In which operas did Chaliapin perform the main parts? "Pskovite" (Ivan the Terrible), "Life for the Tsar" (Ivan Susanin), "Mozart and Salieri" (Salieri). Fedor Chaliapin: a bass with a bad temper What kind of voice did Chaliapin have as a child
(April 12 is the day of memory of the famous Russian singer)
Fedor Ivanovich Chaliapin first got into the theater at the age of 12 in Kazan and was stunned, enchanted. The theater drove Fyodor Ivanovich crazy, although he already had to perform, to be a singer. The theater became a necessity for Fyodor Ivanovich. Soon he participated in the play as an extra. At the same time he studied at the four-year city school. His father wanted him to become a shoemaker, in the future he demanded that Fedor be a janitor or study as a carpenter, but Fedor chose the fate of an artist.
At the age of 17, copying papers of 8 kopecks. per sheet, in the evenings Fedor Ivanovich came every evening to the operetta, which was played in the Panaevsky Garden, where he signed his first contract - to sing in the choir.
In 1880 Chaliapin joined the troupe of Semyonov-Samarsky. He fell in love with the theater so much that he worked for everyone with the same pleasure: he swept the stage, poured kerosene into the lamps, cleaned the windows and already began to sing solo parts, and at the end of the season after the benefit performance he received 50 rubles (a fortune). The singer's voice is a high bass of a light timbre.
Later, Fedor Ivanovich traveled with the Little Russian troupe, and, having got to Tiflis, he met the singing professor Usatov, who, seeing a significant talent, offered Chaliapin free singing lessons. Usatov ordered to rent a better room and rent a piano. Everything in Usatov's house was alien and unusual: the furniture, the paintings, and the parquet floor. Usatov gave Chaliapin a tailcoat. Studying with Usatov, Fyodor Ivanovich performed bass parts in the opera. Subsequently, Usatov approved Chaliapin's intention to go to Moscow and gave him a letter to the manager of the office of the imperial theaters. Moscow stunned the provincial with its hustle and bustle. The office of the imperial theaters refused him, since the season was over. Chaliapin was invited to go to St. Petersburg, where he sang in the country garden of Arcadia, and later signed a contract with the directorate Mariinsky Theater. He immediately ordered the cards "Artist of the Imperial Theaters" - Fyodor Ivanovich was very flattered by this title.
The first debut was given in Faust. Chaliapin performed with great success as Mephistopheles. The performance was incomparable.
Fyodor Ivanovich met the famous Moscow philanthropist - Savva Ivanovich Mamontov and began to sing in 1896 in his private opera in Moscow. Mamontov, paying tribute to the unusually rich talent of Fyodor Ivanovich, offered Chaliapin 7,200 rubles a year. Before the first performance of A Life for the Tsar, Chaliapin was very worried: what if he would not justify the trust? But he sang well. Mamontov came to rehearsals, clapped him on the shoulder and reassured Chaliapin: "Stop being nervous, Fedenka." The ballerina Iola Tornaghi, an Italian who became Chaliapin's first wife, danced in this theater.
Mamontov was very fond of Russian music: they staged " royal bride"and" Sadko. Mamontov took a lively part in the productions: he himself came up with various innovations.
Later, Chaliapin sang on the stage of the imperial theaters - in the Bolshoi in Moscow and in the Mariinsky in St. Petersburg. Since 1899, Fedor Ivanovich has been a leading soloist, but he was inexpressibly sorry for his comrades in the theater S. Mamontov and Savva Ivanovich himself.
Chaliapin enjoyed tremendous success: in 1901 he made a splash on the stage in Milan. His bass was magnificent, of unprecedented power and beauty. These were the first foreign tours in his life, he was invited with one of his best arias - Mephistopheles. Chaliapin studied Italian, he was paid a significant amount for performances - 15,000 francs. After Italy, Chaliapin becomes a world celebrity, he was annually invited to foreign tours.
