori, gori, moya zvezda (Shine, shine, my star)

Gori, gori, moya zvezda, Shine, shine, my star, zvezda liubvi privetnaya! the welcoming star of love! Tï u menia odna zavetnaya, You are my only cherished one, drugoy ne budet nikogda, there will never be another, tï u menia odna zavetnaya, you are my only cherished one, drugoy ne budet nikogda! there will never be another!

Zvezda liubvi volshebnaya, O, magic star of love, zvezda prishedshïh luchshih dney! O star of better days now here! Tï budesh vechno nezabvennaya You will forever be unforgettable v dushe izmuchennoy moyey, within my tortured soul, Tï budesh vechno nezabvennaya you will forever be unforgettable v dushe izmuchennoy moyey. within my tortured soul.

Tvoyih luchey nebesnoy siloyu The celestial power of your rays fsia zhizn’ moya ozarena; illumine my entire life; umru li ya, tï nad mogiloyu. And, should I die, upon my grave Gori, siyay, moya zvezda! you’ll shine and glisten, O my star! Umru li ya, tï nad mogiloyu. And, should I die, upon my grave Gori, siyay, moya zvezda! you’ll shine and glisten, O my star!

2. Ne speshi (Do not hurry)

Ty speshi, ty speshi ko mne, Hurry, hurry to me, esli ia vdali, esli trudno mne. if I am far, if I am in trouble, Esli ia — slovno v strashnom sne, if I am having a nightmare, esli ten’ bedy v if there is a shadow of trouble moiom okne. at my window. Ty speshi, kogda obidiat vdrug, Hurry, when I am suddenly upset, ty speshi, kogda mne nuzhen drug, hurry, when I need a friend, 7 ty speshi, kogda grushchu v tishi — hurry, when I am silently sad, ty speshi, ty speshi!.. hurry, hurry! Ty speshi, kogda grushchu v tishi — Hurry, when I am silently sad, ty speshi, ty speshi!.. hurry, hurry!

Ne speshi, ne speshi kogda, Do not hurry when my s toboy vdvoiom we are together and troubles i vdali beda: are far away; Skazhut da list’ia i voda, there is a “yes” from leaves and water, zvezdy i ogni, i poezda. stars and lights and trains. Ne speshi, kogda glaza v glaza, Do not hurry, when eyes gaze into eyes, ne speshi, kogda speshit’ nel’zia, do not hurry, when you shouldn’t hurry, ne speshi, kogda ves’ do not hurry, when the whole mir v tishi — world is silent. ne speshi, ne speshi! Do not hurry, do not hurry! Ne speshi, kogda ves’ Do not hurry, when the whole mir v tishi — world is silent, ne speshi, ne speshi!... do not hurry, do not hurry! Ne speshi, ne speshi!... Do not hurry, do not hurry!

3. VERDI: O Carlo ascolta – from Don Carlo (O Carlos, now listen)

O Carlo ascolta, O Carlos, now listen, ta madre Your mother will wait t’aspetta a San Giusto doman; by San Giusto tomorrow; tutto ella sa. she knows all — Ah! la terra mi manca! Ah, The earth fails me! Carlo mio, a me porgi la man! My Carlos, give me your hand!

Io morrò, ma lieto in core, I will die, but with a joyful heart; chè potei, così serbar; I was able to stay true,

8 alla Spagna un salvatore, as a savior to Spain; Ah! di me non ti scordar! Ah! Do not forget me! Di me non ti scordar! Do not forget me! Regnare tu dovevi, To rule is your destiny, ed io morir per te. and I to die for you. Ah! Io morrò ma lieto in core, Ah! I will die, but with a joyful heart; chè potei, così serbar I was able to stay true, alla Spagna un salvatore, as a savior to Spain; Ah! di me non ti scordar! do not forget me! Ah! la terra mi manca Ah, the earth fails me — la mano a me, a me, give your hand to me, to me, Ah! salva la Flandra — Ah! Save Flanders! Carlo, addio, ah! ah! Carlos, farewell! Ah! Ah!

4. MOZART: Dei vieni alla finestra — from Don Giovanni (Come to the window)

Dei vieni alla finestra, o mio tesoro, Come to the window, my treasure, de vieni a consolar il pianto mio. come to console my tears. Se neghi a me di dar qualche ristoro, If you deny me some relief, davanti agli occhi tuoi morir vogl’io! I wish to die before your eyes!

Tu ch’hai la bocca dolce più che miele, Your mouth is sweeter than honey, tu che il zucchero porti in mezzo al core, you carry sweetness in your heart, non esser, gioia mia, con me crudele! don’t be cruel to me, my joy. Lasciati almen veder, mio bell’amore! Let me at least see you, my beautiful love!

9 5. LEONCAVALLO: Si può? — from I Pagliacci (If I may?)

Si può?... Signore! Signori!... If I may? So please you! My Ladies Scusatemi se da sol mi presento — (bring and Gentlemen! this line up one space) And pardon me, if alone I present me: Io sono il Prologo: I am the Prologue:

Poichè in iscena ancor le Once again the author brings the antiche maschere classic mask mette l’autore; in parte ei vuol reprendere before you; so partly to revive for you le vecchie usanze, e a voi di the antique usage, he bids me once more nuovo inviami. address you! But not to tell you, as of old, Ma non per dirvi come pria: “The tears we shall shed for you here are “Le lacrime che noi versiam son false! false ones! Degli spasimi e de’ nostri martir And the sighs we heave, and our non allarmatevi!” martyrdom here, No! L’autore ha cercato must not be taken to heart!” invece pingervi uno squarcio di vita. No! Your author intends Egli ha per massima sol che l’artista rather by far to draw you a bit of life è un uom e che true to nature! ‘Tis his conviction, the artist per gli uomini is first a man, and that for men scrivere ei deve. what he writes should be written. Ed al vero ispiravasi. And the truth he has given to you!

