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Fyodor Chaliapin is a Russian opera and chamber singer. At various times he was a soloist at the Mariinsky and Bolshoi theaters, as well as at the Metropolitan Opera. Therefore, the work of the legendary bass is widely known outside his homeland.

Childhood and youth

Fyodor Ivanovich Chaliapin was born in Kazan in 1873. His parents were visiting peasants. Father Ivan Yakovlevich moved from the Vyatka province, he was engaged in work unusual for a peasant - he served as a scribe in the zemstvo administration. And mother Evdokia Mikhailovna was a housewife.

As a child, little Fedya was noticed with a beautiful treble, thanks to which he was sent to the church choir as a singer, where he received the basic knowledge of musical literacy. In addition to singing in the temple, the father sent the boy to be trained by a shoemaker.

Having completed several classes of primary education with honors, the young man goes to work as an assistant clerk. Fyodor Chaliapin will later remember these years as the most boring in his life, because he was deprived of the main thing in his life - singing, since at that time his voice was going through a period of withdrawal. This is how the career of the young archivist would have gone on, if one day he had not attended a performance at the Kazan Opera House. The magic of art has forever captured the young man’s heart, and he decides to change his career.

At the age of 16, Fyodor Chaliapin, with his bass voice already formed, auditioned for the opera house, but failed miserably. After this, he turns to the drama group of V. B. Serebryakov, in which he is hired as an extra.

Gradually, the young man began to be assigned vocal parts. A year later, Fyodor Chaliapin performed the role of Zaretsky from the opera Eugene Onegin. But he does not stay long in the dramatic enterprise and after a couple of months he gets a job as a chorister in the musical troupe of S. Ya. Semyonov-Samarsky, with whom he leaves for Ufa.

In the capital of Georgia, the talented singer is noticed by vocal teacher Dmitry Usatov, a former famous tenor of the Bolshoi Theater. He takes on a poor young man to fully support him and works with him. In parallel with his lessons, Chaliapin works as a bass performer at the local opera house.

Music

In 1894, Fyodor Chaliapin entered the service of the Imperial Theater of St. Petersburg, but the severity that reigned here quickly began to weigh on him. By luck, a benefactor notices him at one of the performances and lures the singer to his theater. Possessing a special instinct for talent, the patron discovers incredible potential in the young, temperamental artist. He gives Fyodor Ivanovich complete freedom in his team.

Fyodor Chaliapin - "Black Eyes"

While working in Mamontov's troupe, Chaliapin revealed his vocal and artistic abilities. He sang all the famous bass parts of Russian operas, such as “The Woman of Pskov”, “Sadko”, “Mozart and Salieri”, “Rusalka”, “A Life for the Tsar”, “Boris Godunov” and “Khovanshchina”. His performance in Faust by Charles Gounod still remains exemplary. Subsequently, he will recreate a similar image in the aria “Mephistopheles” at the La Scala Theater, which will earn him success among the world public.

Since the beginning of the 20th century, Chaliapin has appeared again on the stage of the Mariinsky Theater, but this time in the role of a soloist. With the capital's theater, he tours European countries, appears on the stage of the Metropolitan Opera in New York, not to mention regular trips to Moscow, to the Bolshoi Theater. Surrounded by the famous bass, you can see the entire color of the creative elite of that time: I. Kuprin, Italian singers T. Ruffo and. Photos have been preserved where he is captured next to his close friend.

In 1905, Fyodor Chaliapin especially distinguished himself with solo performances, in which he sang romances and the then famous folk songs “Dubinushka”, “Along St. Petersburg” and others. The singer donated all the proceeds from these concerts to the needs of workers. Such concerts of the maestro turned into real political actions, which later earned Fyodor Ivanovich honor from the Soviet government. In addition, friendship with the first proletarian writer Maxim Gorky protected Chaliapin’s family from ruin during the “Soviet terror.”

Fyodor Chaliapin - "Along along Piterskaya"

After the revolution, the new government appoints Fyodor Ivanovich as head of the Mariinsky Theater and awards him the title of People's Artist of the RSFSR. But the singer did not work in his new capacity for long, since with his first foreign tour in 1922 he immigrated abroad with his family. He never appeared on the stage of the Soviet stage again. Years later, the Soviet government stripped Chaliapin of the title of People's Artist of the RSFSR.

The creative biography of Fyodor Chaliapin is not only his vocal career. In addition to singing, the talented artist was interested in painting and sculpture. He also starred in films. He got a role in the film of the same name by Alexander Ivanov-Gay, and also participated in the filming of the film by German director Georg Wilhelm Pabst “Don Quixote”, where Chaliapin played the main role of the famous windmill fighter.

Personal life

Chaliapin met his first wife in his youth, while working at the Mamontov private theater. The girl's name was Iola Tornaghi, she was a ballerina of Italian origin. Despite his temperament and success with women, the young singer decided to tie the knot with this sophisticated woman.

Over the years of their marriage, Iola gave birth to Fyodor Chaliapin six children. But even such a family did not keep Fyodor Ivanovich from making radical changes in his life.

While serving at the Imperial Theater, he often had to live in St. Petersburg, where he started a second family. At first, Fedor Ivanovich met his second wife Maria Petzold secretly, since she was also married. But later they began to live together, and Maria bore him three more children.

The artist's double life continued until his departure to Europe. The prudent Chaliapin went on tour with his entire second family, and a couple of months later five children from his first marriage went to join him in Paris.

Of Fyodor’s large family, only his first wife Iola Ignatievna and eldest daughter Irina remained in the USSR. These women became the guardians of the opera singer's memory in their homeland. In 1960, the old and sick Iola Tornaghi moved to Rome, but before leaving, she turned to the Minister of Culture with a request to create a museum of Fyodor Ivanovich Chaliapin in their house on Novinsky Boulevard.

Death

Chaliapin went on his last tour of the countries of the Far East in the mid-30s. He gives over 50 solo concerts in cities in China and Japan. After this, returning to Paris, the artist felt unwell.

In 1937, doctors diagnosed him with a blood cancer: Chaliapin had a year to live.