In Paris, Chaliapin was the decoration of the Diaghilev seasons in 1907 with his best role Tsar Boris in Mussorgsky's opera Boris Godunov. The performance was excitingly beautiful precisely because of the participation of the genius - Chaliapin. Alexandra Benois, who was present at the performance, said: “When this happiness is given out, when some kind of secret, guiding force seems to reign on the stage, then you experience incomparable happiness. And this miraculous effect is so strong that it overcomes all obstacles.
His high art promoted primarily the work of Russian composers M.P. Mussorgsky and N.A. Rimsky-Korsakov The Greatest Representative Russian vocal school, Chaliapin contributed to the extraordinary rise of the Russian realistic musical art. Chaliapin was popular not only as a singer, but also as an outstanding artist. Tall, with an expressive face and a stately figure, Chaliapin impressed the audience with a bright temperament and a beautiful voice, soft in timbre, and sounding sincere in his best arias Mephistopheles and Boris Godunov.
From 1922 Chaliapin lived in France.
April 12, 1938 he died. Buried in Paris. In 1984, his ashes were transferred to Novodevichy cemetery in Moscow.
Great performers of the 20th century
Fedor Chaliapin. Tsar-bass
Like Sabinin in Glinka's opera, I exclaim:
"Joy is immeasurable!"
Great happiness fell on us from the sky!
New, great talent was born...
(V. Stasov)
We live in that amazing time when miracles have become a common, everyday occurrence. Thanks to one of these miracles, now, just like once Vladimir Vasilyevich Stasov, we can exclaim: "Joy is immeasurable!"- we hear the voice of Chaliapin.
Tsar-bass
“Someone said about Chaliapin,- wrote V. I. Nemirovich-Danchenko, - when God created him, he was especially good mood creating for the joy of all.
This voice, once heard, is truly impossible to forget. You come back to it again and again, despite the imperfection of the old recordings. There were beautiful voices both before and after Chaliapin, but few can compare with his high “velvet” bass, which was distinguished by incredible expressiveness. And the listener is captivated not only by the unique timbre, but also by how accurately and subtly the singer managed to convey the slightest shades of feelings embedded in the work, whether it was an opera part, a folk song or a romance.
Chaliapin raised vocal art to new heights, teaching the lessons of musical truth to those around him, and generously sharing his secrets with future generations of artists.
And the life story of the Russian Tsar Bass is a lesson for everyone. No matter what conditions you live in, as long as you have a spark of talent in you - follow your dream, work hard, strive for perfection ... And everything will work out.
Since September 24, 1899, Chaliapin has been the leading soloist of the Bolshoi and at the same time the Mariinsky Theaters, with a triumphant success in touring abroad. In 1901, in Milan's La Scala, he sang with great success the part of Mephistopheles in the opera of the same name by A. Boito with Enrico Caruso conducted by A. Toscanini. The world fame of the Russian singer was confirmed by tours in Rome (1904), Monte Carlo (1905), Orange (France, 1905), Berlin (1907), New York (1908), Paris (1908), London (1913/14).
The divine beauty of Chaliapin's voice captivated listeners of all countries. His high bass, delivered by nature, with a velvety, soft timbre, sounded full-blooded, powerful and had a rich palette of vocal intonations. The effect of artistic transformation amazed the listeners, - here not only appearance, but also the deep inner content that the singer's vocal speech conveyed. In creating capacious and scenically expressive images, the singer is helped by his extraordinary versatility: he is both a sculptor and an artist, writes poetry and prose. Such a versatile talent of the great artist is reminiscent of the masters of the Renaissance - it is no coincidence that contemporaries compared his opera heroes with the titans of Michelangelo.
The art of Chaliapin crossed national borders and influenced the development of the world opera house. Many Western conductors, artists and singers could repeat the words Italian conductor and composer D. Gavazeni: "Chaliapin's innovation in the sphere of dramatic truth operatic art had a profound effect on the Italian theatre. dramatic art great Russian artist left a deep and lasting mark not only in the field of performance of Russian operas Italian singers, but in general, on the whole style of their vocal and stage interpretation, including works Verdi ...»