Un nido di memorie in A throng of recollections within his fondo a l’anima inmost soul cantava un giorno, ed one day was stirring, and these with ei con vere lacrime sincerest tears scrisse, e i singhiozzi il tempo has he written, while his sobbing and sighing gli battevano! beat the time for him. Dunque, vedrete amar So, then, you’ll see love shown sì come s’amano as human beings do love each other;

10 gli esseri umani; vedrete de l’odio you’ll see, too, i tristi frutti. Del dolor gli spasimi, of hatred the direful ending, witness woe’s urli di rabbia udrete, e risa ciniche! sharp agony! Howlings of rage will E voi, piuttosto che le reach you, nostre povere and scornful laughter! And you must consider, gabbane d’istrioni, le not so much our poor flimsy costumery nostr’amine of actors, considerate, poichè noi rather let our hearts speak to you for us. siam uomini Aya! For we’re men, as well, of flesh and di carne e d’ossa, e che di of blood, too, quest’orfano and like yourselves we are breathing the mondo al pari di voi air of this world, spiriamo l’aere! forlorn and lonely! Il concetto vi dissi... Now I’ve given you the notion! Watch Or ascoltate now the plot com’egli è svolto. unfolding before you. Andiam. Incominciate! Come on, then! Let us begin!

6. GOUNOD: Avant de quitter ces lieux — From Faust (Before I leave this town)

O sainte médaille, O holy medal, qui me vient de ma sœur, which my sister gave me, au joir de la bataille on the day of battle pour écarter la mort, remain on my heart reste là sur mon cœur! to ward off Death!

Avant de quitter ces lieux, Before I leave this town, sol natal de mes aïeux, my forefathers’ native place, a toi, seigneur et roi des cieux, to you, Lord and King of Heaven, ma sœur je confie. do I entrust my sister. Daigne de tout danger I beg you to defend her

11 toujours la protéger, from every peril, cette sœur si chérie. my beloved sister. Délivré d’une triste pensée, Freed from this harrowing thought, j’irai chercher la gloire au sein I shall seek glory in the enemy’s ranks, des ennemis, the first, the bravest, in the thick le premier, le plus brave, au fort of the fray, de la mêlée, I shall go and fight for my country. j’irai combattre pour mon pays. And if God should call me to his side, Et si vers lui Dieu me rappelle, I shall faithfully watch over you, je veillerai sur toi, fidèle, O Marguerite. O Marguerite. Before I leave etc. Avant de quitter ces lieux, etc. O King of Heaven, I beg you to look down O roi des cieux jette les yeux, and defend Marguerite, o Protège Marguerite, ô roi des cieux. King of Heaven.

7. WAGNER: Oh du mein holder Abendstern — from Tannhäuser (O you, my lovely evening star)

Wie Todesahnung Dämm’rung Like a premonition of death, twilight deckt die Lande, covers the lands, umhüllt das Thal mit it shrouds the valley with schwärzlichem Gewande; blackish raiment; der Seele, die nach jenen Höhn verlangt, the soul that yearns for these heights vor ihrem Flug durch Nacht und is fearful of its flight through horror Grausen bangt! and night!

Da scheinest du, o! Lieblichster O loveliest star, there der Sterne, you shine; dein saustes Licht entsendest you send your tender light across du der Ferne, the distances. die nächt’ge Dämm’rung theilt The nightly twilight is split by your dein lieber Strahl, dear ray,

12 und freundlich zeigst duden Weg aus Ever friendly, you show the way out of dem Thal. the valley.

O du mein holder Abendstern, O you, my lovely evening star, wohl grüsst’ ich immer dich so gern: I always greeted you gladly; Vom Herzen, das sie nie — verrieth, with the heart that never betrayed it. grüsse sie wenn sie vorbei dir zieht, Greet it as it passes by you, wenn sie entschwebt dem Thal der Erden, as it soars away from the earthly valley ein sel’ger Engel dort zu werden; there to become a blessed angel!

8. TCHAIKOVSKY: Who can compare with my Mathilde? — from Iolanta

Kto mozhet sravnit’sja s Matil’doj moej, Who can compare with my own sverkajushchej iskrami chernykh ochej, darling Mathilde, kak na nebe zvezdy osennikh nochej! dazzling beauty with lights in her Vse strastnoju negoj v nej divno polno, jet-black eyes, v nej vse op”janjaet, v nej vse op janjaet like the stars in the skies of i zhzhet, kak vino. autumnal nights? Ona tol’ko vzgljanet,- She overflows with passion’s kak molniej ranit, delightful bliss, i plamen’ ljubvi the pleasure she brings goes to my head zardeet v krovi; and she sets me aglow, like wine. ona zasmeetsja, Just a single glance from her kak pesnej zal’etsja,- burns me like lightning i zhemchugov rjad and my blood is made redder lico osvetjat, by love’s flame! o strasti kipuchej, Then she will suddenly laugh, i burnoj, i zhguchej, or burst into song, glaza govorjat and a row of pearls i k blazhenstvu manjat, will light up her face. k blazhenstvu lobzanij, Her eyes show passion bezumnykh zhelanij, that’s warm, exuberant, wild,

13 k pozhatijam nezhnym enticing me ruki belosnezhnoj, to surrender to rapture, k zabveniju gorja to the rapture of kisses i k schastju bez mer, bez konca i granic! and of mad desires, Kto mozhet sravnit’sja s Matil’doj moej, to the tender touch of her hand, sverkajushchej iskrami chernykh ochej, white as the snow, kak na nebe zvezdy osennikh nochej! to forget my sorrows Vse strastnoju negoj v nej divno polno, and find joys untold, v nej vse op”janjaet, v nej vse op” janjaet that know no bounds or end! i zhzhet, kak vino, i zhzhet kak vino!

