What did Fyodor Chaliapin sing. In which operas did Chaliapin perform the main parts? "Pskovite" (Ivan the Terrible), "Life for the Tsar" (Ivan Susanin), "Mozart and Salieri" (Salieri)
Fedor Ivanovich Chaliapin was born on February 13, 1873 in Kazan, in a poor family of Ivan Yakovlevich Chaliapin, a peasant from the village of Syrtsovo, Vyatka province. Mother, Evdokia (Avdotya) Mikhailovna (nee Prozorova), originally from the village of Dudinskaya in the same province. Already in childhood, Fedor had a beautiful voice (treble) and often sang along with his mother, "adjusting his voice." From the age of nine he sang in church choirs, tried to learn to play the violin, read a lot, but was forced to work as an apprentice shoemaker, turner, carpenter, bookbinder, copyist. At the age of twelve, he participated in the performances of a troupe touring in Kazan as an extra. An irrepressible craving for the theater led him to various acting troupes, with which he wandered around the cities of the Volga region, the Caucasus, Central Asia, working either as a loader or a hooker on the pier, often starving and spending the night on benches.
"... Apparently, even in the modest role of a chorister, I managed to show my natural musicality and not bad voice means. When one day one of the baritones of the troupe suddenly, on the eve of the performance, for some reason refused the role of Stolnik in Moniuszko's opera "Pebbles", and replaced him there was no one in the troupe, then the entrepreneur Semenov-Samarsky turned to me - would I agree to sing this part. Despite my extreme shyness, I agreed. It was too tempting: the first serious role in my life. I quickly learned the part and performed.
Despite the sad incident in this performance (I sat down on the stage past a chair), Semyonov-Samarsky was nevertheless moved by both my singing and my conscientious desire to portray something similar to a Polish magnate. He added five rubles to my salary and also began to entrust me with other roles. I still think superstitiously: a good sign for a beginner in the first performance on stage in front of an audience is to sit past the chair. Throughout my subsequent career, however, I vigilantly watched the chair and was afraid not only to sit by, but also to sit in the chair of another ...
In this first season of mine, I also sang Fernando in Il trovatore and Neizvestny in Askold's Grave. Success finally strengthened my decision to devote myself to the theater."
Then the young singer moved to Tiflis, where he took free singing lessons from the famous singer D. Usatov, performed in amateur and student concerts. In 1894 he sang in performances that took place in the St. Petersburg suburban garden "Arcadia", then in the Panaevsky Theater. On April 5, 1895, he made his debut as Mephistopheles in Gounod's Faust at the Mariinsky Theatre.
In 1896, Chaliapin was invited by S. Mamontov to the Moscow Private Opera, where he took a leading position and fully revealed his talent, creating over the years of work in this theater a whole gallery of unforgettable images in Russian operas: Ivan the Terrible in N. Rimsky's The Maid of Pskov -Korsakov (1896); Dositheus in M. Mussorgsky's "Khovanshchina" (1897); Boris Godunov in the opera of the same name by M. Mussorgsky (1898) and others.
Communication in the Mammoth Theater with the best artists of Russia (V. Polenov, V. and A. Vasnetsov, I. Levitan, V. Serov, M. Vrubel, K. Korovin and others) gave the singer powerful incentives for creativity: their scenery and costumes helped in creating a compelling stage presence. The singer prepared a number of opera parts in the theater with the then novice conductor and composer Sergei Rachmaninoff. Creative friendship united two great artists until the end of their lives. Rachmaninov dedicated several romances to the singer, including "Fate" (verses by A. Apukhtin), "You knew him" (verses by F. Tyutchev).
The deeply national art of the singer delighted his contemporaries. “In Russian art, Chaliapin is an era, like Pushkin,” wrote M. Gorky. Based on the best traditions of the national vocal school, Chaliapin opened a new era in the national musical theater. He managed to surprisingly organically combine the two most important principles of opera art - dramatic and musical - to subordinate his tragic gift, unique stage plasticity and deep musicality to a single artistic concept.
