Tamara Sinyavskaya Vidéos
artiste lyrique
- piano, voix
- mezzo-soprano
- opéra
- Russie, Union soviétique
- artiste lyrique, professeur ou professeure de musique, personnalité politique, pédagogue
Dernière mise à jour
2024-05-15
Actualiser
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.
Vladimir Spivakov Tamara Sinyavskaya Bach Moscow Virtuosi
"Erbarme dich" (Bach, Matthaus Passion). Vladimir Spivakov, "The Moscow Virtuosi" and Tamara Sinyavskaya. Great Hall of Moscow Conservatory. 1980s.
Mussorgsky Alexander Pirogov Nebolsin Rimsky Korsakov Simonov Kuznetsov Vladimir Atlantov Tamara Milashkina Morozov Levko Moja Korobov Borodin Ermler Alexander Spendiaryan Dmitri Shostakovich Akimov Rachmaninoff Nesterenko Kitayenko Mozart Salieri Maslennikov Eisen Vartanyan Yalysheva Trifonov Dargomyzhsky Tamara Sinyavskaya Tchaikovsky Kalinina Bolshoi 1954 1979 1980 1981 1982 1983 1984 1986 1987 2008
Great Moments in Russian Opera (http•••) To order the complete program, visit (http•••) Or call 1-800-477-7146 Highlights from masterpieces of the Russian opera repertoire. Includes scenes from Boris Godunov, Golden Cockerel, Iolanta, overture to The Tsar’s Bride, Polovtsian Dances from Prince Igor, and more. Color, Mono/Stereo, (Playable all regions), 82 minutes. BORIS GODUNOV (Mussorgsky) 1. Coronation Scene • Alexander Pirogov; Bolshoi/ Nebolsin – 1954 THE TSAR’S BRIDE (Rimsky-Korsakov) 2. Overture • Bolshoi/ Simonov – 1983 SADKO (Rimsky-Korsakov) 3. Song of the Indian Guest • Lev Kuznetsov; Bolshoi/ Simonov – 1980 4. Song of the Venetian Guest • Alexander Voroshilo; Bolshoi/ Simonov – 1980 5. Act III Trio – Goj-yesi, kupyets • Vladimir Atlantov, Tamara Milashkina, Boris Morozov; Bolshoi/ Simonov – 1980 MAY NIGHT (Rimsky-Korsakov) 6. Levko’s Aria – Kak tikho… Spi, moja krasavica • Oleg Polpudin; Stanislavsky and Nemirovich-Danchenko Music Theatre/ Korobov – 2008 PRINCE IGOR (Borodin) 7. Polovtsian Dances (excerpt) • Bolshoi/ Ermler – 1981 THE GOLDEN COCKEREL (Rimsky-Korsakov) 8. Act I: The Princes and the General Advise the Tsar • Grigor Gondjian, Ruben Kubelian, Haroutun Karadjian, Sergey Shushardjia, Yerevan Alexander Spendiaryan State Academic Theatre/ Katanian – 1986 THE NOSE (Shostakovich) 9. Act I - Kolyakov in Search of his Missing Nose (montage) • Eduard Akimov, Valery Belykh; Moscow Chamber Opera/ Roszhdestvensky – 1979 ALEKO (Rachmaninoff) 10. Aleko’s Cavatina • Evgeny Nesterenko; Moscow State Symphony/ Kitayenko – 1986 MOZART AND SALIERI (Rimsky-Korsakov) 11. Mozart Plays his Requiem for Salieri • Alexei Maslennikov, Artur Eisen; Bolshoi/ Vartanyan – 1981 KASHCHEY THE IMMORTAL (Rimsky-Korsakov) 12. Duet: the Prince and Princess • Valeriy Lebed, Alla Oding (voice of Sofia Yalysheva), Dmitri Shostakovich Symphony Orchestra of Leningrad/ Trifonov – 1987 THE STONE GUEST (Dargomyzhsky) 13. Laura’s Song – Ya zdes, Inezilia • Tamara Sinyavskaya; Bolshoi/ Ermler – 1979 THE ENCHANTRESS (Tchaikovsky) 14. Act III finale – Duet: Kuma and Yuriy - Ya pravdu tebye • Larissa Zyryanova, Vadim Valyuta; Nizhegorodsky State Academic Theatre/ Reznikov – 1984 IOLANTA (Tchaikovsky) 15. Iolanta’s Aria – Atchevo eto prezhde ne znala • Galina Kalinina; Bolshoi/ Vartanyan – 1982 16. Duet: Iolanta and Vaudémont - Ditja, o net, ne nado slez • Galina Kalinina, Lev Kuznetsov; Bolshoi/ Vartanyan – 1982
Muslim Magometovich Magomayev Ruggero Leoncavallo Uzeyir Hajibeyov Barber Gioachino Rossini Gennady Gladkov Gounod Tchaikovsky Puccini Tamara Sinyavskaya Aliyev Bolshoi Theatre Azerbaijan State Academic Opera Ballet Theater Scala Olympia 1885 1937 1942 1962 1964 1965 1966 1969 1973 2008
THIS IS THE SUCCESSOR CHANNEL TO "liederoperagreats" WHICH WAS RECENTLY TERMINATED. Muslim Magomayev--baritone No recording information / "Muslim Magometovich Magomayev[1] (Azerbaijani: Müslüm Məhəmməd oğlu Maqomayev, 17 August 1942 – 25 October 2008), dubbed the "King of Songs"[2] and the "Soviet Sinatra"[3] was a Soviet, Azerbaijani and Russian opera and pop singer.[4] He achieved iconic status in Russia and the post-Soviet countries for his vocal talent and charisma.