9. TCHAIKOVSKY: “Oh Maria, Maria!” – from Mazeppa

O Mariya, Mariya! Oh Maria, Maria! Na sklone let moikh In my declining years, ty, kak vesna, mne dushu ozhivila, like the spring, you reawakened my heart, I v strastnom lepete rechey tvoikh And in the passionate flood of dlya starika byla charuyushchaya sila! your words O Mariya, Mariya! There was, for an old man, an Ya perezhil s toboy enchanting strength. mgnoven’ya strasti pylkoy i blazhenstva, O Maria, Maria! Kogda tvoy chudny stan ya obnimal I have experienced with you I v nege tomnoy lyubovalsya moments of wild passion and bliss, krasoy tvoey... when I embraced your lovely body Tvoy nezhny vzor menya zhivil, and in languorous rapture admired I v zhilakh krov’ tekla bystreye, your beauty. v tvoikh ya ob’yat’yakh nakhodil Your tender glance reinvigorated me, blazhenstvo, obnovlen’ye, and the blood flowed faster in my veins. obnovlen’ye i ray! In your embraces I found Blazhenstvo i obnovlen’ye! bliss, new youth, Tvoy nezhny vzor menya zhivil, new youth and paradise! I v zhilakh krov’ tekla bystreye, Bliss and new youth!

14 v tvoikh ob’yat’yakh nakhodil ya ray, Your tender glance reinvigorated me, v tvoikh ob’yat’yakh nakhodil ya ray, and the blood owed faster in my veins. v tvoey lyubvi – blazhenstvo, In your embraces I found paradise, blazhenstvo i obnovlen’ye. in your embraces I found paradise, O Mariya! Kak ya in your love, bliss, bliss and new youth. lyublyu tebya! Oh Maria! How I love you!

10. Nezhnost’ (Tenderness)

Opustela bez tebia Zemlia. The Earth seems deserted without you. Kak mne neskol’ko chasov prozhit’? How can I survive for these few hours? Tak zhe padaet v sadah listva As always leaves are falling in gardens, i kuda-to vsio speshat taksi. and taxis are hurrying somewhere. Tol’ko pusto na Zemle seichas bez tebia I feel emptiness without you now, a ty, ty letish’ i tebe dariat zviozdy but you — you are flying, and stars svoyu nezhnost’. are giving you their tenderness. Tak zhe pusto bylo na Zemle The Earth was also deserted like this i kogda letal Ekziuperi. when Saint Exupery was flying. Tak zhe padala Leaves were falling in gardens as they listva v sadah are today, i pridumat’ ne mogla Zemlia and the Earth could not imagine kak prozhit’ ey bez nego, How it could survive without him, poka on letal, letal i vse zviozdy while he was flying … flying, and all the stars emu otdavali svoyu nezhnost’. were giving him their tenderness.

Opustela bez tebia Zemlia. The Earth seems deserted without you. Esli mozhesh’, priletai skorei. If you can, return very soon.

15 11. (and 17) Zhdi menia (Wait for me)

Zhdi menia. Wait for me, I ia vernus’. and I’ll be back. Tol’ko ochen’ zhdi. But, please, do wait. Zhdi, kogda navodiat grust’ Wait, when sadness comes zhioltye dozhdi, with the yellow rains; zhdi, kogda snega metut, wait, in a snowstorm; zhdi, kogda zhara, wait, when it’s hot; zhdi, kogda drugih ne zhdut, wait, when they do not wait for the others, pozabyv vchera. having forgotten about them yesterday.

Pust’ poveriat Let my son syn i mat’, and my mother believe v to, chto net menia. that there’s no me anymore. Pust’ druz’ia ustanut zhdat’, Let my friends get tired of waiting, siadut u ognia. and sit down near the fire, Vyp’iut gor’koe vino and drink bitter wine za pomin dushi. for the eternal peace of the soul. Zhdi, i, s nimi zaodno, But you, wait, and do not hasten vypit’ ne speshi. To drink with them.

Zhdi, menia i ia vernus’. Wait for me and I’ll come back, Vsem smertiam nazlo. death will not take me now. Kto ne zhdal menia, Those who didn’t wait for me, tot pust’ skazhet: — let them say: "Povezlo!" “Lucky man!” Ne poniat’, ne They won’t understand, those w zhdavshim im, ho didn’t wait, kak sredi ognia, when I am in the midst of battle, ozhidaniem svoim, with just your waiting, ty spasla menia. you will have saved me.

16 Kak ia vyzhil, How I survived, budem znat’ we will know, tol’ko my s toboy. only you and I. Prosto ty umela zhdat’, You just knew how to wait, kak nikto drugoy!... like no one else!

12. Ya pomnju chudnoje mgnoven’je (I recall a wonderful moment)

Ya pomnju chudnoje mgnoven’je: I recall a wonderful moment Peredo mnoj javilas’ ty, when you appeared before me, kak mimoljotnoje, viden’je, as a fleeting vision, kak genij chistoj krasoty. as an inspiration of pure beauty.