From September 24, 1899, Chaliapin, the leading soloist of the Bolshoi and at the same time the Mariinsky Theater, toured abroad with triumphant success. 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 E. 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 - there is not only an external appearance, but also a deep inner content, which was conveyed by the vocal speech of the singer. 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 of the Italian conductor and composer D. Gavazeni: “Chaliapin’s innovation in the sphere of the dramatic truth of opera art had a strong impact on the Italian theater ... The dramatic art of the great Russian artist left a deep and lasting mark not only in the field of performance Russian operas by Italian singers, but in general, on the whole style of their vocal and stage interpretation, including works by Verdi ... "
"Chaliapin was attracted by the characters of strong people, seized with an idea and passion, experiencing a deep emotional drama, as well as vivid comedy images," notes D.N. Lebedev. "With amazing truthfulness and strength, Chaliapin reveals the tragedy of an unfortunate father distraught with grief in "Mermaid" or painful mental discord and remorse experienced by Boris Godunov.
In sympathy for human suffering, high humanism is manifested - an inalienable property of progressive Russian art, based on nationality, on purity and depth of feelings. In this nationality, which filled the whole being and all the work of Chaliapin, the strength of his talent is rooted, the secret of his persuasiveness, comprehensibility to everyone, even to an inexperienced person.
Chaliapin is categorically against simulated, artificial emotionality: “All music always expresses feelings in one way or another, and where there are feelings, mechanical transmission leaves the impression of terrible monotony. A spectacular aria sounds cold and formal if the intonation of the phrase is not developed in it, if the sound is not colored with the necessary shades of emotions. Western music also needs this intonation… which I recognized as obligatory for the transmission of Russian music, although it has less psychological vibration than Russian music.”
Chaliapin is characterized by a bright, rich concert activity. Listeners were invariably delighted with his performance of the romances The Miller, The Old Corporal, Dargomyzhsky's Titular Counsellor, The Seminarist, Mussorgsky's Trepak, Glinka's Doubt, Rimsky-Korsakov's The Prophet, Tchaikovsky's The Nightingale, The Double Schubert, “I am not angry”, “In a dream I wept bitterly” by Schumann.
Here is what the remarkable Russian musicologist academician B. Asafiev wrote about this side of the singer's creative activity:
“Chaliapin sang truly chamber music, sometimes so concentrated, so deep that it seemed that he had nothing in common with the theater and never resorted to the emphasis on accessories and the appearance of expression required by the stage. Perfect calmness and restraint took possession of him. For example, I remember Schumann’s “In my dream I wept bitterly” - one sound, a voice in silence, a modest, hidden emotion, but it’s as if there is no performer, and there is no this large, cheerful, generous with humor, affection, clear person. The voice sounds lonely - and everything is in the voice: all the depth and fullness of the human heart ... The face is motionless, the eyes are extremely expressive, but in a special way, not like, say, Mephistopheles in the famous scene with students or in a sarcastic serenade: there they burned maliciously, mockingly, and then the eyes of a man who felt the elements of sorrow, but who understood that only in the harsh discipline of the mind and heart - in the rhythm of all its manifestations - does a person gain power over both passions and suffering.
The press loved to calculate the artist's fees, supporting the myth of fabulous wealth, Chaliapin's greed. What if this myth is refuted by posters and programs of many charity concerts, famous performances of the singer in Kyiv, Kharkov and Petrograd in front of a huge working audience? Idle rumors, newspaper rumors and gossip more than once forced the artist to take up his pen, refute sensations and speculation, and clarify the facts of his own biography. Useless!
During the First World War, Chaliapin's tours ceased. The singer opened two infirmaries for wounded soldiers at his own expense, but did not advertise his "good deeds". Lawyer M.F. Volkenstein, who managed the singer’s financial affairs for many years, recalled: “If only they knew how much Chaliapin’s money went through my hands to help those who needed it!”
After the October Revolution of 1917, Fyodor Ivanovich was engaged in the creative reconstruction of the former imperial theaters, was an elected member of the directorates of the Bolshoi and Mariinsky theaters, and in 1918 directed the artistic part of the latter. In the same year, he was the first of the artists to be awarded the title of People's Artist of the Republic. The singer sought to get away from politics, in the book of his memoirs he wrote: “If in my life I was anything but an actor and a singer, I was completely devoted to my vocation. But least of all I was a politician.”
Outwardly, it might seem that Chaliapin's life is prosperous and creatively rich. He is invited to perform at official concerts, he also performs a lot for the general public, he is awarded honorary titles, asked to head the work of various kinds of artistic juries, theater councils. But then there are sharp calls to "socialize Chaliapin", "put his talent at the service of the people", doubts are often expressed about the "class loyalty" of the singer. Someone demands the obligatory involvement of his family in the performance of labor service, someone makes direct threats to the former artist of the imperial theaters ... "I saw more and more clearly that no one needs what I can do, that there is no point in my work" , - the artist admitted.
