Spýros Samáras Vidéos
compositeur grec
- opéra
- Grèce
- chanteur ou chanteuse, acteur ou actrice, compositeur ou compositrice
Dernière mise à jour
2024-05-21
Actualiser
Monk Samara Meyerbeer Moreschi Marconi Caruso Gounod Mariinsky Theatre Bolshoi Theatre Zimin Opera 1863 1881 1892 1901 1902 1908 1912 1916 1920 1923 1937
David Kristoforovitch Yuzhin +••.••(...)) was a Russian tenor of Greek heritage. Born David Pindekost (some sources give his real name as Pistiko) in Ekaterinoslav, he sang in his hometown church choir and aspired to become a monk in his youth. Brutal criticism from a conservatory professor in St. Petersburg drove Yuzhin to the verge of suicide, causing him to abandon the idea of ever singing again. However, a much needed second opinion convinced the young tenor that there was a future for him on the opera stage. After a period of further study, he auditioned for the Mariinsky Theatre and was accepted into the chorus in 1892. After two years as a chorister, Yuzhin made his debut as a principal artist at the Kazansk-Saratovsk Opera. The young tenor spent the rest of the 1890s appearing throughout Russia, singing in the theaters of Samara, Kharkov, Odessa, Perm, Tiflis, Kazan, Saratov, Odessa, Yalta, Baku and Kiev. In 1901, Yuzhin made his debut at Moscow's Bolshoi Theatre as Raoul in Meyerbeer's Les Huguenots. He remained with the company for the next seven seasons, singing a variety of roles. During his tenure at the Bolshoi, Yuzhin met the woman who was to become his wife, soprano Natalya Ermolenko +••.••(...)). The two went on to become frequent singing partners and remained married until the tenor’s death. Yuzhin was a member of Sergei Zimin’s Opera in Moscow from 1908 to 1912 and also appeared in Italy, Belgium and South America during the first decade of the 20th Century. The busy tenor also organized his own touring company (something that seems to have been popular with Russian tenors of that period) to bring operatic productions to the Russian provinces. Yuzhin’s repertoire of some thirty roles included the tenor leads in such operas as Boris Godunov, The Snow Maiden, Pique Dame, Fra Diavolo, La Traviata, Aïda, Il Trovatore, Don Carlo, Rigoletto, La Gioconda, Pagliacci, Mefistofele, Faust, La Juive and Roméo et Juliette. At the age of only 50, Yuzhin began to curtail his stage performances and began concentrating on concerts and recitals. His final performance seems to have been a gala concert in Tsaritsyn (now Volgograd) in 1916. The reasons for his relatively early retirement are not known. Perhaps it was the wear and tear on his voice after two decades of singing some very strenuous repertoire. It might have been to leave more time to dedicate to his touring company. Others have pointed to the possibility that the tenor’s health was failing and that he no longer possessed the physical stamina to perform complete operatic roles. Regardless of the reason, by 1916, Yuzhin’s performing career was over and he concentrated on producing operas on tour to showcase the talents of his wife. By 1920, however, the grueling schedule proved too much for the aging artist. Yuzhin retired to Moscow, where, following a lengthy illness, he died on December 28, 1923 at the age of 60. David Yuzhin left a fairly impressive legacy of about 60 discs, made for G&T, Pathé and the Gramophone Company between 1901 and 1908. One hears a well produced lirico-spinto voice of decent size and range. One also hears unbelievably shoddy musicianship, particularly in his early piano accompanied discs for G&T. Singer and pianist are rarely in synch. Yuzhin blows through rests, constantly forcing his accompanist to jump ahead or quickly change tempo to accommodate the tenor’s rhythmic eccentricities. These blunders may have been the result of nerves due to uncertainty in his first recording sessions (Moreschi, Marconi and even Caruso made similar gaffs in their early recordings), for one notices these types of errors far less in the tenor’s later recordings. Mistakes or not, Yuzhin’s discs give us a priceless glimpse into the art of a lesser known working tenor from Imperialist Russia. In this recording, Yuzhin sings a Russian translation of "Salut, demeure chaste et pure" (complete with a ringing top C) from Gounod's Faust. This was recorded in Moscow for G&T in January of 1902.