Of particular importance was the participation of Chaliapin in the "Russian Seasons" as a propagandist of Russian music, especially the work of M. P. Mussorgsky and N. A. Rimsky-Korsakov. He was artistic director Mariinsky Theater (1918), an elected member of the directorates of the Bolshoi and Mariinsky Theaters. Having gone abroad on tour in 1922, Chaliapin did not return to Soviet Union, lived and died in Paris (in 1984, the ashes of Chaliapin were transferred to the Novodevichy cemetery in Moscow).
The largest representative of the Russian performing arts, Chaliapin, was equally great both as a singer and as a dramatic actor. His voice - amazing in flexibility, timbre richness - sounded now with penetrating tenderness, sincerity, now with striking sarcasm.
Masterfully mastering the art of phrasing, the finest nuances, diction, the singer saturated each musical phrase with figurative meaning, filled it with deep psychological overtones. Chaliapin created a gallery of diverse images, revealing the complex inner world their heroes.
The top creations of the artist were the images of Boris Godunov (Boris Godunov by M. P. Mussorgsky) and Mephistopheles (Faust by Charles Gounod and Mephistopheles by Arrigo Boito). Among other parties: Susanin ("Ivan Susanin" M. I. Glinka), Melnik ("Mermaid" A. S. Dargomyzhsky), Ivan the Terrible (N. A. Rimsky-Korsakov’s The Maid of Pskov), Don Basilio (The Barber of Seville by G. Rossini), Don Quixote (Don Quixote by J. Massenet).
Chaliapin was an outstanding chamber singer: a sensitive interpreter vocal works M. I. Glinka, A. S. Dargomyzhsky, M. P. Mussorgsky, P. I. Tchaikovsky , A. G. Rubinstein, R. Schumann, F. Schubert, as well as a soulful performer of Russian folk songs. He also acted as a director (productions of the opera "Khovanshchina", "Don Quixote"). He acted in films. He also owns sculptures and paintings.
The memory of the artist is immortalized in the city of his childhood - Kazan. On the occasion of the 125th anniversary of his birth, the world's first urban monument to F. I. Chaliapin, the work of sculptor Andrei Balashov, was opened here. He took a place on a pedestal near the Cathedral of the Epiphany, in which Chaliapin was once baptized, on the main street of the city.
Arias from the opera "Boris Godunov" M. P. Mussorgsky
Most of all composers Chaliapin loved Mussorgsky. And he sang it in such a way that it seems as if everything created by Mussorgsky was created specifically for Chaliapin. Meanwhile...
“My great disappointment in life is that I did not meet Mussorgsky. He died before my appearance in St. Petersburg. My sorrow…”
Yes, they never knew each other. However, no, it is not. Mussorgsky really did not know Chaliapin. And it's very sad to think about it. How happy Modest Petrovich Mussorgsky would have been if he had heard, seen in the performance of Chaliapin his Tsar Boris, his Varlaam, Pimen, Dositheus, all his peasants, whom he sang with such love, with such great pain and compassion in music.
And Chaliapin knew Mussorgsky. He understood and loved him like the most close friend. With the heart of a great artist, he felt every thought of his music, knew every note in it. All of Mussorgsky's compositions that the bass could sing were in his repertoire. In the opera "Boris Godunov" there are three bass parts. And all three were performed by Chaliapin.
We know that Chaliapin was not only a great singer, but also a great actor. And although we have never seen Chaliapin play, we understand this by looking at his portraits in roles. It is hard to believe that this is the same person, that this is all - Chaliapin.
And it’s not only makeup and costume that change the artist in such a way.
Boris Godunov. Boris Godunov has a strong, strong-willed face; he is a handsome, courageous man with a sharp, inquisitive look. But somewhere in the depths of his smart, beautiful eyes beats, screams great anxiety, almost despair.
Hearing: M. Mussorgsky. Boris' monologue (prologue) "The soul is grieving..." from the opera Boris Godunov, performed by F. Chaliapin.