V tomlen’jakh grusti beznadezhnoj, In the languor of hopeless melancholy, v trevogakh shumnoj sujety, in the anxieties of noisy bustle, zvuchal mne dolgo that tender voice stayed with me, golos nezhnoj, and I dreamed of those pleasing features. i snilis’ milyje cherty. Years passed.

Shli gody. Bur’ poryv mjatezhnyj The unruly drive of storm’s rassejal prezhnije mechty, scattered dreams of the past, i ya zabyl tvoj nezhnyj, and I forgot your tenderness, tvoji nebesnyje cherty. your heavenly features.

V glushi, vo mrake zatochen’ja In the wilderness, in gloomy captivity, tjanulis’ tikho dni moji; my days dragged on quietly, bez Bozhestva, bez vdokhnoven’ja, without god, without inspiration, bez sljoz, bez zhizni, bez ljubvi. without tears, without life, without love.

Dushe nastalo probushden’je: To my soul, an awakening came, i vot opjat’ javilas’ ty, and there again your face appeared, kak mimoljotnoje viden’je, as a fleeting vision, kak genij chistoj krasoty. as an inspiration of pure beauty. 17 I serdce b’jotsja v upojen’je, And my heart beat in rapture, i dlja nego voskresil vnov’ and it resurrected again i bozhestvo, i vdokhnoven’je, both god and an inspiration, i zhizn’, i sljozy, i ljubov’. and life, and tears, and love.

13. Serenada, ‘O, ditya’ (‘O Child’ Serenade)

O ditja, pod okoshkom tvojim O child, below your balcony ja tebe propoju serenadu... I will sing a serenade... Ubajukana pen’jem mojim, Soothed by my singing ty najdjosh’ v snovide’jakh otradu; you will find peace in your dreams; pust’ tvoj son i pokoj may your repose v chas bezmolvnyj, nochnoj in the stillness of the night nezhnykh zvukov lelejut lobzan’ja! be caressed by the soft sound of kisses!

Mnogo gorestej, mnogo nevzgod Many troubles, many woes tebja v zhizni, ditja, ozhidajot; in life await you, child, spi zhe sladko, poka net zabot, so sleep sweetly while you are free of care, poka serdce trevogil ne znajet, and your heart knows no burden; spi vo mrake nochnom sleep your serene sleep bezmjatezhnym ty snom, in the darkness of the night; spi, ne znaja zemnogo stradan’ja. sleep, ignorant of earthly strife.

Pust’ tvoj angel-khranitel’ svjatoj, May your guardian angel milyj drug, nad toboju letajet watch over you, dear friend, i, leleja son devstvennyj tvoj, and, lulling your childish slumbers, tebe rajskuju pesn’ napevajet. softly sing you a song of heaven. Pust’ toj pesni svjatoj May the living echo otgolosok zhivoj of this divine song tebe v dushu vselit upovan’je. fill your soul with hope.

18 Spi zhe, milaja, spi, pochivaj Sleep then, darling girl, and surrender pod akkordy mojej serenady! to the harmonies of my serenade. Pust' prisnitsja tebe svetlyj raj, May you dream of a radiant paradise prejispolnennyj vechnoj otrady; full of everlasting joy; Pust' tvoj son i pokoj may your repose v chas bezmolvnyj, nochnoj in the stillness of the night nezhnykh zvukov lelejut lobzan’ja! be caressed by the soft sound of kisses!

14. Skazhi, o chjom v teni vetvej (Tell me, what in the shade of the branches)

Skazhi, o chjom v teni vetvej, Tell me, what in the shade of the branches, kogda priroda otdykhajet, where nature rests, pojot vesennij solovej, spring nightingale sings, i chto on pesnej vyrazhajet? and that it is the song?

Chto tajno vsem volnujet krov? What secretly worries all in their veins? Skazhi, skazhi, skazhi, kakoje slovo Say, Say, Say, what word znakomo vsem i vechno novo? familiar to all, and ever new? Ljubov, ljubov, ljubov! Love, love, love!

Skazhi, o chjom najedine, Say, as in private, v razdum je devushka gadajet, in thought the girl wonder chto tajnym trepetom vo sne that secret thrill in their sleep jej strakh i radost obeshchajet? her fear and the joy of promises?

Nedug tot strannyj nazovi, Strange malady, that name, v kotorom svetlaja otrada, Full of bright joy, chego jej zhdat , chego jej nado? why wait for it, why should you? Ljubvi, ljubvi! Love, love!

Skazhi! Kogda ot zhiznennoj toski Say! When a life of longing ty utomlennyj iznyvajesh makes you languish

19 i zloj pechali vopreki and sorrows of the wicked, khot prizrak schast ja prizyvajesh! even the ghost of happiness Calls!

Chto uslazhdajet grud' tvoju? What sweetens in your bosom? Ne te li zvuki nezemnyje Did not those sound heavenly, kogda uslyshal ty vpervyje when I heard you the first time slova, slova ljubvi! words, words of love!

15. Parlami d’amore, Mariù (Speak to me of love, Mariù)

Come sei bella, piu’ bella, stasera, Mariù How beautiful you are, splende un sorriso di stella negli occhi so beautiful this evening, Mariù. tuoi blu! A smiling star shines out from your eyes Anche se avverso il of blue! destino domani sará Even if fate is against us tomorrow, oggi ti sono vicino, perche’ sospirar. I’m with you today, so why sigh? Non pensar. Don’t worry.

Parlami d’amore, Mariù Speak to me of love, Mariù, tutta la mia vita sei tu. now that my whole life is you. Gli occhi tuoi belli brillano Your beautiful eyes shine bright, fiamme di sogno scintillano. the flames of dreams alight. Dimmi che illusione non è Tell me it’s no illusion I see, dimmi che sei tutta per me. tell me that you’re only for me. Qui sul tuo cuor non soffro Close to your heart I suffer no more. ù parlami d’amore, Mariù. Speak to me of love, Mariù.