Monk Samara Meyerbeer Moreschi Marconi Caruso Bleichmann Mariinsky Theatre Bolshoi Theatre Zimin Opera 1863 1881 1892 1901 1902 1908 1912 1916 1920 1923 1937
David Kristoforovitch Yuzhin +••.••(...)) was a Russian tenor of Greek heritage. Born David Pindekost (some sources give his real name as Pistiko) in Ekaterinoslav, he sang in his hometown church choir and aspired to become a monk in his youth. Brutal criticism from a conservatory professor in St. Petersburg drove Yuzhin to the verge of suicide, causing him to abandon the idea of ever singing again. However, a much needed second opinion convinced the young tenor that there was a future for him on the opera stage. After a period of further study, he auditioned for the Mariinsky Theatre and was accepted into the chorus in 1892. After two years as a chorister, Yuzhin made his debut as a principal artist at the Kazansk-Saratovsk Opera. The young tenor spent the rest of the 1890s appearing throughout Russia, singing in the theaters of Samara, Kharkov, Odessa, Perm, Tiflis, Kazan, Saratov, Odessa, Yalta, Baku and Kiev. In 1901, Yuzhin made his debut at Moscow's Bolshoi Theatre as Raoul in Meyerbeer's Les Huguenots. He remained with the company for the next seven seasons, singing a variety of roles. During his tenure at the Bolshoi, Yuzhin met the woman who was to become his wife, soprano Natalya Ermolenko +••.••(...)). The two went on to become frequent singing partners and remained married until the tenor’s death. Yuzhin was a member of Sergei Zimin’s Opera in Moscow from 1908 to 1912 and also appeared in Italy, Belgium and South America during the first decade of the 20th Century. The busy tenor also organized his own touring company (something that seems to have been popular with Russian tenors of that period) to bring operatic productions to the Russian provinces. Yuzhin’s repertoire of some thirty roles included the tenor leads in such operas as Boris Godunov, The Snow Maiden, Pique Dame, Fra Diavolo, La Traviata, Aïda, Il Trovatore, Don Carlo, Rigoletto, La Gioconda, Pagliacci, Mefistofele, Faust, La Juive and Roméo et Juliette. At the age of only 50, Yuzhin began to curtail his stage performances and began concentrating on concerts and recitals. His final performance seems to have been a gala concert in Tsaritsyn (now Volgograd) in 1916. The reasons for his relatively early retirement are not known. Perhaps it was the wear and tear on his voice after two decades of singing some very strenuous repertoire. It might have been to leave more time to dedicate to his touring company. Others have pointed to the possibility that the tenor’s health was failing and that he no longer possessed the physical stamina to perform complete operatic roles. Regardless of the reason, by 1916, Yuzhin’s performing career was over and he concentrated on producing operas on tour to showcase the talents of his wife. By 1920, however, the grueling schedule proved too much for the aging artist. Yuzhin retired to Moscow, where, following a lengthy illness, he died on December 28, 1923 at the age of 60. David Yuzhin left a fairly impressive legacy of about 60 discs, made for G&T, Pathé and the Gramophone Company between 1901 and 1908. One hears a well produced lirico-spinto voice of decent size and range. One also hears unbelievably shoddy musicianship, particularly in his early piano accompanied discs for G&T. Singer and pianist are rarely in synch. Yuzhin blows through rests, constantly forcing his accompanist to jump ahead or quickly change tempo to accommodate the tenor’s rhythmic eccentricities. These blunders may have been the result of nerves due to uncertainty in his first recording sessions (Moreschi, Marconi and even Caruso made similar gaffs in their early recordings), for one notices these types of errors far less in the tenor’s later recordings. Mistakes or not, Yuzhin’s discs give us a priceless glimpse into the art of a lesser known working tenor from Imperialist Russia. Here, Yuzhin sings Bleichmann's "Spring Song". This rare recording was made for The Gramophone & Typewriter Company in Moscow in January of 1902.