Chaliapin's daughter, Irina, recalls:
“The curtain rose, and to the sound of a bell, “led under the arms of the boyars,” Tsar Boris appeared.
Soul mourns...
We listen to Chaliapin sing. Beautiful, juicy, thick, I want to say - a regal voice. Only in this regal majesty there is no peace. Anxiety and sadness are clearly heard in the voice. Troubled in the soul of Tsar Boris. His bell ringing does not please, his solemn election to the kingdom does not please. But Boris Godunov is a man of strong will. He overcame his anxiety. And now in Russian widely:
And there to call the people to the feast ...
As if this mighty, generous bass embraced everyone:
All free entry; all guests are welcome...
Hearing: M. Mussorgsky. Boris' monologue "I have reached the highest power ..."(2nd act) from the opera Boris Godunov, performed by F. Chaliapin.
Pimen - completely different. This old man knows a lot. He sees a lot. He is calm and wise, he is not tormented by remorse, which is why his gaze is so straight and calm. Remember, Pushkin: "Night. Cell in the Miracle Monastery. Pimen writes in front of the lamp.
The voices of the strings in the orchestra sound muffled, note after note is strung unhurriedly, monotonously. Like the quiet rustling of a goose quill over an old parchment, as if an intricate tie of Slavic writing stretches, telling about the "past fate of the native land."
One more, last tale and my chronicle is over...
Wise tired voice. This man is very old. From Chaliapin's voice all the passion, all the tension that so shocked us in Boris disappeared. Now it sounds quite even, very calm. And at the same time, there is some elusive characteristic in it. He reminds me of something. But what? However, it may not remind you of anything: you probably never heard church singing. Except in the movies. And Chaliapin knew well how the priests sang: always at least a little, but "on the nose", a little nasally. Listen to the voice of Chaliapin Pimen... The singer gives it a barely noticeable "church" tone. He feels that Mussorgsky's music demands it.
Almost the entire monologue of Pimen sounds leisurely, thoughtful. But there is no monotonous, boring monotony in Chaliapin's voice. If in the part of Boris he can be compared with the artist's palette, on which you see the most different colors- and blue, and yellow, and green, and red, then the voice of Chaliapin-Pimen is like a palette with different shades of the same color (for some reason it seems to me - purple) from thick dark to light; blurry.
Hearing: M. Mussorgsky. Monologue of Pimen (1 act) from the opera "Boris Godunov", in Spanish. F. Chaliapin.
Varlaam. Here he is, all at a glance - a slovenly, flabby, half-drunk tramp. But as soon as you look into his eyes, you immediately see: no, this runaway monk is not at all so simple - his eyes are smart, cunning and very unkind.
How does Chaliapin himself imagine him?
“Mussorgsky, with incomparable art, conveyed the bottomless anguish of this tramp ... The anguish in Varlaam is such that you can even hang yourself, and if you don’t feel like strangling yourself, then you have to laugh, invent some kind of rampantly drunken, supposedly funny ... "
That is why Varlaam-Chaliapin has such eyes.
In Pushkin's tragedy, the role of Varlaam is very small. He doesn't have big monologues. And Mussorgsky, creating his Varlaam, did not invent any special arias for him. But remember, Pushkin says: “Varlaam sings the song “How was it in Kazan in the city”?
The omniscient Stasov found the original text of this old Russian song, which tells how Tsar Ivan Vasilyevich the Terrible took Kazan. This song became the first characteristic of Varlaam. And instead of the second song of Varlaam, indicated by Pushkin, “The young black cut his hair”, Varlaam Mussorgsky sings the song “How the yon rides”.
Two songs tell us about the character of Varlaam. And how they say! Especially if Chaliapin sings Varlaam.
We listen to the first song - “As it was in the city in Kazan” and understand that Chaliapin, speaking about how he imagines his Varlaam, did not reveal to us everything that is in his fugitive monk.
As with gunpowder, that barrel spun
I rolled along the digs, rolled along the digs,
Yes, it crashed...