Qui sul tuo cuor non soffro più ecc. Close to your heart I suffer no more etc.

20 16. ‘O sole mio (My sun)

Che bella cosa e’ na jurnata ‘e sole. What a beautiful thing is a day of sunshine, n’ aria serena doppo na tempesta! the air serene after the storm. Pe’ll’aria fresca pare gia’ na festa ... The fresh air makes me feel so merry. Che bella cosa na jurnara ‘e sole. What a beautiful thing is a day of sunshine!

Ma n’atu sole, But another sun, cchiu’ bello, ojè, even more beautiful, ‘o sole mio my sun, sta ‘nfronte a te! Shines from your face!

Quanne fa notte e ‘o sole se When twilight comes and the sun begins ne scenne. to set, me vene quasi ‘na malincunia, I feel a sense of melancholy. sotta ‘a fenestra toia restarria Beneath your window, where I would linger, quanno fa notte e ‘o sole se When twilight comes and the sun begins ne scenne. to set…

Ma n’atu sole, ecc But another sun etc.

17. (See 11). 17. (See 11).

18. Blagodariu tebia (I’m grateful to you)

Blagodariu tebia za pesennost’ goroda; I’m grateful to you for this i otkrovennogo, i tainogo. song-like town, Blagodariu tebia, chto vsem both frank and secret. bylo holodno, I’m grateful that when everyone was cold, a ty ottaiala, ottaiala. you warmed us back to life.

21 Za shiopot i za krik, For a murmur and a cry, za vechnost’ i za mig, for eternity and an instant, za otgorevshuiu zvezdu, for a fading star, za smeh i za pechal’, for laughter and sadness, za tihoe "Proshchay", for a quiet “Farewell,” za vsio tebia blagodariu. I thank you for everything. Za smeh i za pechal’, for laughter and sadness, za tihoe "Proshchay", for a quiet “Farewell,” za vsio tebia blagodariu. I thank you for everything.

Blagodariu za to, chto ty po I’m grateful that you passed through sud’be proshla, my destiny, za to, chto dlia drugogo sbudesh’sia. and that you will come true for someone. Blagodariu tebia, za to, chto so mnoy byla, I’m grateful that you were with me, eshche za to, chto ne zabudesh’sia and that I will never forget you.

Za shiopot i za krik... For a murmur and a cry...

Za vsio, za vsio, For everything, for everything, Tebia blagodariu!...... Tebia! I’m grateful to you!...... To you!

19. Zhuravli (Cranes)

Mne kazhetsia poroiu, chto soldaty, It seems to me sometimes that soldiers s krovavykh ne prishedshie poley, who didn’t come home from the ne v zemliu nasu polegli kogda-to, blood-soaked battlefields, a prevratilis’ v belykh zhuravley. weren’t laid to rest in the earth, Oni do sey pory s vremoin but turned into white cranes... tekh dal’nikh That ever since that time long ago, letiat i podaiut nam golosa. they have been flying, calling; Ne potomu l’ tak tchasto i petchal’no maybe that’s why we often, and sadly, my zamolkaem, gliadia v nebesa. fall silent, staring into the sky?

22 Letit, letit po nebu klin ustalyi, The tired flock flies and flies up in the sky, letit v tumane na iskhode dnia, it flies in the fog, as the day dies, i v tom stroiu est’ promezhutok malyi, — and in this formation there is a space; byt’ mozhet eto mesto dlia menia. maybe it is a place for me. Nastanet den’, i s zhuravlinoy staey The day will come when I will also drift Ia poplyvu v takoy zhe sizoy mgle, with the cranes’ flock in the same iz pod nebes blue-grey haze, po-ptitch’i oklikaia calling from the sky, in the birds’ language, vsekh vas, kogo ostavil na zemle. the names of you whom I’ve left on earth.

Mne kazhetsia poroiu, chto soldaty, It seems to me sometimes that soldiers s krovavykh ne prishedshie poley, who didn’t come home from the ne v zemliu nasu blood-soaked battlefields, polegli kogda-to, weren’t laid to rest in the earth, a prevratilis’ v belykh zhuravley... but turned into white cranes.

23 DMITRI HVOROSTOVSKY

Internationally acclaimed Russian bari- tone Dmitri Hvorostovsky was born and studied in , Siberia. From the start, audiences were bowled over by his cultivated voice, innate sense of musical line and natural legato. His career took him to all the world’s major opera hous- es and renowned international festivals, including ’s , Covent Garden, New York’s Metropoli- tan Opera, Opéra national de Paris, Bay- erische Staatsoper Munich, Salzburger Festspiele, Teatro alla Scala Milan, Wiener Staatsoper and Chicago Lyric Opera.

A celebrated recitalist in demand in ev- ery corner of the globe — from the Far East to the Middle East, from Australia to South America — Dmitri appeared at such venues as Wigmore Hall, London; Carnegie Hall, New York; the Teatro alla Scala, Milan; the Tchaikovsky Conserva- toire, Moscow; the , Barcelona; the Suntory Hall, Tokyo; and the Musikv- erein, Vienna.