The great bass died in his Paris apartment in early April 1938. For a long time, his ashes were buried on French soil, and only in 1984, at the request of Chaliapin’s son, his remains were transferred to a grave at the Novodevichy Cemetery in Moscow.

True, many historians consider the death of Fyodor Chaliapin quite strange. And the doctors unanimously insisted that leukemia with such a heroic physique and at such an age is extremely rare. There is also evidence that after a tour of the Far East, the opera singer returned to Paris in a sick state and with a strange “decoration” on his forehead - a greenish lump. Doctors say that such neoplasms arise from poisoning with a radioactive isotope or phenol. The question of what happened to Chaliapin on tour was asked by local historian from Kazan Rovel Kashapov.

The man believes that Chaliapin was “removed” by the Soviet government as unwanted. At one time, he refused to return to his homeland, plus, through an Orthodox priest, he provided financial assistance to poor Russian emigrants. In Moscow, his act was called counter-revolutionary, aimed at supporting the White emigration. After such an accusation, there was no longer any talk of returning.

Soon the singer came into conflict with the authorities. His book “The Story of My Life” was published by foreign publishers, and they received permission to print from the Soviet organization “International Book”. Chaliapin was outraged by such an unceremonious disposal of copyrights, and he filed a lawsuit, which ordered the USSR to pay him monetary compensation. Of course, in Moscow this was regarded as the singer’s hostile actions against the Soviet state.

And in 1932 he wrote the book “The Mask and the Soul” and published it in Paris. In it, Fyodor Ivanovich spoke out in a harsh manner towards the ideology of Bolshevism, towards Soviet power and in particular towards.

Artist and singer Fyodor Chaliapin

In the last years of his life, Chaliapin showed maximum caution and did not allow suspicious persons into his apartment. But in 1935, the singer received an offer to organize a tour in Japan and China. And during a tour in China, unexpectedly for Fyodor Ivanovich, he was offered a concert in Harbin, although initially the performance was not planned there. Local historian Rovel Kashapov is sure that it was there that Doctor Vitenzon, who accompanied Chaliapin on this tour, was given an aerosol canister with a toxic substance.

Fyodor Ivanovich's accompanist, Georges de Godzinsky, states in his memoirs that before the performance, Witenzon examined the singer's throat and, despite the fact that he found it quite satisfactory, “sprayed it with menthol.” Godzinsky said that further tours took place against the backdrop of Chaliapin’s deteriorating health.

February 2018 marked the 145th anniversary of the birth of the great Russian opera singer. In the Chaliapin house-museum on Novinsky Boulevard in Moscow, where Fyodor Ivanovich lived with his family since 1910, admirers of his work widely celebrated his anniversary.

Arias

• Life for the Tsar (Ivan Susanin): Susanin’s Aria “They Smell the Truth”
• Ruslan and Lyudmila: Rondo Farlafa “Oh, joy! I knew"
• Rusalka: Miller’s Aria “Oh, that’s all you young girls”
• Prince Igor: Igor’s Aria “Neither sleep, nor rest”
• Prince Igor: Konchak’s Aria “Are you well, Prince”
• Sadko: Song of the Varangian guest “On the formidable rocks the waves break with a roar”
• Faust: Mephistopheles' Aria "Darkness Has Descended"

The uniqueness of Chaliapin's voice

It is widely believed that the secret of Chaliapin's influence on listeners lies in the unprecedented power and beauty of his melodious bass. This is not entirely true. Both the world and Russian scenes knew voices much more powerful than Chaliapin’s. And there were quite a few very beautiful basses. But there was no voice in the world that was endowed with such a variety of timbres and colors. “The power of Chaliapin’s voice,” writes singer S. Levik, who repeatedly performed in performances with Chaliapin, “was not natural, but a consequence of his ability to distribute light and shadows...” In other words, to change and diversify timbres. “Purely physiologically Chaliapin’s voice was not a phenomenon, but as an artistic phenomenon this voice is unique.”

Chaliapin subdued his voice to the limits of his capabilities. That is why his voice sounded more powerful, more sonorous, and wider than that of other singers, endowed with naturally more powerful voices. And it was perceived as an unprecedented, unique, unique voice.

They talked about the school that he went through in Tiflis with his first and, essentially, only teacher D. Usatov. However, this cannot fully explain Chaliapin’s vocal perfection, for he assimilated all the best from what he heard - elements of all schools - and dissolved them in the “crucible of his singing” to such an extent that they were not even discernible in its execution.

Chaliapin could not have achieved this if he had not been endowed with the gift of a brilliant musician. This gift lies in the ability to convey not just a musical text, but the content embedded within it. “Notes are a simple recording,” said Chaliapin, “you need to make them music, as the composer wanted.”

Preparing to perform in the opera Demon, at the dress rehearsal he turned to conductor Altani with a request to allow him to conduct his entire part from the stage. Altani handed him the baton, and Chaliapin began to sing, showing the orchestra what he wanted from him. When he reached the climax and final aria, the orchestra members were so delighted that they played carcasses for Chaliapin.

Artists about Chaliapin

The remarkable conductor Fritz Stiedry, who gave concerts in the Soviet Union in the 20s and 30s, said that a bad conductor shows what is indicated in the score, and a good conductor shows what the score gives him at his free artistic discretion. Chaliapin made extensive use of these possibilities inherent in the score.

Chaliapin cannot even be called in the usual sense a performer of the vocal part because each time - to a greater or lesser extent - he was a co-creator of the composer. And here it is legitimate to compare him with such artists as, say, the great pianist Ferruccio Busoni, who brought his ideas to the interpretation of Bach, Mozart, Beethoven, Liszt, and Chopin. Or with violinist Eugene Ysaye. Or with pianist Leopold Godowsky.

Musicologist L. Lebedinsky once compared a gramophone recording of one of Boris Godunov’s scenes performed by Chaliapin with a musical text by Mussorgsky. And he found out how far Chaliapin had strayed from the direct transmission of this text. V. Meyerhold told playwright A. Gladkov about this. “Chaliapin in the “delirium” scene,” he recalled, “needed time for a wonderful actor’s improvisation: he played a whole piece here without singing, but there wasn’t enough music. Then he asked to repeat the so-called “chimes” music in this place ". Those who heard and saw him in this role must admit that it turned out wonderful." “I don’t think,” continued Meyerhold, “that Mussorgsky himself would argue with him. But, of course, there were experts in the score who were outraged. Once I listened to Boris on the radio and caught the same “chimes” in the “delirium” scene. This means that this is how it always happens.