Oh no, not only drunken revelry is heard in Varlaam's voice. Stasov says that Varlaam "sings bestially and fiercely." He says this about Mussorgsky's music, but Chaliapin sings just like that - "bestially and fiercely." huge power- dense, irrepressible - is felt in this person. Someday she will break free! .. And she breaks out.
"Subsequently,- writes Stasov, - this same Varlaam with a mighty hand will raise a formidable popular storm against the Jesuits who wandered into Russia with False Dmitry ”. We are talking about a scene that was banned by censorship in pre-revolutionary times. This is the final scene of the opera - the popular uprising near Kromy, in which Varlaam plays a very important role.
Here's a runaway drunkard monk!
Three roles - three different person. Such different people, of course, and the voices must be completely different. But since we are talking about Chaliapin, it is quite clear that everyone will have one voice - an unforgettable Chaliapin bass. You will always recognize it if you have heard it at least once.
Hearing: M. Mussorgsky. Song of Varlaam (1 act) from the opera "Boris Godunov", performed by F. Chaliapin.
Farlaf's Rondo from M. I. Glinka's opera "Ruslan and Lyudmila"
F. I. Chaliapin performed the parts of Ruslan and Farlaf in the opera Ruslan and Lyudmila by M. I. Glinka, and it was in the second role that, according to A. Gozenpud, he reached the top, surpassing his famous predecessors.
Insolence, boastfulness, unbridled arrogance, intoxication with one's own "courage", envy and malice, cowardice, voluptuousness, all the baseness of Farlaf's nature were revealed by Chaliapin in the performance of the rondo without caricature exaggeration, without emphasizing and pressure. Here the singer reached the pinnacle of vocal performance, overcoming technical difficulties with virtuoso ease.
Hearing: M. Glinka. Rondo Farlaf from the opera "Ruslan and Lyudmila", performed by F. Chaliapin.
Song of the Varangian guest from the opera "Sadko" by N. A. Rimsky-Korsakov
The song of the Varangian guest performed by Chaliapin is stern, warlike and courageous: “O formidable rocks are crushed with the roar of the waves.” Low tone male voice and thick sonority of wind instruments, mainly copper tools, harmonizes well with the whole appearance of the Varangian - a brave warrior and navigator.
The party of the Varangian guest conceals enormous artistic possibilities, allowing you to create a vivid stage image.
Hearing: N. Rimsky-Korsakov. Song of the Varangian guest from the opera "Sadko", performed by F. Chaliapin.
Aria by Ivan Susanin "You will rise my dawn..." from M. I. Glinka's opera "Ivan Susanin"
“Shalyapinsky Susanin is a reflection of an entire era, this is a virtuoso and mysterious incarnation folk wisdom, the wisdom that in the difficult years of trials saved Rus' from destruction.
(Edward Stark)
Chaliapin performed Susanin's aria with brilliance at a closed debut at the Mariinsky Theatre, when he came from the provinces to conquer the capital and was accepted on the imperial stage on the day of his full age on February 1 (13), 1894.
This audition took place on the recommendation of the patron of the arts, a major official T. I. Filippov, known for his friendship with Russian composers and writers. In the house of Filippov, young Chaliapin met with the sister of M. I. Glinka, Lyudmila Ivanovna Shestakova, who showered young singer praises, having heard in his performance the aria of the Russian national hero.
Ivan Susanin in the work of Fedor Chaliapin played a fateful role. In the spring of 1896, the singer decides to go to Nizhny Novgorod. There he meets S. I. Mamontov - Savva the Magnificent, industrialist and patron of the arts, reformer of the opera house, founder of the Russian Private Opera and a true collector of talents. On May 14, the performance "Life for the Tsar" with Chaliapin in leading role began regular performances of the Mamontov troupe, touring in Nizhny Novgorod.
Hearing: M. Glinka. Aria Susanina "You will rise my dawn" from the opera "Ivan Susanin", in Spanish. F. Chaliapin.