Dmitri always retained a strong mu- sical and personal contact with Rus-

24 sia. He became the first opera singer ning film (by Rhombus Media) based to give a solo concert with orchestra on the Mozart opera, in which he and chorus on Red Square in Mos- tackled the dual roles of Don Giovan- cow, a concert that was televised in ni and Leporello. Recent CD record- over 25 countries. Dmitri went on to ings include the Grammy-nominated sing in a number of prestigious con- re-recording of Sviridov’s Russia Cast certs in Moscow as a part of his own Adrift, , the Russian WWII special series, Dmitri Hvorostovsky songs recording Wait For Me and Si- and Friends. He invited such celebrat- mon Boccanegra — all have met with ed artists as Renée Fleming, Barbara much critical acclaim. For a complete Frittoli, Elina Garanca, , Son- discography, please visit his website. dra Radvanovsky, , , Marcelo Alvarez, Dmitri also enjoyed highly success- Stephen Costello, Garifullina, ful collaborations with conductors Dinara Alievea and Ildar Abdrazakov including , Marco to join him a series that now contin- Armiliato, Semyon Bychkov, James ues in his memory. In 2005 he gave Conlon, Charles Dutoit, Vladimir Fed- a historic tour throughout the cities oseev, , , of Russia at the invitation of President , Yevgeny Kolo- Putin, singing to crowds of hundreds bov, , Fabio Luisi, Lorin of thousands of people to commem- Maazel, , , orate the soldiers of the Second Yannick Nézet-Séguin, Gianandrea World War. Dmitri also undertook Noseda, Constantine Orbelian, Seiji major annual tours throughout Rus- Ozawa, , Speranza sia and countries of the Common- Scappucci, Yuri Temirkanov and Mi- wealth of Independent States. chael Tilson Thomas — as well as with Dmitri’s extensive discography spans the Russian popular composer Igor recitals, broadcast concerts and com- Krutoi, with highly acclaimed concerts plete . He also starred in Don in Moscow, St Petersburg, Sochi, Kiev Giovanni Unmasked, an award-win- and New York’s Radio City Music Hall.

25 Grammy-nominated conductor Constantine Orbelian “stands astride two great societies, and finds and promotes synergistic harmony from the best of each.” (Fanfare) For over 25 years the brilliant American pianist/con- ductor has been a central figure in Russia’s and Eastern ’s musical life — first as Music Di- rector of the Moscow Chamber Orchestra and the Philharmonia of Russia, and more recently as Chief Conductor of the Kaunas City Symphony Orchestra in Lithuania. In 2016 he also be- came Artistic Director of the State Academic Opera and Bal- let Theater in , . In all of these centers, Orbelian leads concerts and recordings with some of the world’s great- est singers.

Opera News calls Constantine Orbelian “the singer’s dream collaborator,” and commented that he conducts vocal rep- ertoire “with the sensitivity of a lieder pianist.” The Califor-

26 nia-based conductor tours and re- Born in San Francisco to Russian and cords with American stars such as Armenian emigré parents, Constantine and Lawrence Orbelian made his debut as a piano Brownlee, and made numerous cele- prodigy with the San Francisco Sym- brated recordings with Dmitri Hvoros- phony at the age of 11. After grad- tovsky before the legendary singer’s uating from Juilliard in New York, he untimely death. Orbelian is the found- embarked on a career as a piano vir- er of the annual Palaces of St. Peters- tuoso that included appearances with burg International Music Festival. major symphony orchestras through- out the , , “Orbelian has star quality, and his or- Europe, and Russia. His recording of chestra plays with passion and preci- the Khachaturian piano concerto with sion,” The Audio Critic wrote of his ac- conductor Neeme Järvi won the “Best claimed series of over 50 recordings on Concerto Recording of the Year” award Delos. Among his concert and televised in the United Kingdom. appearances are collaborations with stars Renée Fleming and Dmitri Hvo- Orbelian’s appointment in 1991 as rostovsky, and with in Cl- Music Director of the Moscow Cham- iburn’s sentimental return to Moscow, ber Orchestra was a breakthrough the great pianist’s last performance. event: he is the first American ever to Orbelian’s frequent collaborations with become music director of an ensem- Hvorostovsky included repertoire from ble in Russia. A tireless champion of their Delos recordings of universal Russian-American cultural exchange sentimental songs Where Are You, My and international ambassadorship Brothers? and Moscow Nights, as well as through his worldwide tours, he was their 2015 recording in the same series, awarded the coveted title “Honored Wait for Me. Orbelian has conducted Artist of Russia” in 2004, a title never historic live telecasts from Moscow’s before bestowed on a non-Russian Red Square, with such artists as Hvo- citizen. In May 2010, Orbelian led the rostovsky and . opening Ceremonial Concert for the

27 Cultural Olympics in Sochi — he first Honor, an award given to immigrants, event setting the stage for Russia’s or children of immigrants, who have hosting of the Olympic Games in 2014. made outstanding contributions to In 2012 the Consulate in San Francis- the United States. co awarded him the Russian Order of Friendship Medal, whose illustrious ranks include pianist Van Cliburn and The “dynamic Moscow Chamber Or- conductor Riccardo Muti, and which chestra” (New York Times) is known singles out non- whose work as one of the world’s great ensem- contributes to the betterment of in- bles. First called “the greatest cham- ternational relations with the Russian ber orchestra in the world” by Dmitri Federation and its people. Shostakovich, the legendary Moscow Chamber Orchestra (MCO) celebrat- From his 1995 performance at the ed its 50th Anniversary in 2006. The 50th Anniversary Celebrations of the Orchestra’s Music Director for two United Nations in San Francisco, to decades, brilliant American pianist/ his 2004 performance at the U.S. State conductor Constantine Orbelian, Department commemorating 70 brought the MCO into a new era of years of diplomatic relations between international activity and acclaim be- Washington and Moscow, and a re- ginning in 1991. For his remarkable peat State Department appearance achievements with the MCO, Orbelian in 2007, all with the Moscow Cham- was awarded the title “Honored Artist ber Orchestra, Orbelian continues to of Russia” by President Putin in 2004. use his artistic eminence in the cause of international goodwill. He and his From its 1995 performance at the 50th orchestras have also participated in Anniversary Celebrations of the United cultural enrichment programs for Nations in San Francisco, to its 2004 young people, both in Russia and performance at the U.S. State Depart- the United States In 2001 Orbelian ment commemorating 70 years of dip- was awarded the Ellis Island Medal of lomatic relations between Washington