Of course, Chaliapin could protect himself from the arbitrariness of zealous functionaries by making a personal request to Lunacharsky, Peters, Dzerzhinsky, Zinoviev. But to be in constant dependence on the orders of even such high-ranking officials of the administrative-party hierarchy is humiliating for an artist. In addition, they often did not guarantee full social security and certainly did not inspire confidence in the future.
In the spring of 1922, Chaliapin did not return from foreign tours, although for some time he continued to consider his non-return to be temporary. The home environment played a significant role in what happened. Caring for children, the fear of leaving them without a livelihood forced Fedor Ivanovich to agree to endless tours. The eldest daughter Irina remained to live in Moscow with her husband and mother, Paula Ignatievna Tornagi-Chaliapina. Other children from the first marriage - Lydia, Boris, Fedor, Tatyana - and children from the second marriage - Marina, Martha, Dassia and the children of Maria Valentinovna (second wife), Edward and Stella, lived with them in Paris. Chaliapin was especially proud of his son Boris, who, according to N. Benois, achieved "great success as a landscape and portrait painter." Fyodor Ivanovich willingly posed for his son; portraits and sketches of his father made by Boris "are priceless monuments to the great artist ...".
In a foreign land, the singer enjoyed constant success, touring in almost all countries of the world - in England, America, Canada, China, Japan, and the Hawaiian Islands. From 1930, Chaliapin performed in the Russian Opera company, whose performances were famous for their high level of staging culture. The operas Mermaid, Boris Godunov, and Prince Igor were especially successful in Paris. In 1935, Chaliapin was elected a member of the Royal Academy of Music (together with A. Toscanini) and was awarded an academic diploma. Chaliapin's repertoire included about 70 parts. In operas by Russian composers, he created images of Melnik (Mermaid), Ivan Susanin (Ivan Susanin), Boris Godunov and Varlaam (Boris Godunov), Ivan the Terrible (The Maid of Pskov) and many others, unsurpassed in strength and truth of life. . Among the best parts in Western European opera are Mephistopheles (Faust and Mephistopheles), Don Basilio (The Barber of Seville), Leporello (Don Giovanni), Don Quixote (Don Quixote). Just as great was Chaliapin in chamber vocal performance. Here he introduced an element of theatricality and created a kind of "romance theater". His repertoire included up to four hundred songs, romances and other genres of chamber and vocal music. Among the masterpieces of performing arts are "Bloch", "Forgotten", "Trepak" by Mussorgsky, "Night Review" by Glinka, "Prophet" by Rimsky-Korsakov, "Two Grenadiers" by R. Schumann, "Double" by F. Schubert, as well as Russian folk songs “Farewell, joy”, “They don’t tell Masha to go beyond the river”, “Because of the island to the core”.
In the 20-30s he made about three hundred records. “I love gramophone records ... - Fedor Ivanovich admitted. “I am excited and creatively excited by the idea that the microphone symbolizes not some particular audience, but millions of listeners.” The singer was very picky about recordings, among his favorites is the recording of Massenet's "Elegy", Russian folk songs, which he included in his concert programs throughout his creative life. According to Asafiev's recollection, "the great, powerful, inescapable breath of the great singer sated the melody, and, it was heard, there was no limit to the fields and steppes of our Motherland."
On August 24, 1927, the Council of People's Commissars adopts a resolution depriving Chaliapin of the title of People's Artist. Gorky did not believe in the possibility of removing the title of People's Artist from Chaliapin, which was already rumored in the spring of 1927: will do." However, in reality, everything happened differently, not at all the way Gorky imagined ...
Chaliapin Fedor Ivanovich (1873-1938) is a great Russian chamber and opera singer who brilliantly combined unique vocal skills with acting skills. He performed parts in high bass, soloed at the Bolshoi and Mariinsky Theaters, as well as at the Metropolitan Opera. He directed the Mariinsky Theatre, acted in films, became the first People's Artist of the Republic.
Childhood
Fedor was born on February 1, 1873 in the city of Kazan.
The singer's father, Ivan Yakovlevich Chaliapin, was a peasant, originally from the Vyatka province. Mother, Evdokia Mikhailovna (maiden name Prozorova), was also a peasant woman from the Kumenskaya volost, where the village of Dudintsy was located at that time. In the village of Vozhgaly, in the Church of the Transfiguration of the Lord, Ivan and Evdokia got married at the very beginning of 1863. And only 10 years later their son Fedor was born, later a boy and a girl appeared in the family.