And, indeed, many of Chaliapin’s discoveries have become as canonical as Liszt’s or Buzonie’s editions of piano literature. This does not mean that every singer or pianist can interfere with the author's text. No and no! Only a brilliantly gifted artist who has won the creative right to do this can do this!

The famous Soviet cellist, professor at the Moscow Conservatory, Viktor Kubatsky, recalls how in 1920, during stage rehearsals at the Bolshoi Theater, when there was a minute free from singing, Chaliapin went to the front of the stage and, covering his eyes from the sharp light with his palm, listened to the playing of the cello group. Being the group's accompanist, Kubatsky suggested that Chaliapin was not happy with the sound and asked him this question.

“No,” answered Chaliapin. “I’m learning to sing from cellos.” ​​Only a very great musician could say this.

Chaliapin was deeply convinced that all the power of his singing lies in the accuracy of intonation, in the correct coloring of words and phrases. And he remembered how he felt this for the first time, when in his youth he was learning the Melnik part. He worked hard, but the image turned out unnatural.

Dissatisfied with himself, he turned to the famous tragedian Mammoth Dalsky. Dalsky ordered not to sing, but to read Pushkin’s text to him from the book. And when Chaliapin read - with periods, commas, pauses - Dalsky paid attention to the intonation. “You speak in the tone of a small shopkeeper,” he remarked, turning to Chaliapin, “and the miller is a sedate man, the owner of the mill and the land.” “Like a needle, Dalsky’s remark pierced me through and through,” recalls Chaliapin. “I I immediately realized the falseness of my intonation, blushed with shame, but at the same time I was glad that Dalsky said a word that was in tune with my vague mood. phrases - all the power of singing."

And many times in his memoirs, Chaliapin spoke about intonation as a way of penetrating into the essence of a role, into the depths of romances and songs never revealed to anyone before him. “I found their only intonation,” he writes about Mussorgsky’s romances and songs. “The intonation of one phrase, taken correctly, turned a malicious snake into a ferocious tiger,” Chaliapin recalls another moment when Mamontov, at a rehearsal of the Pskovite, suggested what was missing him in the character of Ivan the Terrible. “The most effective aria sounds cold and protocol,” writes Chaliapin further, “if the intonation of the phrase is not developed in it, if the sound is not colored with the necessary shades of experience.”

And it must be said that sensitive musicians who listened to Chaliapin always noted the importance of intonation mastery in the overall impression of his brilliant performances. And they also noted a deep internal rhythm.

“It always seemed to me,” writes B. Asafiev, “that the sources of Chaliapin’s rhythm, as well as his deeply realistic intonation singing, are rooted in the rhythm and imagery of Russian folk speech, which he mastered to perfection.”

And there was no disagreement about this among everyone who recalled Chaliapin’s art as a synthesis of the “voice gift,” intonation, rhythm, words, stage movement. The most sensitive noted Chaliapin’s amazing penetration into the structure of the Russian language, Chaliapin’s pronunciation, the sense of words inherent in him organically.

“Chaliapin’s trick is in the word,” argued K. Stanislavsky. “Chaliapin knew how to sing on consonants. I had to talk a lot with Chaliapin in America. He argued that it was possible to isolate any word from a phrase without losing the necessary rhythmic emphasis in singing. . . Without the power of sound, for example, bass [V. R.] Petrov [he] made an incomparably greater impression thanks to the sonority of the phrase.”

Indeed, vocalists know that Chaliapin knows how to color a syllable, “compress” and “stretch” it, without violating either the verbal or musical structure. And few Russian actors understood verse as well as Chaliapin. When he sings Pushkin’s Prophet with the somewhat cold music of Rimsky-Korsakov, he shocks with the penetration into the biblical structure of Pushkin’s speech, the solemnity and imagery of Pushkin’s verse. chaliapin voice opera house

And the explanation of this amazing action lies, first of all, I think, in understanding the proportionality of all elements, the importance of the vowel word, the ability to convey rhyme, to color every sound, every syllable in the rendering...

Chaliapin was able to convey the fusion of music with the plasticity of words not only in Russian, but also in other languages. Thus, performing the role of Mephistopheles in Boito’s opera in Italian in Milan, he amazed the Italian audience not only with his singing, not only with his acting, but also with his Italian pronunciation, which the great singer Angelo Masini called the “Dantean” pronunciation.

“An amazing phenomenon in an artist,” Masini wrote to the editor of one of the St. Petersburg newspapers, “for whom Italian is not his native language.” The French press repeatedly noted Chaliapin’s fine command of French speech. However, even when Chaliapin sang abroad in - Russian, he shocked the most sophisticated audience.

In 1908, when Paris was preparing to see Boris for the first time, at a dress rehearsal to which all the wonderful people of the French capital were invited, Chaliapin sang in a jacket (the costumes turned out to be unpacked). Performing the hallucination scene, after the words “What is this?” There!... In the corner... It's swaying!..." he suddenly heard a terrible noise and, looking sideways into the hall, saw that the audience had risen from their seats, and some even stood on their chairs to see what was there - - in the corner? Not knowing the language, the audience thought that Chaliapin saw something there and suddenly got scared.

“Salvini!” they shouted at Chaliapin in Milan after his success in Boito’s opera, comparing him with one of the greatest tragic actors of the 19th century.

The great Russian singer Fyodor Ivanovich Chaliapin combined two qualities in his work: acting and unique vocal abilities. He was a soloist with the Bolshoi and Mariinsky theaters, as well as the Metropolitan Opera. One of the greatest opera singers.

The childhood of Fyodor Chaliapin

The future singer was born in Kazan on February 13, 1873. Fyodor Chaliapin's parents got married in January 1863, and 10 years later their son Fyodor was born.

My father worked as an archivist in the zemstvo government. Fyodor’s mother, Evdokia Mikhailovna, was an ordinary peasant woman from the village of Dudintsy.