Chaliapin was unusually musical. He not only understood and knew music, he lived in it, music permeated his whole being. Every sound, every breath, gesture, every step - everything was subordinated to her.
The great singer always "choose" from the richest arsenal of techniques exactly the one that he demanded from him. musical image. Chaliapin gives his voice entirely to the service of music. He fiercely hates singers who consider their own singing to be the main thing in their activity.
“After all, I know singers from beautiful voices, they control their voices brilliantly, that is, they can sing loudly and quietly at any moment ... but almost all of them sing only notes, adding syllables or words to these notes ... Such a singer sings beautifully ... But if this charming If a singer needs to sing several songs in one evening, then one almost never differs from the other. Whatever he sings about, love or hate. I don’t know how an ordinary listener reacts to this, but personally, after the second song, it becomes boring for me to sit in a concert.
Do not think, however, that a deep understanding of music came to Chaliapin by itself. He had mistakes, and failures, and breakdowns. There was dissatisfaction. So it was even with Mussorgsky, whom he adored.
“I stubbornly did not cheat on Mussorgsky, I performed his things at all the concerts in which I performed. I sang his romances and songs according to all the rules of cantilena art - I gave rib breathing, kept my voice in a mask and generally behaved like a decent singer, and Mussorgsky came out dimly with me ... "
So it was in my youth. And Chaliapin tries, rehearses, achieves. In Chaliapin's way, he passionately strives for knowledge, greedily absorbs everything that seems to him necessary to achieve a single goal. This goal is to serve music.
Presentation
Included:
1. Presentation - 15 slides, ppsx;
2. Sounds of music:
Glinka. Opera "Ivan Susanin":
Aria Susanina "You will rise my dawn...".mp3;
Glinka. Opera "Ruslan and Lyudmila":
Rondo Farlaf, mp3;
Mussorgsky. Opera "Boris Godunov":
Boris' monologue (prologue), mp3;
Pimen's monologue (1 act), mp3;
Song of Varlaam (1 act), mp3;
Boris' monologue (act 2), mp3;
Rimsky-Korsakov. Opera "Sadko":
Song of the Varangian guest, mp3;
(all works performed by Fyodor Chaliapin)
3. Accompanying article, docx.
Fyodor Chaliapin has performed as a soloist at the Bolshoi and the Mariinsky, the Metropolitan Opera and La Scala. He became the first People's Artist of the RSFSR and the man who changed the opera. “There are three miracles in Moscow: the Tsar Bell, the Tsar Cannon and the Tsar Bass,” the famous writer wrote about Chaliapin. theater critic, journalist and playwright.
His career did not have a meteoric rise. The son of a Vyatka peasant, a singer in a church choir, a shoemaker's apprentice, a graduate of a Kazan elementary school - his father dreamed of raising Fyodor an artisan and angrily scolded him for his passion for theater.
After the position of an extra and the first roles in Serebryakov's troupe, there was Ufa and the Semyonov-Samarsky operetta troupe, where the 17-year-old Chaliapin once replaced an artist who accidentally fell ill in Moniuszko's opera Pebbles. Then - small opera parts and wanderings with the Little Russian troupe of Derkach.
For a year, Chaliapin settled in Tiflis, where he was really lucky: the singer began to give lessons to the poor talent for free. He also helped to get into the opera of Ludwigov-Forcatti and Lyubimov - the singer began to perform the first bass parts. Having changed several troupes and Moscow to St. Petersburg, in 1895 Chaliapin was accepted into the St. opera troupe. Together with the Mariinsky Theater, the parts of Mephistopheles ("Faust") and Ruslan ("Ruslan and Lyudmila") came the first success.
Fyodor Ivanovich Chaliapin as Boris Godunov in Modest Mussorgsky's opera on the stage of S.I. Mamontov's Moscow Russian Private Opera, 1898-99.