My father worked in the zemstvo council as an archivist. Mom was engaged in hard day labor, washing people's floors, washing clothes. The family was poor, there was hardly enough money to live on, so Fedor began to be taught various crafts from an early age. The boy was sent to study with a shoemaker and a turner, a woodcarver, a joiner, and a copyist of papers.
Also, from an early age it became clear that the child had excellent hearing and voice, he often sang along with his mother in a beautiful treble.
The Chaliapins' neighbor, church regent Shcherbinin, hearing the boy's singing, brought him with him to St. Barbara's Church, and together they sang the vigil and Mass. After that, at the age of nine, the boy began to sing in the church suburban choir, as well as at village holidays, weddings, prayers and funerals. For the first three months, Fedya sang for free, and then he was given a salary of 1.5 rubles.
Even then, his voice did not leave indifferent listeners, later Fyodor was invited to sing in the churches of neighboring villages. He also had a dream - to play the violin. His father bought him an instrument at a flea market for 2 rubles, and the boy began to learn how to pull the bow on his own.
Once the father came home very drunk and whipped his son for no one knows why. The boy ran off into the fields out of resentment. Lying on the ground near the lake, he sobbed bitterly, and then he suddenly wanted to sing. Having tightened the song, Fedor felt that it became easier on his soul. And when he fell silent, it seemed to him that the song was still flying somewhere nearby, continues to live ...
Young years
Parents, despite poverty, took care to give their son an education. His first educational institution was the private school of Vedernikov, followed by the fourth parish Kazan and the sixth elementary school. The last Chaliapin graduated in 1885, having received a certificate of merit.
In the summer of the same year, Fedor worked as a clerk in the Zemstvo Council, earning 10 rubles a month. And already in the fall, his father arranged for him to study in Arsk, where a vocational school had just opened. For some reason, young Chaliapin really wanted to leave the settlement, it seemed to him that a beautiful country was waiting for him ahead.
But soon the young man was forced to return home to Kazan, because his mother fell ill, and it was necessary to take care of her and her younger brother and sister.
Here he managed to join the theater troupe, which toured Kazan, he participated in performances as an extra. However, Fyodor's father did not like this hobby, he told him: "You have to go to the janitors, and not to the theater, then you will have a piece of bread." But the young Chaliapin was simply sick of the theater from the very day when he first got to the production of the play "Russian Wedding".
The beginning of the theatrical journey
When the young man was 15 years old, he turned to the theater management with a request to listen to him and accept him as a chorister. But at this age, Fedor's voice began to change, and during the audition he did not sing very well. Chaliapin was not accepted, but this did not affect his love for the theater in any way, it only grew stronger every day.
Finally, in 1889, he was accepted as an extra in Serebryakov's dramatic troupe.
In early 1890, Chaliapin made his first appearance as an opera singer. It was "Eugene Onegin" by P. I. Tchaikovsky, the party of Zaretsky. And already in the fall, Fedor left for Ufa, where he entered the local operetta troupe, in many performances he got small roles:
- Stolnik in Moniuszko's "Pebbles";
- Ferrando in "Il trovatore";
- Unknown in "Askold's Grave" by Verstovsky.
And when the theater season ended, a Little Russian traveling troupe arrived in Ufa, Fedor joined it and went on tour in Russian cities, the Caucasus and Central Asia.
In Tiflis, Chaliapin met Professor Dmitry Usatov, who had once served in the Imperial Theater. This meeting turned out to be vital for Fedor, the professor offered him to stay for training, and he did not demand money for this. Moreover, he not only gave voice to the young talent, but also helped him financially. And in early 1893, Chaliapin made his debut at the Tiflis Opera House, where he worked for almost a year, performing the first bass parts.
At the end of 1893, Fedor moved to Moscow, and the following year to the capital, St. Petersburg. The novice actor, his beautiful voice, truthful play and amazing expressiveness of musical recitation attracted the attention of both the public and critics.
In 1895 Fyodor Ivanovich was admitted to the Mariinsky Theatre.
Rise, success and glory
The well-known philanthropist Savva Mamontov lived in Moscow at that time, he kept the opera house and persuaded Chaliapin to go to him, offering a salary three times more than at the Mariinsky Theater. Fedor Ivanovich agreed and worked with Mamontov in the theater for about four years from 1896. Here he had the repertoire that allowed him to show all his temperament and artistic talent.