Already in childhood it became clear that little Fedor had musical talent. Possessing a beautiful treble, he sang in the suburban church choir and at village festivals. Later, the boy began to be invited to sing in neighboring churches. When Fedor graduated from the 4th grade with a certificate of merit, he was apprenticed to a shoemaker, then to a turner.

At the age of 14, the boy began working in the zemstvo government of the Kazan district as a clerk. I earned 10 rubles a month. However, Chaliapin never forgot about music. Having learned to read music, Fyodor tried to devote all his free time to music.

The beginning of the creative career of singer Fyodor Chaliapin

In 1883, Fyodor first came to the theater for the production of P.P. Sukhonin’s play “Russian Wedding”. Chaliapin became “sick” of the theater and tried not to miss a single performance. Most of all the boy liked opera. And the greatest impression on the future singer was made by M. I. Glinka’s opera “A Life for the Tsar.” The father sends his son to school to study as a carpenter, but when his mother fell ill, Fedor was forced to return to Kazan to care for her. It was in Kazan that Chaliapin began to try to get a job in the theater.

Finally, in 1889, he was accepted as an extra in the prestigious Serebryakov Choir. Before this, Chaliapin was not accepted into the choir, but some lanky, terribly eyed young man was hired. A few years later, having met Maxim Gorky, Fyodor told him about his first failure. Gorky grinned and said that he was this charming young man, although he was quickly expelled from the choir due to his complete lack of voice.

And the first performance of the extra Chaliapin ended in failure. He was given the role without words. The cardinal, played by Chaliapin, and his retinue simply had to walk across the stage. Fedor was very worried and constantly repeated to his retinue: “Do everything as I do!”

As soon as he entered the stage, Chaliapin became entangled in the red cardinal's robe and fell to the floor. His retinue, remembering the instructions, followed him. The Cardinal was unable to rise and crawled across the entire stage. As soon as the crawling retinue led by Chaliapin was behind the scenes, the director gave the “cardinal” a kick with all his heart and threw him down the stairs!

Chaliapin performed his first solo role - the role of Zaretsky in the opera "Eugene Onegin" - in March 1890.

In September of the same year, Chaliapin moved to Ufa and began singing in the local operetta troupe of Semenov-Samarsky. Gradually, Chaliapin began to be assigned small roles in many performances. After the end of the season, Chaliapin joined Derkach's traveling troupe, with which he toured the cities of Russia, Central Asia and the Caucasus.

Life of Fyodor Chaliapin in Tiflis

Like many other great representatives of Russian literature and art, Tiflis played a very important role in the life of Chaliapin. Here he met a former artist of the Imperial Theaters, Professor Usatov. After listening to the singer, Usatov said: “Stay to learn from me. I won’t take money for my studies.” Usatov not only gave Chaliapin his voice, but also helped him financially. In 1893, Chaliapin made his debut on the stage of the Tiflis Opera House.

HEY, WHACK! Russian folk song. Performed by: FEDOR SHALYAPIN.

A year later, all the bass parts in the Tiflis opera were performed by Chaliapin. It was in Tiflis that Chaliapin gained fame and recognition, and from a self-taught singer turned into a professional artist.

The heyday of Fyodor Chaliapin's creativity

In 1895, Fyodor Chaliapin came to Moscow, where he entered into a contract with the management of the Mariinsky Theater. Initially, on the stage of the Imperial Theater, Fyodor Ivanovich performed only minor roles.

A meeting with the famous philanthropist Savva Mamontov marked the beginning of the flowering of Chaliapin’s creativity. Mamontov invited the singer to work at the Moscow Private Opera with a salary three times higher than the salary at the Mariinsky Theater.

In the private opera, Chaliapin's multifaceted talent was truly revealed, and the repertoire was replenished with many unforgettable images from the operas of Russian composers.

In 1899, Chaliapin was invited to the Bolshoi Theater, where he had stunning success. The singer's stage life turned into a grandiose triumph. He became everyone's favorite. The singer's contemporaries assessed his unique voice this way: in Moscow there are three miracles - the Tsar Bell, the Tsar Cannon and the Tsar Bass - Fyodor Chaliapin.

Fyodor Chaliapin. Elegy. Romance. Old Russian Romance.

Music critics wrote that, apparently, Russian composers of the 19th century “foresaw” the emergence of a great singer, which is why they wrote so many wonderful parts for bass: Ivan the Terrible, Varangian Guest, Salieri, Melnik, Boris Godunov, Dosifey and Ivan Susanin. Largely thanks to the talent of Chaliapin, who included arias from Russian operas in his repertoire, composers N.A. Rimsky-Korsakov, A.S. Dargomyzhsky, M. Mussorgsky, M. Glinka received worldwide recognition.

During these same years, the singer gained European fame. In 1900 he was invited to the famous Milanese La Scala. The amount that was paid to Chaliapin under the contract was unheard of high at that time. After his stay in Italy, the singer was invited every year to tour abroad. The World War, revolutions and civil war in Russia “put an end to” the singer’s foreign tours for 6 long years. In the period from 1914 to 1920, Chaliapin did not leave Russia.

Emigration period

In 1922, Chaliapin went on tour to the USA. The singer never returned to the Soviet Union. In their homeland, in turn, they decided to deprive Chaliapin of the title of People's Artist. The path to Russia was completely cut off.

Abroad, Chaliapin tries his hand at a new art - cinema. In 1933, he starred in the film “Don Quixote” directed by G. Pabst.

Personal life of Fyodor Chaliapin

Fyodor Chaliapin was married twice. The singer met his first wife, Italian ballerina Iona Tornaghi, in 1898 in Nizhny Novgorod. In this marriage seven children were born at once.

Later, without dissolving his first marriage, Chaliapin became close to Maria Petzold. At that time, the woman already had two children from her first marriage. They met secretly for a long time. The marriage was officially registered only in 1927 in Paris.

Memory

Chaliapin died in the spring of 1938 in Paris. The great singer was buried in the Batignolles cemetery in Paris. Only almost half a century later, in 1984, his son Fyodor obtained permission to rebury his father’s ashes in Moscow, at the Novodevichy Cemetery.

The second funeral was held with all honors.

And 57 years after the artist’s death, the title of People’s Artist of the USSR was posthumously returned to him.