B. Ukraintsev/RIA NovostiA year later, Chaliapin returned to Moscow and joined the troupe of the private opera house of the famous philanthropist and merchant Savva. “Fedenka, you can do whatever you want in this theater! If you need costumes, tell me - and there will be costumes. If you need to put new opera Let's put on an opera! - Mamontov said to the singer. It was in the troupe of Mamontov that Chaliapin's talent was revealed in full force. Ivan Susanin at Glinka's, Melnik in Dargomyzhsky's Mermaid, Mussorgsky's, Rimsky-Korsakov's The Pskovite Woman, Dosifey in Mussorgsky's Khovanshchina - in Chaliapin's repertoire, in addition to brilliant opera arias, were folk songs and romances by Russian composers.
“At the moment we have one more great artist. God, what a great talent! ”, Wrote about the singer musical critic Stasov.
In 1901, Chaliapin performed for the first time at La Scala - the success was resounding.
Life began, full of brilliant victories, applause and high-profile tours around the world.
Chaliapin and the press
Reproduction of a sketch for a portrait of Fyodor Chaliapin by artist Boris Kustodiev, 1921
RIA News"Chaliapin's relations with the press were contradictory. On the one side, " best bass country" bathed in the rays of printed glory, on the other hand, suffered from speculation by incompetent publications and their prominent representatives.
“Press, press!!! Sometimes it is a powerful, magnificent force that shakes the minds of hundreds of thousands of people, overthrows tyrants and changes the borders of states and the fate of peoples. This force makes a person a worldwide celebrity in a week and knocks him off his pedestal in three days,” the singer wrote in his article “The Press and I,” which was published in the humorous Blue Magazine (1912, No. 50). —
But sometimes the press seems to me like a sweet merchant who every morning at tea is engaged in solving and interpreting dreams - and this dear merchant is sitting, solving sleepy dreams, and it seems to her that all this is important, necessary and wonderful.
Once, a provincial newspaper started a rumor that Chaliapin was supposedly going to write his memoirs. Another publication, according to the singer, embellished the "sensation", stating that the memoirs "are written in Italian". A third newspaper suggested that the Italian company "Ricordi" publishes them. And the fourth on blue eye wrote that the memoirs were sold for 100 thousand lire. The fifth theme “worked out” most clearly: “We are informed from a reliable source that Chaliapin's manuscript was stolen from the author by unknown malefactors. The grief of the unfortunate author - best performer Holofernes and Boris Godunov is beyond description.”
The sixth, very reputable media, for its part, after analyzing all the versions, reproached Chaliapin for a multi-stage PR campaign: “What self-promotion of our celebrities comes to ... ... Why not Chaliapin at the same time report that a bloody battle took place during the abduction, in which ten people were killed on both sides. Shame on this good artist indulge in such rude "American" things!
Chaliapin was offended.
A seventh, Moscow newspaper was also found. She published the articles "My Life" signed "Fyodor Chaliapin". “But when I protested, not wanting the reader to be misled, the newspaper promised to confront me with one person (?) (?!), claiming that I really wrote memoirs and write that before the confrontation “the most inveterate Sakhalin criminals ”and that it would be very interesting for her to know if I turn pale (?) ... - wrote the indignant singer. —
What can I say about the press?
There is a press that is thoughtful, delicate, carefully approaching the personal life of an artist, and there is also such a press that will come up to you, examine you from head to toe and, after thinking, say: “Hm! .. Eat? Are you getting thousands of dollars in fees? Here you have a good time, so you won’t sing ... ".
Chaliapin and the Revolution
Writer Alexei Maksimovich Gorky (left) and singer Fyodor Ivanovich Chaliapin (right), 1903
RIA News"Chaliapin was an ardent supporter of the revolution and supported it financially. In addition, long before the Bolsheviks came to power, he arranged charity concerts for workers, sang for free or for a nominal fee, donated funds to the needs ordinary people- at his performances, the apple had nowhere to fall.
In 1918, the singer became the director of the Mariinsky Theater, in the same year he received the title People's Artist RSFSR. “You are the first in the Russian art of music. As in the art of the word - Tolstoy, ”wrote Chaliapin. In his opinion, the singer in Russian art has become "an era like Pushkin."