Since 1899, Chaliapin entered the Bolshoi Theater in Moscow, the success of his performances was grandiose. Then they often liked to repeat that there are three miracles in Moscow - the Tsar Bell, the Tsar Cannon and the Tsar Bass (this is about Chaliapin). And when he came on tour to the Mariinsky stage, for St. Petersburg it became a grandiose event in the world of art.
In 1901, ten of his performances took place at Milan's La Scala. The fee for the tour was unheard of at that time, now Fyodor Ivanovich was increasingly being invited abroad.
They say about Chaliapin that he is the best bass of all peoples and times. His first of the Russian singers was recognized in the world. He created unique and great images in opera that to this day no one can surpass. They say that you can sing an opera, but never surpass Chaliapin.
Critics argue that it was only thanks to the opera parts performed by him that many Russian composers received world recognition.
| Work | Composer | The image created by Chaliapin |
| "Mermaid" | Dargomyzhsky A. | Miller |
| "The Barber of Seville" | G. Rossini | Don Basilio |
| "Boris Godunov" | Mussorgsky M. | monk Varlaam and Boris Godunov |
| "Mephistopheles" | A. Boito | Mephistopheles |
| "Ivan Susanin" | Glinka M. | Ivan Susanin |
| "Pskovite" | N. Rimsky-Korsakov | Ivan groznyj |
| Ruslan | Glinka M. | "Ruslan and Ludmila" |
In 1915, Fedor Ivanovich made his film debut, playing the role of Tsar Ivan the Terrible.
Since 1918, he directed the Mariinsky Theater and at the same time was the first to receive the title of People's Artist of the Republic.
The general repertoire of the singer consists of 70 opera parts and about 400 romances and songs.
No wonder Maxim Gorky said about Chaliapin: "In Russian art, he is an era, like Pushkin."
Personal life
The first wife of Fyodor Chaliapin was Iola Tornaghi. They say that opposites attract, probably following this law, they, completely different, were so strongly attracted to each other.
He, tall and bassist, she, a thin and small ballerina. He did not know a word of Italian, she did not understand Russian at all.
The Italian young ballerina was a real star in her homeland, at the age of 18 Iola became the prima of the Venetian theater. Then followed Milan, French Lyon. And then Savva Mamontov invited her troupe on tour to Russia. It was here that Iola and Fyodor met. He liked her immediately, and the young man began to show all sorts of signs of attention. The girl, on the contrary, remained cold to Chaliapin for a long time.
Once, during the tour, Iola fell ill, and Fedor came to visit her with a pot of chicken broth. Gradually, they began to get closer, an affair began, and in 1898 the couple got married in a small village church.
The wedding was modest, and a year later the first-born Igor appeared. Iola left the stage for the sake of her family, and Chaliapin began touring even more in order to earn a decent living for his wife and child. Soon two girls were born in the family, but in 1903 grief happened - the first-born Igor died of appendicitis. Fedor Ivanovich could hardly survive this grief, they say that he even wanted to commit suicide.
In 1904, the wife gave Chaliapin another son Borenka, and the following year they had twins - Tanya and Fedya.
But a friendly family and a happy fairy tale collapsed in one moment. In St. Petersburg, Chaliapin had a new love. Moreover, Maria Petzold was not just a mistress, she became the second wife and mother of three daughters of Fyodor Ivanovich. The singer was torn between Moscow and St. Petersburg, and touring, and two families, he flatly refused to leave his beloved Tornagi and five children.
When Iola found out everything, she hid the truth from the children for a long time.
In 1922, Chaliapin emigrated from the country with his second wife, Maria Petzold, and their daughters. Only in 1927 in Prague they officially registered their marriage.
The Italian Iola Tornaghi stayed in Moscow with her children, survived here both the revolution and the war. She returned to her homeland in Italy only a few years before her death, taking with her from Russia only a photo album with portraits of Chaliapin.
Of all the children of Chaliapin, Marina was the last to die in 2009 (daughter of Fyodor Ivanovich and Maria Petzold).
Emigration and death
In 1922, the singer went on tour to the United States, from where he never returned to Russia. At home, he was deprived of the title of People's Artist.
In the summer of 1932, he starred in a sound film, where he played Don Quixote. And in 1935-1936 his last tour took place, he gave 57 concerts in Japan and China, Manchuria and the Far East.
In the spring of 1937, doctors diagnosed Chaliapin with leukemia. A year later, on April 12, 1938, he died in Paris in the arms of his second wife. He was buried in the Batignolles cemetery. In 1984, the ashes of the singer were transported from France to Russia. In 1991, the decision was canceled to deprive Chaliapin of the title of People's Artist.