Thus, finally, the singer returned to his homeland.

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TEREFYGYS ABOUT LFPN EBCHETYYMBUSH, FBL LBL DYTYTSET RPLYOHM FEBFT.
... yBMSRYO OE VSHM RETCHPLMBUUOSCHN YURPMOYFEMEN Lieder. REUOY yHVETFB Y yKHNBOB YULBTSBMYUSH DP OEHOBCHBENPUFY EZP UCHPECHPMSHOSCHN TYFNPN Y YOFETRTEFBGYEK.
h REUOE “UNETFSH Y DECHKHYLB” UNETFSH RTEDUFBCHBMB ZTPOSHCHN Y OMPCHEYN RTYYTBLPN CHNEUFP CHEMYUEUFCHEOOPZP KhFEYYFEMS, LBL SCHUFCHHEF YY UMCH lMBKHDYKHUB Y NHSHCHL Y yHVETFB.
“OYLFP MHYUYE dTSEOEF OE KHNEEF RTPSCHYFSH UEVS, LPZDB RP IPDH PRETSH LFP-OYVHDSH YI EE RBTFOETPCH DPMTSEO PCHMBDEFSH CHOYNBOYEN ЪBMB. POB PVSHYUOP UFPYF, LBL UFBFHS, URYOPK L RHVMYLE, YUFPVSH OE PFCHMELBFSH CHAINBOYS PF RECHGB, CHEDHEEZP DEKUFCHYE CH LFPF NPNEOF. chPF RTYNET OBUFPSEEZP BLFETULPZP KhChBTSEOYS L LPMMEZBN... lUFBFY, LFP VSHMP UPCHETYEOOP OENSHUMYNP DMS... yBMSRYOB. BY RTYFSZYCHBM ZMBBB CHUEI UYDSEYI CH OBME. ABOUT UGEOE NPZMP VSHFSH OUEULPMSHLP CHEDHEYI RECHGPCH, IPT YYEUFYDEUSFY YUEMPCHEL NPZ REFSH - Y CHEUSHNB ZTPNLP, OP CHUE CHYDEMY FPMSHLP yBMSRYOB. h RPMPCHEGLYI RMSULBI CH "LOSJE YZPTE" ABOUT UGEOE VSHMP RPMOP OBTPDH - Y IPT, Y VBMEF, - OP CHUE UNPFTEMY FPMSHLP ABOUT lPOYUBBLB, IPFS ON UCHPEN FTPOE UVPLH: CHEDSH VBMEFKH CHUE-FBL Y OHTSOB VSHMB UGEOYUEULBS RMPEBDLB. with NPZH UKhDYFSH PV LFPN, FBL LBL FPTSE RPDDBMUS PVEENH ZYROPYH Y UNPFTEM FPMSHLP ABOUT YBMSRYOB U CHPUFPTZPN Y CHPUYEEOYEN. u KHRPEOYEN S CHURPNYOBA LBTSDSCHK NYZ, LPZDB S CHYDEY UMSHCHYBM bFPZP ZYZBOFB ABOUT UGEOE, OP PO OE KHNEM DEMBFSH FPZP, YuFP KHNEEF VKLET: OYUEZP OE DEMBFSH ABOUT UGEOE - YЪSEOP Y DPUF PYOUFCHPN.”
yЪ LOYZY DYFTYIB ZHYYETB-DYULBH “rP UMEDBN REUEO yHVETFB” (CH UVPTOYLE “YURPMOYFEMSHULPE YULKHUUFCHP ЪBTHVETSOSHI UFBTBO”, CHSHCHRHUL 9, n.1981):
“...YOFETRTEFBGYS YHVETFPCHULYI REUEO TKHUULPK ЪCHEDPK, VBUPN ZHEDPTPN yBMSRYOSCHN, YJCHEUFOBS KhDYCHMEOOOSCHN RPFPNLBN RP DCHHN RMBUFYOLBN (“uNETFSH Y DECHKHYLB ” Y “dCHPKOIL” - s. t.), NPTsEF VShchFSH CHPURTYOSFB FPMSHLP LBL LHTSH. DBTSE ABOUT THVETS OBEZP CHELB, LPZDB CH REUEOOOPN YURPMOYFEMSHUFCHE ZPURPDUFCHPCHBMB OBYVPMSHIBS UCHPVPDB CHSTBYFEMSHOPUFY REOYS, PVSHYUOP UFBTBMYUSH Y'VEZBFSH RPDPVOSHI RTEKHCHEMY "YUEOYK".
* * *
with RTYCH OELPFPTSCHE NBMP YYCHEUFOSCH RPYIFYCHOSCHESH OEZBFYCHOSHE PGEOLY YULHUUFCHB yBMSRYOB YY LOYZ CHCHDBAEYIUS YOPUFTBOOSCHI NHYSHCHLBOFPCH, RETECHEDEOOSHI ABOUT TKHUULYK SCHL. Ch Loizby, Thulbi Bchofptpch, Obreumuzhnoi DP OPUBMB FTIDEGBPHSHSHSH Z.Z., FPCE NPTSOP Chuftefsh Nbfetybmsh, Pvaelfychophuhopshchi Oyhchshchbephbeph Bubelah. h VPMEE RPJDOEE CHTENS UPCHEFULPK RTPRBZBODPK VSHM OBCHSBO LKHMSHF yBMSRYOB Y RPSCHYMYUSH UMHTSYFEMY LFPPZP LKHMSHFB. h UChPYI LOYZBI POY CHEBMY, YuFP MHYUYE yBMSRYOB OILFP OILPPZDB OE REM Y UFP MHYUYE, YUEN PO REM, REFSH OECHPNPTSOP. h UPCHTENEOOSCHI LOYZBI Y UFBFSHSI P yBMSRYOE EZP LHMSHF GCHEFEF RSCHIOSCHN GCHEFPN.