28 and Moscow, the MCO has brought its dolph Barshai. Always a magnet for celebrated artistry to a wide range of the most talented and brilliant musi- international audiences, touring in the cians in Moscow, the MCO was an in- UK, France, Germany, , Holland, spiration to important Russian com- Finland, Sweden, Korea, Japan, South posers such as , Africa, South America, Canada and the who entrusted the first performance United States. Under Orbelian’s lead- of his 14th Symphony to the Or- ership the Orchestra was accorded the chestra. The MCO’s 50th Anniversary honor of “Academic” in its official Rus- season featured music written or ar- sian title (The State Academic Chamber ranged for the Orchestra, in addition Orchestra of Russia). to music long associated with the MCO’s illustrious history. The MCO’s acclaimed series of record- ings with Maestro Orbelian on the Delos label numbers over 30 record- In the Year 2000, Constantine Orbe- ings. “A wonderful ensemble,” wrote lian brought together Russia’s fin- BBC Magazine. “They truly perform est musicians to form a “crème de as a single, luminous, singing voice,” la crème” symphony orchestra, the exclaimed Sensible Sound. Copley Philharmonia of Russia (POR). The News Service called the MCO “peer- core of the group was none other less among orchestras of its kind than Orbelian’s elite Moscow Cham- playing today.” As London’s The Daily ber Orchestra (MCO), which celebrat- Telegraph put it, “The musicians chan- ed its 50th Anniversary in 2006. The nel all of their emotion into the music MCO, known for playing “as a single, and give performances of such pas- luminous, singing voice” (Sensible sion and musicality… producing music Sound) and channeling “all of their making of both subtlety and verve.” emotion into the music” (The Daily Telegraph, London), gave the young The MCO was created in 1956 by Philharmonia its heart and soul. Out- renowned conductor and violist Ru- standing colleagues of the MCO mu-

29 sicians were handpicked to expand poli and Verdi Arias. Ewa Podles, Gali- the POR; and from the outset both na Gorchakova, , groups of musicians reported feeling Olga Guryakova and Daniil Shtoda inspired by the new experience. The are all featured on POR’s aria record- result was an orchestra epitomizing ings. An album with cellist Nina Koto- Russian style on a grand scale, while va features Bloch’s Shelomo. retaining the subtlety and seamless ensemble of the group’s MCO core. Orbelian, Hvorostovsky and the POR made international news in the wide- Orbelian’s first symphonic spectacular ly-televised Red Square concert in recording with the POR, “Vodka and May of 2004. Topping even that event Caviar, the ultimate Russian spectac- was the VE Day 60th Anniversary Con- ular,” featuring music of Tchaikovsky, cert with Hvorostovsky, Orbelian and Borodin and Khachaturian (Delos DE the ensemble at the Kremlin Palace in 3288), immediately established this Moscow in May, 2005, attended by 53 splendid orchestra as “world-class” heads of state from around the world, (The Absolute Sound). “The Philhar- and featuring Songs from the war monia of Russia plays with precision years. Following the VE Day concert, and verve,” reported Stereophile. “File the POR accompanied Hvorostovsky this one under ‘Guilty Pleasures,’ if and Orbelian on a “Hero Cities” tour you like, but don’t miss it.” of Russia, performing the same rep- ertoire for audiences of thousands Maestro Orbelian subsequently led and honoring surviving World War II the POR in another 12 albums for De- veterans. los, including The Khachaturian Cen- tennial Album, Tchaikovsky’s Queen In 2005, Orbelian led the POR in con- of Spades, great scenes and Arensky’s certs with Hvorostovsky at Paris’s one-act opera Raffaello. Exciting POR Chatelet Theatre, Tokyo’s Opera City collaborations with Dmitri Hvoros- Concert Hall and Hitomi Memorial tovsky are the albums Passione di Na- Hall, as well as in Seoul with Hvoros-

30 tovsky and Sumi Jo. In 2006, the POR, world’s best, and its repertoire grew Orbelian and Hvorostovsky toured to include virtually all Russian sym- the U.S., appearing in New York’s Lin- phonic music, many Western classics, coln Center, Washington DC’s Kenne- and works by contemporary compos- dy Center, San Francisco’s Davies Hall, ers. On 27 October 2005 the Orches- the and in Miami; tra was officially named after Maestro In Europe, they appeared in London’s Svetlanov. Barbican Theatre, and in concerts in Moscow and St. Petersburg joined by In 2011 Vladimir Jurowski, a world-re- Renée Fleming. The POR’s 2007 tours nowned conductor collaborating with included performances with Hvoros- many leading opera companies and tovsky and Orbelian in London, Paris, orchestras, was appointed as the en- Guadalajara, Monterrey, Los Angeles, semble’s Artistic Director. The orches- Berkeley, Dallas, New York’s Lincoln tra has worked with conductors such Center, Miami, Washington D.C., Bos- as Ernst Ansermet, , ton, Chicago, Montreal, Quebec, and , Charles Munch, Mstislav Toronto. Rostropovich, Kurt Sanderling, Igor Stravinsky, Charles Dutoit, Valery Ger- giev, Kurt Masur, Gennady Rozhdest- The State Academic Symphony Or- vensky, Leonard Slatkin, Yuri Temir- chestra “Evgeny Svetlanov” is one of kanov, and other great musicians. Russia’s oldest symphonic ensembles. The ensemble’s debut performance Since its first tour abroad in 1956, the took place on October 5, 1936, at the orchestra has performed in Australia, Great Hall of the . Austria, Belgium, Canada, , the From its inception, the orchestra has Czech Republic, Denmark, France, been led by outstanding musicians Germany, Hong Kong, Italy, Japan, such as Evgeny Svetlanov (1965- Lebanon, Mexico, New Zealand, Po- 2000). Under Svetlanov’s leadership land, South Korea, Switzerland, Thai- the orchestra became one of the land, Turkey, the US, and many oth-