Fedor Ivanovich returned to his homeland ...
Fyodor Ivanovich Chaliapin (born 1873 - d. 1938) - a great Russian opera singer (bass).
Fyodor Chaliapin was born on February 1 (13), 1873 in Kazan. The son of a peasant in the Vyatka province Ivan Yakovlevich Chaliapin (1837-1901), a representative of the ancient Vyatka family of the Chaliapins (Shelepins). As a child, Chaliapin was a singer. Received an elementary education.
The beginning of his artistic career, Chaliapin himself considered 1889, when he entered the drama troupe of V. B. Serebryakov. First as a statistician.
On March 29, 1890, Chaliapin's first solo performance took place - the part of Zaretsky in the opera "Eugene Onegin", staged by the Kazan Society of Performing Art Lovers. Throughout May and the beginning of June 1890, Chaliapin was the chorister of V. B. Serebryakova's operetta entreprise.
In September 1890, Chaliapin arrived from Kazan in Ufa and began to work in the choir of the operetta troupe under the direction of S. Ya. Semyonov-Samarsky.
Quite by chance, I had to transform from a chorister into a soloist, replacing the sick artist in Moniuszko's opera "Pebbles". This debut brought forward the 17-year-old Chaliapin, who was occasionally entrusted with small opera parts, such as Fernando in Il trovatore. The following year, Chaliapin performed as the Unknown in Verstovsky's Askold's Grave. He was offered a place in the Ufa Zemstvo, but the Little Russian troupe of Dergach arrived in Ufa, to which Chaliapin joined. Wanderings with her led him to Tiflis, where for the first time he managed to seriously work out his voice, thanks to the singer D. A. Usatov. Usatov not only approved of Chaliapin's voice, but, in view of the latter's lack of financial means, he began to give him singing lessons for free and generally took a great part in it. He also arranged Chaliapin in the Tiflis Opera Forcatti and Lyubimov. Chaliapin lived in Tiflis for a whole year, performing the first bass parts in the opera.
In 1893 he moved to Moscow, and in 1894 to St. Petersburg, where he sang in Arcadia with the Lentovsky Opera Company, and in the winter of 1894/5 in the opera company at the Panaevsky Theater, with Zazulin's troupe. The beautiful voice of the novice artist, and especially the expressive musical recitation in connection with the truthful play, drew the attention of critics and the public to him. In 1895, Chaliapin was accepted by the directorate of the St. Petersburg Imperial Theaters into the opera troupe: he entered the stage of the Mariinsky Theater and sang with success the parts of Mephistopheles (Faust) and Ruslan (Ruslan and Lyudmila). The diverse talent of Chaliapin was also expressed in the comic opera The Secret Marriage by D. Cimarosa, but still did not receive due appreciation. It is reported that in the season of 1895-1896. he "appeared quite rarely and, moreover, in roles that were not very suitable for him." The well-known philanthropist S. I. Mamontov, who at that time held an opera theater in Moscow, was the first to notice an extraordinary talent in Chaliapin, and persuaded him to join his private troupe. Here in 1896-1899. Chaliapin developed in the artistic sense and deployed his stage talent, performing in a number of roles. Thanks to his subtle understanding of Russian music in general and the latest in particular, he created quite individually, but at the same time deeply truthfully, a number of types in Russian operas. At the same time, he worked hard on roles in foreign operas; so, for example, the role of Mephistopheles in Gounod's Faust in his transmission received amazingly bright, strong and peculiar coverage. Over the years, Chaliapin has gained great fame.
Since 1899, he was again in the service of the Imperial Russian Opera in Moscow (Bolshoi Theatre), where he enjoyed tremendous success. He was highly acclaimed in Milan, where he performed at the La Scala theater in the title role of Mephistopheles A. Boito (1901, 10 performances). Chaliapin's tours in St. Petersburg on the Mariinsky stage constituted a kind of event in the St. Petersburg musical world.
During the revolution of 1905, he joined progressive circles, donated fees from his performances to the revolutionaries. His performances with folk songs ("Dubinushka" and others) sometimes turned into political demonstrations.
Since 1914, he has been performing in private opera entreprises of S. I. Zimin (Moscow), A. R. Aksarin (Petrograd).
Since 1918 - artistic director of the Mariinsky Theatre. Received the title of People's Artist of the Republic.