yBMSRIO-ZEOYBMSHOSCHK CHPLBMYUF
VEKHUMPCHOP, yBMSRYO VSHM ZEOYBMSHOPK MYUOPUFSHA Y, CH RETCHHA PYUETEDSH, - ZEOYBMSHOSCHN CHPLBMYUFPN. l ZEOYBMSHOSCHN RECHGBN S EZP OE PFOPYKH YЪ-ЪB OELPFPTSCHI OEDPUFBFBLPC, UCHSBOOSCHU ZPMPUPCCHN DYBRBPOPN, YЪ-ЪB RPDYUBU OEPRTBCHDBOOP CHPMSHOPZP PFOPYEOYS LPNRP YFPTULPNH FELUFH, YЪ-ЪB OE CHUEZDB HUREYOPZP REOYS CH BOUBNVMSI U RBTFOETBNY
(fY FPOLPUFY - CHUEZP MYYSH HUMPCHOPUFY, OP lBTHЪP, CH PFMYYUYE PF yBMSRYOB, ABOUT NPK CHZMSD, VSHM ZEOYBMSHOSCHN RECHGPN, RPULPMSHLH X OEZP OE VSHMP KHLBBOOSCHI OEDPUFBFLPC).
eUFEUFCHEOOP, YuFP CHUE UKhTsDEOOYS Y TBUUHTSDEOOYS P ZEOYBMSHOPUFY - RPOSFYS CHEUSHNB KHUMPCHOSCHE, Y ЪDEUSH LBTsDPNH Y CHUSLPNH RPЪCHPMEOP YNEFSH UCHPE NOOOYE.
with LBL-FP RTEDMPTSYM PDOPNKH TEDBLFPTH RPNEUFYFSH CH EZP ZBJEFH NPA UFBFSHA P yBMSRYOE, ABOUT YFP PO NOE PFCHEFYM: “oh LPNH UEKYUBU YOFETEUEO yBMSRYO?
oBRYYYFE MKHYYE P vBULPCHE!”
b LPZDB NPK RTYSFEMSH-NHYSHSHLBOF RTPYUEM NPA UFBFSHA P dYFTYIE ZHYYETE-DYULBH, LPFPTPZP S OBCHBM ZEOYBMSHOSCHN RECHGPN-NHYSHCHLBOFPN DCHBDGBFPZP UFPMEFYS, FP ЪBNE FYM, YuFP ZEOYSNY NPTsOP OBSCHCHBFSH MYYSH FCHPTGPCH-UPYDBFEMEK, B OE YURPMOYFEMEK. fPZDB S URTPUYM EZP, UYUYFBEF MY PO ZEOYEN UCHPEZP MAVYNPZP yBMSRYOB? ABOUT LFP NPK NKHSCHLBOF PFCHEFYM, YuFP UYYFBEF yBMSRYOB CHEMILINE RECHGPN, OP ZEOYEN OE UYYFBEF.
“rPMLPCHPDEG” Y TBINBOYOPCHB “iTYUFPU CHPULTEU!”, B FBLCE RBTFYS CHETFETB CH PDOPPYNEOOOPK PRETE nBUUOE. (LUFBFY, X "OZEOYBMSHOSCHI" LPNRPYFPTPCH YOPZDB RPSCHMSMYUSH UFPRTPGEOFOP ZEOYBMSHOSHE PVTBGSCH, LBL "UNEKUS, RBSG!" X mEPOLBCHBMMP, YMY, OBPVPTPPF, K L ZEOYSN UPCHEFULYK LPNRPYFPT-LPNNHOYUF yPUFBLPCHYU CH KHZPDH RTBCHYCHYEK VBODE OBCHPTBUYCHBM PZTPNOSCH NBUUSCH NHYSCHLBMSHOPK NBLKHMBFKhTSCH DMS PVPMCHBOYCHBOYS MADEK, ETEUHAEYIUS NHJSHLPK). h LPOYUOPN UUEFE, OBDP RPMBZBFSH, YuFP RPOSFYS "ZEOYK" Y "ZEOYBMSHOSCHK" SCHMSAFUS URPTOSCHNYY, H OBYUYFEMSHOPK UFEREOY, UBCHYUSF PF OBOYK, YOFETEUPCH Y YOFHY GYY BCHFPTB, PGEOYCHBAEEZP CHSHCHDBAEEZPUS RTEDUFBCHYFEMS YULHUUFCHB YMY EZP DESOIS.

