Tamara Milashkina Vídeos
cantante de ópera, músico
Conmemoraciones 2024 (Nacimiento: Tamara Milashkina)
- soprano
- Unión Soviética, Austria
Última actualización
2024-05-11
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Tamara Milashkina Irina Arkhipova Petrov Verdi Glafira Deomidova Laptev Bolshakov Ivan Petrov Yaroslavtsev Bolshoi 1964
Верди. ДОН КАРЛОС. Милашкина, Архипова, Петров / Найденов (фрагменты). 1964. Verdi. DON CARLO. Milashkina, Arkhipova, Petrov / Naydenov G. Verdi "Don Carlo" Kremlin Palace, Moscow; 1964 (highlights from the telecast, b/w) Elisabetta - Tamara Milashkina Eboli - Irina Arkhipova Tebaldo - Glafira Deomidova Don Carlo - Alexander Laptev Rodrigo - Alexei Bolshakov Filippo II - Ivan Petrov Il grande inquisitore - Valery Yaroslavtsev Chorus & orchestra of the Bolshoi Conductor - Asen Naydenov
Alexander Dargomyzhsky Mark Ermler Bolshoy Vladimir Atlantov Aleksandr Vedernikov Vedernikov Tamara Sinyavskaya Vlasov Tamara Milashkina Monk Vladimir Filippov Filippov Tchaikovsky César Cui Alexander Serov Modest Mussorgsky Salieri Rimsky Korsakov Sergei Rachmaninov Borodin 1898 1901 1904 1977
1977, Mark Ermler (conductor), Bolshoy Theatre Orchestra and Chorus, Vladimir Atlantov (Don Juan), Aleksandr Vedernikov (Leporello), Tamara Sinyavskaya (Laura), Vladimir Valaitis (Don Carlos), Vitaliy Vlasov, Vitaliy Nartov (Guests), Tamara Milashkina (Doña Anna), Lev Vernigora (Monk), Vladimir Filippov (Commander) Style As an opera, The Stone Guest is notable for having its text taken almost word-for-word from the literary stage work which inspired it, rather than being set to a libretto adapted from the source in order to accommodate opera audiences which would have expected to hear arias, duets, and choruses. Consequently, the resulting musical drama consists almost entirely of solos given in turn by each character, as in a spoken play. This procedure amounted to a radical statement about the demands of spoken and musical drama and was seen by some as a devaluation of the musical genre of opera, and distinct from the literary genre of spoken drama. Tchaikovsky in particular was critical of the idea; in response to Dargomyzhky's statement that "I want sound directly to express the word. I want truth",[4] he wrote in his private correspondence that nothing could be so "hateful and false" as the attempt to present as musical drama something that was not.[citation needed] The value of the opera The opera was written at the time of the formation of realism in art, and The Stone Guest corresponded to this genre. Dargomyzhsky used the ideas of the society of The Five (composers). The great innovations of this opera are seen in its style. It was written without arias and ensembles (not counting two small romances sung by Laura[5]) and it is entirely built on the "melodic recitative" of the human voice put to music. This was immediately noted by Russian musical specialists César Cui[6] and Alexander Serov.[7] Opera has been greatly important in the formation of Russian musical culture which, built entirely on European music, found its place in the world's musical culture. The innovations begun by Dargomyzhsky were continued by other composers. Firstly, they were taken up and developed by Modest Mussorgsky who called Dargomyzhsky "the teacher of musical truth".[8] Later the principles of Dargomyzhsky’s art were embodied by Mussorgsky in his operas Boris Godunov and Khovanshchina; Mussorgsky continued and strengthened this new musical tradition. Other Russians operas have also incorporated the same stylistic elements. These include Mozart and Salieri by Rimsky-Korsakov in 1898; Feast in Time of Plague by Cesar Cui in 1901; and The Miserly Knight by Sergei Rachmaninov in 1904. The modern Russian music critic Viktor Korshikov thus summed up: There is not the development of Russian musical culture without the The Stone Guest. It is three operas - Ivan Soussanine, Ruslan and Ludmila and The Stone Guest have created Mussorgsky, Rimsky-Korsakov, and Borodin. Soussanine is an opera, where the main character is the people, Ruslan is the mythical, deeply Russian intrigue, and The Guest, in which the drama dominates over the softness of the beauty of sound.[9] Music Consequently, certain musical novelties of The Stone Guest stem from the above basic premise of composition. For instance, there is little recurrence of whole sections of music in the course of the work; like the verse itself, the resulting music is primarily through-composed. (Rimsky-Korsakov's orchestral introduction to the opera, however, draws on themes from the music that Dargomyzhsky composed.) As if to emphasize this feature, the composer wrote the entire opera without key signatures, even though it would be possible (and practical) to re-notate the work with key signatures to reflect the various tonalities through which it passes. In addition, the opera was novel for its time in its use of dissonance and whole-tone scales. Dargomyzhky's attempts at realism and faithfulness to the text resulted in what has been referred to as a "studied ugliness"[citation needed] in the music, apparently intended to reflect the actual ugliness in the story. Cui termed the stylistic practice of the work as "melodic recitative" for its balance between the lyric and the naturalistic.