The long absence of Chaliapin aroused suspicion and negative attitudes in Soviet Russia; Thus, in 1926, Mayakovsky wrote in his “Letter to Gorky”: “Or do you live / as Chaliapin lives, / with stifled applause / olyapan? / Come back / now / such an artist / back / to Russian rubles - / I will be the first to shout: / - Roll back, / People's Artist of the Republic! In 1927, Chaliapin donated the proceeds from one of the concerts to the children of emigrants, which was interpreted and presented as support for the White Guards. In 1928, by a decree of the Council of People's Commissars of the RSFSR, he was deprived of the title of People's Artist and the right to return to the USSR; this was justified by the fact that he did not want to “return to Russia and serve the people whose artist title he was awarded” or, according to other sources, by the fact that he allegedly donated money to monarchist emigrants.
In the spring of 1937, he was diagnosed with leukemia, and on April 12, 1938, he died in the arms of his wife. He was buried in the Batignolles cemetery in Paris.
On October 29, 1984, the ceremony of reburial of the ashes of F. I. Chaliapin took place in Moscow at the Novodevichy Cemetery.
On October 31, 1986, the tombstone of the great Russian singer F. I. Chaliapin was unveiled (sculptor A. Yeletsky, architect Yu. Voskresensky).
Coming from a peasant family, Fyodor Chaliapin performed at the most prestigious theaters in the world - the Bolshoi, Mariinsky, Metropolitan Opera. Among the admirers of his talent were composers Sergei Prokofiev and Anton Rubinstein, actor Charlie Chaplin and the future English King Edward VI. Critic Vladimir Stasov called him a "great artist", and Maxim Gorky - a separate "epoch of Russian art"
From the church choir to the Mariinsky Theater
“If everyone knew what kind of fire smolders in me and goes out like a candle…”- Fyodor Chaliapin said to his friends, convincing them that he was born to be a sculptor. Being already a famous opera performer, Fyodor Ivanovich drew a lot, painted, and sculpted.
The talent of the painter manifested itself even on stage. Chaliapin was a "make-up virtuoso" and created stage portraits, adding a bright picture to the powerful sound of the bass.
The singer seemed to sculpt his face, contemporaries compared his manner of applying makeup with the canvases of Korovin and Vrubel. For example, the image of Boris Godunov changed from picture to picture, wrinkles and gray hair appeared. Chaliapin-Mephistopheles in Milan caused a real sensation. Fedor Ivanovich was one of the first to make up not only his face, but also his hands and even his body.
“When I went on stage dressed in my costume and made up, it caused a real sensation, very flattering for me. Artists, choristers, even workers surrounded me, gasping and admiring, like children, touching with their fingers, feeling, and when they saw that my muscles were painted on, they were completely delighted.
Fyodor Chaliapin
And yet, the talent of the sculptor, like the talent of the artist, served only as a frame for an amazing voice. Chaliapin sang from childhood - a beautiful treble. A native of a peasant family, back in his native Kazan, he studied in the church choir and performed at village holidays. At the age of 10, Fedya first visited the theater and dreamed of music. He comprehended the art of shoemaking, turning, carpentry, bookbinding, but only the art of opera attracted him. Although from the age of 14 Chaliapin worked as a clerk in the zemstvo administration of the Kazan district, he devoted all his free time to the theater, going on stage as extras.
Passion for music led Fyodor Chaliapin with nomadic troupes around the country: the Volga region, the Caucasus, Central Asia. He worked as a loader, hooker, starved, but waited for his finest hour. On the eve of the performance, one of the baritones fell ill, and the role of Stolnik in Moniuszko's opera "Pebbles" went to chorister Chaliapin. Although the debutant sat by the chair during the performance, the entrepreneur Semyonov-Samarsky was touched by the performance itself. New parties appeared and confidence in the theatrical future grew stronger.
“I still think superstitiously: a good sign for a beginner in the first performance on stage in front of an audience is to sit by the chair. Throughout my subsequent career, however, I vigilantly watched the chair and was afraid not only to sit by, but also to sit in the chair of another., - Fedor Ivanovich later said.
At 22, Fyodor Chaliapin made his debut at the Mariinsky Theatre, singing Mephistopheles in Gounod's Faust. A year later, Savva Mamontov invited the young singer to the Moscow Private Opera. “From Mamontov I received the repertoire that gave me the opportunity to develop all the main features of my artistic nature, my temperament” Chaliapin said. The young summer bass gathered a full house with his performance. Ivan the Terrible in Rimsky-Korsakov's The Maid of Pskov, Dosifei in Khovanshchina and Godunov in Mussorgsky's Boris Godunov. "One great artist has become more"- wrote music critic Vladimir Stasov about Chaliapin.