p ZPMPUE Y REOY yBMSRYOB
yЪCHEUFOSHCHK NHYSHCHLBMSHOSHCHK LTYFYL a. OZEMSH RYUBM CH 1889 Z. P ZPMPUE yBMSRYOB (YЪ UV. “yBMSRYO”, F.2, n. 1958):
“zPMPU RECHGB PDYO YUBNSCHI UINRBFYUOSCHI RP FENVTKH, LBLYE OBN RTYIPDIMPUSH UMSHCHYBFSH. BY UIMEO Y TPCHEO, IPFS RP UBNPK UCHPEK RTYTPDE (VBU-VBTYFPO, CHSHUPLYK VBU) ЪCHHUYF ABOUT PUEOSH OYILYI OPFBI NEOEE RPMOP, KHUFPKUYCHP Y UIMSHOP, YUEN ABOUT CHETIOYI,... ABOUT WHAT UR PUPVEO L NPZKHYUENKH RPDYAENKH, L TEDLPNKH VMEULKH Y TBNBIKH... OP YuFP RTEDUFBCHMSEF IBTBLFETOEKYHA PUPVEOOPUFSH LFPZP ZPMPUB, YuFP CHPCHSCHIBEF EZP OBD DEUSFLBNY DTHZYI FBLYI DBCE MHYUYI RP NBFETYBMH ZPMPUCH, - LFP EZP... OHFTEOOSS ZYVLPUFSH Y RTPOILOPCHOOPUFSH.”
ch 1904 Z. ЪОЗЭМШ RYUBM P yBMSRYOE (YЪ UMPCHBTS b. rTHTSBOULPZP “pFEYUEUFCHEOOSCH RECHGSHCH”, Yu. 1, n.1991):
“...ZMBCHOSCHN OEDPUFBFLPN LFPZP RPTBYFEMSHOPZP BTFYUFB SCHMSEFUS OELPFPTBS OEFPYUOPUFSH YOFPOBGYY ABOUT OYILYI OPFBI, L UPTSBMEOYA, OE YUYUEBAEBS U ZPDBNY...”.
b Private enterprise IBTBLFETYUFYLB u. MECHYLB YI LOYZY “UBRYULY PRETOPZP RECHGB”, M. 1962:
"rTY NBMPCHHYUSCHI, UCHPEPVTBOP LBL-VKhDFP YUKhFSH-YUKhFSH UYRMPCHBFSH OYBI ZPMPU yBMSRYOB... YYEM CHCHETI, OBRPMOEOOSHK "NSUPN" DP RTEDEMB, FP EUFSH VShchM NBLUINBMSHOP RPMOPL TPCHOSCHN CH ZBVBTYFBI YNEOOOP VBUPCHPK FEUUYFHTSCH.” OP ЪBFEN MECHEIL PFNEFEIM:
“...OPFSH ZHB Y NY (CHETIOYE - s.t.) RTY CHUEK YI ЪБНЭУБФЭМШОПК ЪЧХУОПУФИ EH YOPZDB, RTY NBMEKYEN OEDPNPZBOYY, OE KHDBCHBMPUSH DETSBFSH ABOUT DPMTSOPN LPMYUEUFCHE LPMEVBOYK, SING, UMHYUBMPUSH, ЪCHHYUBMY YUHFSH-YUHFSH OJCE. rPMOPYCHYUOSCHNY DCHHNS PLFBCHBNY... yBMSRYO OE TBURPMBZBM.”
h LOYSE (j.o.), UP UUSCHMLPK ABOUT BCHFPTYFEF MBKHTY-chPMSHRY, CHSHCHDEMEOB LBFEZPTYS FBL OBSHCHCHBENSHI YOFHYFYCHOSHI RECHGPCH (voci intuitive):
“... YOFHYFYCHOSCHN RECHGBN KHDBCHBMPUSH YOPZDB RPYUFY Y OYUEZP DPVYCHBFSHUS YTPLLPZP DYBRBPOBPOB, YЪ ZMKHIYI ZPMPUCH DEMBFSH STLYE Y CHHYUOSCHE, KHNEMP ЪBRPMOSF SH RTPVEMSCH ZPMPUE (RETEIPDOSH OPFSCH), KHUFTBOSFSH FTHDOPUFY YURPMOOYS Y DENPOUFTYTPCHBFSH NHYSHCHLBMSHOPE UPCHETYOUFChP DP RTELMPOOPZP CHPTBUFB (LBL YJCHEUFOP, L YUYUMH Z EOYBMSHOSHI "YOFHYFYCHOSHI" "RECHGPC l. uFBOYUMBCHULIK PFOPUYM zh.
dPVBChMA, YuFP L "YOFKHYFYCHOSCHN" RECHGBN UMEDPCHBMP VSC PFOEUFY Y CHEMYLPZP TKHULPZP RECHGB oylpmbs zhyzoetb.