Nikolai Andreyevich Rimsky Korsakov Tamara Milashkina Vladimir Atlantov Yuri Simonov Bolshoi Theatre 1844 1896 1908 1980
Nikolai Andreyevich Rimsky-Korsakov (1844—1908) Opera — russian epic "Sadko" (in seven scenes) — 1896 Sc. 2 "The shores of Lake Ilmen" (fragment) Volkhova — Tamara Milashkina Sadko — Vladimir Atlantov Chorus and Orchestra of the Bolshoi Theatre Moscow Conductor Yuri Simonov Directed by Boris Pokrovsky Rec. Moscow, 1980 САДКО (Волхове). Чудо же чудное, А Диво же дивное! Кто же ты, девица, А и кто твои сёстры купавыя? * / * Купавый — часто купающийся, чистый, прекрасный. ВОЛХОВА. Долетела песня твоя До глубокого дна Ильмень-озера. Сёстры мои позаслушалися, Пуще их всех позаслушалась я, Позаслушалась, пригорюнилась. Вот и вышла-повышла я с сёстрами На зелен луг да на крут бережок. О, разгони же тоску ты кручинушку, Песню веселую спой, Наигрыш ты заиграй переборчатый, Сёстры круги заведут. САДКО. Рад послужить тебе, девица чудная, Звонкую песню пропеть. Садко играет наигрыш и запевает хороводную песню. Дочери царя морского водят круги, а Волхова садится около него и плетёт ему венок. Заиграйте, мои гусельки, Заиграйте, струны звончаты! Как под часты переборы мои Расплясалися лебёдушки. Лёли-лёли, лебеди, Лёли-лёли, белые! Краше всех их одна девица, Лучше всех одна лебедушка, Собирает белы цветики, Молодильнички душистые *. Лёли-лёли, цветики, Лели-лёли, белые! Для мила дружка венок плетёт Душа-девица. / * Молодильнички — ландыши. САДКО. Сини волны всколебалися, Тростники шумят зелёные. Вы шумите волны синие, Ты шепчися, зеленой тростник! Под плесканье наше тихое, Под шептанье ваше нежное С красной девицею молодец Заведёт беседу сладкую. ВОЛХОВА. Плету венок я молодцу, Плету венок я милому. А за то плету, что он петь горазд, Что такой игры и не слыхано, Что купав, пригож добрый молодец. САДКО (продолжает песню). Рыссыпайтеся, лебедушки, Вы по кустикам по частыим Собирать цветочки белые, Собирать. Рассыпайтеся! Дочери царя морского с подругами разбегаются по лесу и скрываются. Окликайтеся, аукайтесь, Вы, лебёдушки... (Про себя.) Дух занимается!.. (Продолжает песню.) Не мешайте добру молодцу С душой-девицей... (Про себя.) Ум помрачается!.. САДКО (продолжает песню). Не мешайте добру молодцу Говорить с душою-девицей Речи гладкие, любовные! ВОЛХОВА. Молодец мой! Не натешиться Игрой да песней нежною...
Rimsky Korsakov Vladimir Atlantov Irina Arkhipova Morozov Tamara Milashkina Nina Grigorieva Sokolov Baskov Ognivtsev Kuznetsov Yuri Simonov Bolshoi 1980
--------------------- “Sadko” («Садко»), ópera de Rimsky-Korsakov (Римски-Корсаков), libretto de Rimsky-Korsakov, Vladimir Belsky e Vladimir Stasov / Elenco (Cast): Sadko: Vladimir Atlantov Lyubava: Irina Arkhipova O Rei do Mar (The King of Sea): Boris Morozov Volkhova: Tamara Milashkina Nezhata: Nina Grigorieva Foma: Andrei Sokolov Luka: Valery Jaroslavtsev Duda: Petr Glubokiy Sopel: Konstantin Baskov Visitante Viking (Viking guest): Alexander Ognivtsev Visitante Indiano (Indian guest): Lev Kuznetsov Visitante Veneziano (Venetian guest): Alexander Voroshilo Uma aparição (o velho poderoso): Yuri Grigoriev An apparition (the mighty old man): Yuri Grigoriev Orquestra e coro do Teatro de Bolshoi Bolshoi Theater Orchestra and Choir Regência (Conductor): Yuri Simonov / В Ролях: Садко: Владимир Атлантов Любава: Ирина Архипова Си Кинг: Борис Морозов Волхова: Тамара Милашкина Nezhata: Нина Григорьева Фома: Андрей Соколов Лука: Валерий Ярославцев Дуда: Петр Глубокий Сопель: Константин Басков Викинг гость: Александр Огнивцев Индийский гость: Лев Кузнецов Венецианский гость: Александр Ворошило Внешний вид (могучий старый): Юрий Григорьев Большой театр Оркестр и хор Дирижер: Юрий Симонов /
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