31 er countries. A special aspect of the tor was held by prominent musicians Orchestra’s activities belongs to un- Felix Korobov (2004–2006) and Eri dertaking charitable and educational Klas (2006–2010). In 2011, maestro projects. Jan Latham-Koenig took over the po- sition. The orchestra’s discography includes hundreds of vinyl records and CDs The NOO is equally at home perform- released by leading labels worldwide. ing music of different epochs and styles. A special place in this list belongs In addition to performing operas, the to the Anthology of Russian Sym- orchestra participates in performances phonic Music project, encompassing of Novaya Opera soloists and performs recordings of Russian composers symphony programs. The orchestra from Glinka to Stravinsky: a Svetlanov has collaborated with prominent con- project to which he dedicated many ductors of different generations, such years. as Gennady Rozhdestvensky, , Yuri Temirkanov, and many This world-renowned Orchestra is a others. group that is firmly rooted in tradi- tion, yet is steeped in the present and Audiences on most continents have is constantly evolving. applauded the NOO. It has performed on tour at the Israeli Opera in Tel-Aviv, “Entrancing, breathtaking beauty of at the English National Opera in Lon- orchestral sound,” “truly world-class don, and many others. An important professionals” are some of the press part of the orchestra’s activity has for comments about the Novaya Opera years been concerts and operas in Orchestra (NOO). The high stan- various theatres and concert halls in dards of the orchestra’s performance Moscow and across Russia. The en- were set by the Novaya Opera’s semble actively collaborates with a founder, Evgeny Kolobov. After his number of leading ballet companies. death, the position of chief conduc-

32 The NOO began its collaboration tive instrumentation and arrange- with the great Dmitri Hvorostovsky ments to favorite classical repertoire, when founder of the theatre Evgeny as demonstrated by the group’s de- Kolobov was alive. In 2014 this col- lightful CD for Delos. The ensemble’s laboration was renewed whan the or- ability to fully explore the acoustic chestra performed a program of war- potential of their instruments, to- tim songs conducted by Constantine gether with their interesting and di- Orbelian in Moscow and in Tobolsk. verse programs, have won the hearts A concert also took place on the No- of audiences all over the world. As vaya Opera main stage as part of the USA Today wrote, “They are so good World Opera Stars cycle. at what they do that one wants to go to Russia and listen to them again and again.” The Style of Five (SOF) ensemble is made up of brilliant, charismatic per- formers of Russian folk music. Founded in 1993, the group brought together leading musicians of St. Petersburg whose aim was to look at traditional Russian folk instruments in a new way. The musicians’ ability to experiment and improvise, as well as to explore non-tra- ditional musical forms, allows them to use their unique combination of old and new instruments in fascinating ways. The SOF’s performances in Russia, Europe, Japan and the U.S. are cheered for their virtuosity, imagination and the sheer joy and fun of their programs. The SOF also brings its own distinc-

33 San Francisco, in Mi- lan, Queen Elizabeth Hall and Wigmore Hall in London, the of Moscow, the great halls of St. Peterburg Philharmonic and Moscow Con- servatory, Staatsoper Hamburg, Deutsche Oper Berlin, Suntory Hall of Tokyo, Musikverein of Vienna and Mozarteum of Sal- zburg. Beginning in 2003, he made many tours with Dmitri Hvorostovsky in USA, Europe, Hong-Kong, Japan and else- where.

Ivari Ilja has also given solo re- citals in France, United Kingdom, Estonia-born Ivari Ilja is an inter- Germany, Estonia, Russia, Swe- nationally recognized collaborative den, Finland and performed as a solo- pianist and ensemble musician. His ist with several orchestras such as Es- collaboration with renowned singers tonian National Symphony Orchestra, Dmitri Hvorostovsky, , the Moscow Symphony Orchestra, and Maria Guleghina and Elena Zarem- the St. Petersburg Symphony Orches- ba has been particularly acclaimed. tra. His repertoire mostly consists of Together they have performed on romantic music, primarily of the works many of the great concert stages of by Frédéric Chopin, Johannes Brahms, the world, including Carnegie Hall, Robert Schumann, but also Wolfgang Alice Tully Hall, Avery Fisher Hall of Amadeus Mozart, , New York, The Kennedy Center of and others. Washington, Davies Symphony Hall 34 Cover photo of Dmitri Hvorostovsky: © Pavel Vaan & Leonid Semenyuk.

For further information about any track in “Dmitri Hvorostovsky — Singing of Love”, please see the link under the cover graphic of the original album from which the track was taken.

DE 3565 © 2018 Delos Productions, Inc., P.O. Box 343, Sonoma, CA 95476-9998 (707) 996-3844 • (800) 364-0645 [email protected] • www.delosmusic.com Made in USA