Fyodor Chaliapin in the title role in a production of Modest Mussorgsky's opera Boris Godunov. Photo: chtoby-pomnili.com
Fyodor Chaliapin as Ivan the Terrible in a production of Nikolai Rimsky-Korsakov's opera The Maid of Pskov. 1898 Photo: chrono.ru
Fyodor Chaliapin as Prince Galitsky in the production of Alexander Borodin's opera "Prince Igor". Photo: chrono.ru
"Tsar Bass" Fyodor Chaliapin
The world of art seemed to be just waiting for a young talent. Chaliapin communicated with the best painters of that time: Vasily Polenov and the Vasnetsov brothers, Isaac Levitan, Valentin Serov, Konstantin Korovin and Mikhail Vrubel. Artists created amazing scenery that emphasized vivid stage images. At the same time, the singer became close to Sergei Rachmaninoff. The composer dedicated to Fyodor Chaliapin the romances “You knew him” based on the verses by Fyodor Tyutchev and “Fate” based on the poem by Alexei Apukhtin.
Chaliapin is a whole era of Russian art and since 1899 the leading soloist of the two main theaters of the country - the Bolshoi and the Mariinsky. The success is so grandiose that contemporaries joked: “There are three miracles in Moscow: the Tsar Bell, the Tsar Cannon and the Tsar Bass - Fedor Chaliapin”. Chaliapin's high bass was known and loved in Italy, France, Germany, America, Great Britain. Opera arias, chamber works, and romances evoked an enthusiastic reception from the public. Wherever Fedor Ivanovich sang, crowds of fans and listeners gathered around. Even while relaxing in the country.
Stopped the triumphal tour of the First World War. The singer at his own expense organized the work of two infirmaries for the wounded. After the 1917 revolution, Fyodor Chaliapin lived in St. Petersburg and was artistic director of the Mariinsky Theatre. A year later, Tsar Bass was the first of the artists to receive the title of People's Artist of the Republic, which he lost when he went into exile.
In 1922, the artist did not return from a tour of the United States, although he believed that he was leaving Russia only for a while. Having traveled all over the world with concerts, the singer performed a lot at the Russian Opera and created a whole “romance theater”. Chaliapin's repertoire included about 400 works.
“I love gramophone records. I am excited and creatively excited by the idea that the microphone symbolizes not some particular audience, but millions of listeners., - the singer said and recorded about 300 arias, songs and romances. Leaving a rich heritage, Fyodor Chaliapin did not return to his homeland. But until the end of his life he did not take foreign citizenship. In 1938, Fyodor Ivanovich died in Paris, and half a century later, his son Fyodor obtained permission to rebury his father's ashes at the Novodevichy cemetery. At the end of the 20th century, the title of People's Artist was returned to the great Russian opera singer.
“Chaliapin’s innovation in the field of dramatic truth in opera art had a strong impact on the Italian theater... The dramatic art of the great Russian artist left a deep and lasting mark not only in the performance of Russian operas by Italian singers, but in general on the entire style of their vocal and stage interpretation , including works by Verdi ... "
Gianandrea Gavazzeni, conductor and composer
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 theater critic, journalist and playwright wrote about Chaliapin.
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. Petersburg Opera Company. 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 stage a new opera, we will stage 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 in Glinka, Melnik in Dargomyzhsky's "Mermaid", Mussorgsky's, Rimsky-Korsakov's "Pskovityanka", Dosifey in Mussorgsky's "Khovanshchina" - in addition to brilliant opera arias, Chaliapin's repertoire included folk songs and romances by Russian composers.
“At the moment we have one more great artist. God, what a great talent! ”, Music critic Stasov wrote about the singer.
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 hand, "the best bass of the country" bathed in the rays of printed glory, on the other hand, he suffered from speculations of 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" by saying that the memoirs "are written in Italian." A third newspaper suggested that the Italian company "Ricordi" publishes them. And the fourth wrote on a blue eye that the memoirs were sold for 100,000 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 - the best performer of Holofernes and Boris Godunov - cannot be described.
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. It's a shame for such a good artist to 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 of ordinary people - there was nowhere for an apple to fall at his performances.
In 1918, the singer became the director of the Mariinsky Theater, in the same year he received the title of People's Artist of the 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.