Monk Samara Meyerbeer Moreschi Marconi Caruso Mariinsky Theatre Bolshoi Theatre Zimin Opera 1863 1881 1892 1901 1902 1908 1912 1916 1920 1923 1937
David Kristoforovitch Yuzhin +••.••(...)) was a Russian tenor of Greek heritage. Born David Pindekost (some sources give his real name as Pistiko) in Ekaterinoslav, he sang in his hometown church choir and aspired to become a monk in his youth. Brutal criticism from a conservatory professor in St. Petersburg drove Yuzhin to the verge of suicide, causing him to abandon the idea of ever singing again. However, a much needed second opinion convinced the young tenor that there was a future for him on the opera stage. After a period of further study, he auditioned for the Mariinsky Theatre and was accepted into the chorus in 1892. After two years as a chorister, Yuzhin made his debut as a principal artist at the Kazansk-Saratovsk Opera. The young tenor spent the rest of the 1890s appearing throughout Russia, singing in the theaters of Samara, Kharkov, Odessa, Perm, Tiflis, Kazan, Saratov, Odessa, Yalta, Baku and Kiev. In 1901, Yuzhin made his debut at Moscow's Bolshoi Theatre as Raoul in Meyerbeer's Les Huguenots. He remained with the company for the next seven seasons, singing a variety of roles. During his tenure at the Bolshoi, Yuzhin met the woman who was to become his wife, soprano Natalya Ermolenko +••.••(...)). The two went on to become frequent singing partners and remained married until the tenor’s death. Yuzhin was a member of Sergei Zimin’s Opera in Moscow from 1908 to 1912 and also appeared in Italy, Belgium and South America during the first decade of the 20th Century. The busy tenor also organized his own touring company (something that seems to have been popular with Russian tenors of that period) to bring operatic productions to the Russian provinces. Yuzhin’s repertoire of some thirty roles included the tenor leads in such operas as Boris Godunov, The Snow Maiden, Pique Dame, Fra Diavolo, La Traviata, Aïda, Il Trovatore, Don Carlo, Rigoletto, La Gioconda, Pagliacci, Mefistofele, Faust, La Juive and Roméo et Juliette. At the age of only 50, Yuzhin began to curtail his stage performances and began concentrating on concerts and recitals. His final performance seems to have been a gala concert in Tsaritsyn (now Volgograd) in 1916. The reasons for his relatively early retirement are not known. Perhaps it was the wear and tear on his voice after two decades of singing some very strenuous repertoire. It might have been to leave more time to dedicate to his touring company. Others have pointed to the possibility that the tenor’s health was failing and that he no longer possessed the physical stamina to perform complete operatic roles. Regardless of the reason, by 1916, Yuzhin’s performing career was over and he concentrated on producing operas on tour to showcase the talents of his wife. By 1920, however, the grueling schedule proved too much for the aging artist. Yuzhin retired to Moscow, where, following a lengthy illness, he died on December 28, 1923 at the age of 60. David Yuzhin left a fairly impressive legacy of about 60 discs, made for G&T, Pathé and the Gramophone Company between 1901 and 1908. One hears a well produced lirico-spinto voice of decent size and range. One also hears unbelievably shoddy musicianship, particularly in his early piano accompanied discs for G&T. Singer and pianist are rarely in synch. Yuzhin blows through rests, constantly forcing his accompanist to jump ahead or quickly change tempo to accommodate the tenor’s rhythmic eccentricities. These blunders may have been the result of nerves due to uncertainty in his first recording sessions (Moreschi, Marconi and even Caruso made similar gaffs in their early recordings), for one notices these types of errors far less in the tenor’s later recordings. Mistakes or not, Yuzhin’s discs give us a priceless glimpse into the art of a lesser known working tenor from Imperialist Russia. In this recording, Yuzhin sings the Pastorale, "Pour Berthe, moi je soupire" (in its Russian translation) from Meyerbeer's Le Prophète. This was recorded for G&T in Moscow in January of 1902.
Dmitri Shostakovich Olsson Indy Kyhle Weiss Linke Kamiński Samara Harper Barnes Spies Hanson Andersen
Leningrad’s Dmitri Shostakovich has risen from a child prodigy to be one of the Soviet Union’s most celebrated composers, having rescued his career from Stalin’s interference along the way. Desperate to defend Russia after the German invasion, he fights back, not with a rifle, but with music. Join us on Patreon: (http•••) Or join the TimeGhost Army directly at: (http•••) Check out our TimeGhost History YouTube channel: (http•••) Between 2 Wars: (http•••) Follow WW2 Day by Day on Instagram: @ww2_day_by_day Follow TimeGhost History on Instagram: @timeghosthistory Like us on Facebook: (http•••) Hosted by: Spartacus Olsson Director: Astrid Deinhard Producers: Astrid Deinhard and Spartacus Olsson Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer Creative Director: Wieke Kapteijns Creative Producer: Maria Kyhle Written by: James Newman Research by: James Newman Edited by: Iryna Dulka Map animations by: Daniel Weiss Map research by: Markus Linke Sound design by: Marek Kamiński Colorizations by: - Mikołaj Uchman - Olga Shirnina, a.k.a. Klimbim - (http•••) Source literature list: (http•••) Archive footage: Screenocean/Reuters - (http•••) Image sources: - Huydang2910 from Wikimedia Commons - Narodowe Archiwum Cyfrowe - Dmitry Shostakovich Publishing House (DSCH) - Rafail Mazelev / TASS photo chronicle - Samara State Philharmonic - St. Petersburg Academic Philharmonic named after D.D. Shostakovich Soundtracks from the Epidemic Sound: - Ominous - Philip Ayers - London - Howard Harper-Barnes - The Twelve Spies - Silver Maple - The Inspector 4 - Johannes Bornlöf - Spellbound - Edward Karl Hanson - Symphony of the Cold-Blooded - Christian Andersen - Dawn Of Civilization - Jo Wandrini - Deviation In Time - Johannes Bornlof A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
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