Merits and love for the people did not prevent some Bolsheviks from robbing Chaliapin's apartment, and others from conducting numerous searches.
On June 29, 1922, Chaliapin went on tour abroad and did not return to Soviet Russia. In August 1927, the singer was stripped of the title of People's Artist of the Republic. In April 1938, Chaliapin died of leukemia. He was buried in a small cemetery near Paris. An inscription was made on a granite slab: “Here rests Fyodor Chaliapin, the brilliant son of the Russian land.” After 46 years, his ashes were transferred to Moscow.
Fedor Ivanovich Chaliapin - one of the most famous domestic opera singers. Born in Kazan in 1873, he combined unique vocal abilities with artistry and theatrical skills. He was a versatile person who was fond of sculpture, painting and other areas of creativity.
As a child, the future tenor attended the church, where he was a chorister. He received a good education for his time, including a parochial school. At the age of 16, he was enrolled as an extra in the troupe of V.B. Serebryakova, and already on next year He made his debut in the opera Eugene Onegin.
In 1890, Fyodor Chaliapin moved to Ufa, where he found a job in an operetta troupe. After the young actor successfully replaced a sick colleague, he was periodically trusted with small excerpts in various productions.
In 1891, the aspiring artist went on tour with the troupe of D.I. Derkach. In Tiflis, he managed to meet with Dmitry Ustinov, who had a serious impact on the development of the tenor. After listening, he spoke positively about the voice of the young man and agreed to give singing lessons for free. Ustinov also placed Chaliapin in the city opera, where the artist worked for a year.
A couple of years passed, and Fedor Chaliapin ended up in St. Petersburg in transit through Moscow. Here he first appeared on the stage of the Mariinsky Theatre. In 1901 he already famous master, who got the opportunity to give ten concerts at once in Milan's La Scala. Later, the singer supported the workers during the revolution of 1905, and in 1907-1908. toured America and Argentina.
Chaliapin played his role in cinema in 1915, when he played Ivan the Terrible in the film of the same name. Soon he also mastered directing, in particular, presenting the opera Don Carlos, staged at the Bolshoi Theater.
During the war, at his own expense, Chaliapin organized a couple of hospitals for soldiers, and he did not advertise his activities.
Emigration
Already in 1918, Fedor Chaliapin was awarded the title of People's Artist, one of the first in the emerging Soviet Republic. In 1922, he went on tour to the United States, and left for long time along with his wife. As a result, the attitude towards him in the country became much worse, and the case of donating funds from one of the performances to the children of emigrants in 1927 was perceived in the USSR as direct support white movement. As a result, he was deprived of his titles and the right to return to the country of the Soviets.
For the first time, it was proposed to restore the rights of the artist, after his death, in 1953, but the proposal did not find a response from the party leadership. Re-to this issue returned only in 1991, when, on the basis of Decree No. 317 of 06/10/1991. the decision taken in 1927 was declared invalid.
The artist died in 1938 in Paris. By this time, he was diagnosed with leukemia. At the end of October 1984, with the permission of relatives, the tenor's remains were reburied in Moscow (Novodevichy Cemetery).
Experts admit that Chaliapin managed to achieve success not only due to his bass, but also acting skills, where expressive appearance and becoming a tenor played an important role. Demonstrating expressiveness and play of intonations every time on the stage.
Being diversified, Chaliapin drew beautifully and left behind a lot of portraits, including self-portraits.
He also dabbled in sculpture. At one time, he wanted to go into politics, but Maxim Gorky was able to dissuade him from the venture in favor of further creative development.
Today in Ufa there is a sculpture of Chaliapin made of marble, located opposite the Bashkir Opera and Ballet Theater, where the debut took place back in the 19th century. future star. The monument was unveiled in 2007. marble statue personifies the image of a young talented artist. The artist himself says that his goal was to show the world the great Chaliapin, who had not already taken place and was recognized by all, and the young famous singer Fedor. The figure seemed to freeze in anticipation of the reaction of the assembled Ufa public.
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