[5] People's Artist of the USSR (1973). Muslim Magomayev represented one of the most respected artistic dynasties in Azerbaijan. His grandfather Muslim Magomayev (1885–1937), a friend and contemporary of the prominent Azerbaijani composer Uzeyir Hajibeyov, was one of the founders of modern Azerbaijani classical music. Magomayev's father, Mahammad Magomayev, who died two days prior to the defeat of Nazi Germany in World War II while serving as a soldier in the Soviet Army, was a gifted scenic designer; and his mother, Aishet Kinzhalova, was an actress, who deserted him with his grandmother when he was less than a year old.[6] Magomayev's father was of mixed origin whose parents moved to Azerbaijan from Chechnya and Georgia respectively, whereas his Adygea-born mother was of mixed Turkish, Adyghe and Russian descent.[7] However, when asked about his ethnicity, Magomayev considered himself Azerbaijani.[8] Abandoned by his mother after his father's death, Magomayev was raised by his paternal grandmother. He learned to play the piano as a child, and began to take voice lessons at the age of 14. As a teenager, he became interested in Italian songs, American jazz, and other styles of popular music. He majored in piano and composition at the Baku Academy of Music.[6] Largo al factotum, an aria from The Barber of Seville by Gioachino Rossini The troubadour's serenade from On the Trail of the Bremen Town Musicians, a Soviet animation musical cartoon. Music by Gennady Gladkov Problems playing these files? See media help. He was 19 when he first performed at an international youth music festival in Helsinki.[6] His performance was noted by Yekaterina Furtseva, then Minister of Culture of the Soviet Union, who offered him to be a soloist at the Bolshoi Theatre. Magomayev declined the offer.[9] In 1962, at the age of 20, Magomayev first appeared in Moscow where he performed during the Days of Azerbaijani Culture.[6] He sang an aria from Gounod’s Faust, and the song "Do the Russians Want War?" in a gala concert at the Kremlin Palace of Congresses, and became a celebrity on the spot.[6] A year later, he gave his first solo concert in the Moscow Tchaikovsky Concert Hall to a full house and became a soloist of the Azerbaijan State Academic Opera and Ballet Theater. Muslim earned fame in the USSR as an opera singer with his performance in Rossini's "The Barber of Seville". He also became known for his arias from Puccini's "Tosca", Hajibeyov's "Koroghlu" and "Shah Ismayil", which was composed by his grandfather.[10] In 1964 and 1965, Muslim was a visiting artist at La Scala in Milan, but turned down the invitation to sing in the Moscow Bolshoi Theatre upon his return. Instead, the singer turned to popular music, becoming a pop idol for several generations of music lovers in the Soviet Union. Muslim Magomayev's popularity in the USSR was overwhelming. He quickly became a cult figure and gave three concerts a day filling huge arenas all across the Soviet Union, while his albums sold millions. In 1966 and 1969, Magomayev performed in Olympia with great success. The director of Olympia Bruno Coquatrix offered him a contract, and Magomayev was seriously considering an opportunity to pursue an international career, but Yekaterina Furtseva refused to grant the Ministry of Culture's permission, claiming that it needed Magomayev to perform at government concerts. In 1969, he received the Midem Gold Disc Award in Cannes for album sales of over 4.5 million units. In 1973, at the age of 31, Muslim was awarded the Soviet Union's highest artistic title: People's Artist of the USSR.[11] Magomayev married when he was 19, to Ofelia Veliyeva, but the union did not last a year.[6] His daughter from that first marriage, Marina,[13] lives in the United States.[6] He eventually remarried, this time to the opera singer Tamara Sinyavskaya.[6] Magomayev on a postage stamp of Azerbaijan In the early 2000s, Magomayev officially stopped his musical career and gave only a few performances, together with his wife. He died on 25 October 2008 in his flat in Moscow from a heart attack.[14][15] He was buried in the Alley of Honor in his native city of Baku, next to his grandfather, on 29 October.[16][17] The funeral ceremony was attended by Azerbaijani President Ilham Aliyev, Magomayev's widow Tamara Sinyavskaya, his daughter Marina, as well as state officials and international delegations.[13] Thousands of people came to pay a final tribute to the singer.[13][18]
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