NEFPD RBTBDPLUBMSHOPZP DSCHIBOYS CH REOY YBMSRYOB
iBTBLFETYYHS yBMSRYOB LBL ZEOYBMSHOPZP CHPLBMYUFB, S RPЪCHPMA UEVE UCHSBBFSH LFP PRTEDEMEOYE U YURPMSHЪPCHBOYEN YN CH RECHUEULPN RTPGEUUE RBTBDPLUBMSHOPZP DSHBOY S.
pFFBMLYCHBSUSH PF RTYCHEDEOOSCH CHCHYE PGEOPL RTYTPDSCH Y LBYUEUFCHB ZPMPUB yBMSRYOB
(a. ёZEMSH, u. MECHYL, l. uFBOYUMBCHULIK), KHFCHETTSDEOYS o. iPDPFPChB P FPN, YuFP "YBMSRYOULYK FENVT... RPMKHYUM UCHPA PVTBVPFLKH nBNPOFB dBMSHULPZP" (CH UV. “YBMSRYO”, F.1, no. 1957), B FBLCE UMKHYBS OSHOE PRHVMYLPCHBOOSCH BRYUY yBMSRYOB, LPFPTSCHE ON RPUM RPUMHYCHBOYS ЪBRTEEBM CHSHCHRKHULBFSH (L RTYNETKH , FTY NPOPMPZB UBMSHETY YI PRETSH TYNULPZP-lPTUBLPCHB “nPGBTF Y UBMSHETY”, NPTsOP UDEMBFSH OELPFPTSHCHCHCHPDSH:
њ -chP-RETCHSCHI, ZPMPU yBMSRYOB U EZP TEDLPK LTBUPFSCH FENVTPN RTYTPDOSHCHNOE VSCHM, B VSCHM CHSTBVPFBO YN UBNYN.
њ -chP-CHFPTSCHI, EZP ZPMPU OE CHUEZDB VSHM RPUMKHYOSCHN YOUFTHNEOFPN, OP YOPZDB Y LPCHBTOSCHN (mbHTY-chPMSHRY).
њ -ch-FTEFSHYI, LPZDB yBMSRYO VSHM VPMEO, B VPMEM ON YUBUFP (UN. “DOECHOIL DYTELFPTB YNRETBFPTULYI FEBFTPC” part FEMSLPCHULPZP, n. 1998 Y “l. lPTPCHYO CHURPNYOB EF…”, M. 1971), FP REFSH BY OE YEN RTBCHB, RPULPMSHLH FENVT EZP ZPMPUB FETSM LTBUPFKH Y RETEUFBCHBM VSHFSH "YBMSRYOULIN". OP YOPZDB yBMSRYO REFSH PFLBSCHCHBMUS, OE VKHDHYU VPMSHOSCHN (UN. “DOECHOIL” part femslpchulpzp).
rPUENH BY FBL RPUFHRBM?
FERETSH, OBLPOEG, NPTsOP PFCHEFYFSH ABOUT CHPRTPPU: YUEN DMS yBMSRYOB VSHM NEFPD REOYS U YURPMSH'PCHBOYEN RTYENPCH RBTBDPLUBMSHOPZP DSHIBOYS? PFCHEF - LFPF NEFPD REOIS DMS yBMSRYOB VSCHM OE FPMSHLP PUOPChPK EZP CHPLBMSHOPZP Y UGEOYUUEULPZP YULHUUFCHB, OP FBLCE, ABOUT NPK CHZMSD, CH OBUYFEMSHOPK UFEREOY PLBJSCCHBM CH MYSOYE ABOUT EZP RPCHEDEOYE ABOUT TEREFYGYSI, ABOUT UGEOE Y CH TSYYOY. yURPMSHЪHS Khrtbtsoeoys bfpzp nefpdb, yBMSRYO DPVYCHBMUS PTZBOYUEULPZP (FEMEUOPZP) ЪCHHYUBOYS ZPMPUB. oERPCHFPTYNSCHK YBMSRYOULYK FENVT Y CHPNPTSOPUFSH FENVTTYTPCHBOYS VSHMY BFTYVKHFBNY FPMSHLP FEMEUOPZP ЪCHHYUBOYS.
UBN RTPGEUU REOYS, CH LPFPTPN NEIBOYN DSHIBOYS VSHM BCHFPNBFYYTPCHBO (CHSHCHDEMEOP NOPA-ch.v.) PVEUREYUYCHBM ENKH RPMOKHA UCHPVPDH UGEOYUEULPZP RPCHEDEOYS, TPTSDBM CH OERPLP MEVYNHA KHCHETEOPUFSH, Y BY THE REFINERY YUKHCHUFCHPCHBFSH Y YUKHCHUFCHPCHBM UEVS BVUPMAFOSHN IPSYOPN Y CHMBUFEMYOPN, LPFPTPNH CHUE DPMTSOSCH VSHMY RPCHYOPCHBFSHUS.
b PUOPCHPK URPUPVOPUFY yBMSRYOB ZYROPFYYTPCHBFSH BHDYFPTYA PDOYN UCHPYN RPSCHMEOYEN Y RPDDETSYCHBFSH CHONBOYE L UPVUFCHOOOPK RETUPOE H HEETV LPMMEZBN-BTFYUFBN, RPNNYNP EZP ZYZBOFULPZP TPUFB Y CHSHCHDBAEEZPUS KHNEOYS ZTYNYTPCHBFSHUS, FBLCE, ABOUT NPK CHZMSD, VSHMP Y UPOBOEK CHPPTHTSEOOPUFY PUPVVSHN NEFPDPN REOYS, OEDPUFKHROSCHN DTKHZYN, Y CH RETCHHA PYUETEDSH, RPAEIN ABOUT TKHULPN SJSHLE.
th EEE PDOP CHBTsOPE PVUFPSFEMSHUFChP. lBLNOe RTEDUFBCHMSEFUS, CHPLBMSHOBS Y UGEOYUEULBS BZTEUUYCHOPUFSH yBMSRIOB, EZP ULMPOOPUFSH L RPUFPSOOSCHN LPOZHMYLFBN NPZMY VSHFSH RPVPYuOSCHN UMEDUFCHYEN YURPMSHJPCHBOYS H REOY NEFPDB RBTBDPLUBMSHOPZP DSCHIBOYS. R. lMAYO KHFCHETTSDBM OEPDOPLTBFOP, YuFP RPUME YOFEOUYCHOSHI DSHHIBFEMSHOSCHI KHRTBTSOEOYK, CHSTBVBFSCHBAEYI PTZBOYUEULPE (FEMEUOPE) | US.
yBMSRYOB, ABOUT NPK CHZMSD, UMEDHEF UYUYFBFSH ZEOYBMSHOSCHN CHPLBMYUFPN OE FPMSHLP RPFPNH, YuFP ON VMEUFSEE PCHMBDEM NEFPDPN REOYS U YURPMSHЪPCHBOYEN RBTBDPLUBMSHOPZP DSHHIBOYS , B ZMBCHOSCHN PVTBBPN, RPFPNKH YuFP PO VMEUFSEE RTYNEOM LFPF, RP UKHEEUFCHH, YFBMSHSOULYK NEFPD Y YFBMSHSOULKHA NBOETH REOYS CH REOY ABOUT TKHULPN SJSHLE .
rPUME CHOINBFEMSHOPPZ RPTUMKHYCHBOYS CHUEI PRHVMYLPCHBOOSCHI YBMSRYOULYI OBRYUEK: BTYK YI PRET, TPNBOUPCH Y REUEO, 1901-2 Z.Z. (8 OPNETPCH), 1907 Z. (6 OPNETPCH), 1908 Z. (8 OPNETPCH), B FBLCE CHSHCHVPTPYuOP 1910 Z. (5 OPNETPCH), NOPA VSHMP KHUFBOPCHMEOP, YuFP yBMSRYO OBYUBM YURPMSHЪPCHBFSH nrly U 1908 Z ., B OBUYOBS U 1910 Z., CHUE EZP ЪBRYUY (ЪB YULMAYUEOYEN ЪBVTBLPLCHBOOSCHY YN UBNYN) - LFP STLYE UCHYDEFEMSHUFCHB YURPMSHЪPCHBOYS nrly (yBMSRYO OE ЪBRYUSCHCHBMUS Ch 1903-6 Z.Z.Y Ch 1909 Z.). y RPFPNH, S RPJCHPMA UEVE KHFCHETTSDBFSH, YuFP 1908 ZPD SCHYMUS RETEMPNOSHCHN LBL DMS TsYOY, FBL y DMS YULHUUFCHB yBMSRYOB, y OECHYTBS ABOUT CHUE RTEDYUFCHHAEYE KHUREY, FPSEYK ybmsryo, YMY yBMSRYO LBL ZEOYBMSHOSCHK CHPLBMYUF RTPSCHYMUS MYYSH RPUME 1908 Z. dMS VPMSHYEK KHVEDYFEMSHOPUFY NOE RTYDEFUS TBUUNPFTEFSH Y, NPTSEF VSHCHFSH, OEULPMSHLP RP YOPNH PGEOIFSH OELPFPTSHCHE UPVSHCHFYS CH TSYJOY Y YULHUUFCHE yBMSRYOB RTEDYUFCHPCHBCHYEZP DEUSFYMEFOEZP RETYPDB.

UPTECHBOYE yBMSRYOB (1898-1908)
ch 1898 Z. NHYSCHLBMSHOSHCHK LTYFYL ch. P FEBFTBMSHOPNH YULHUUFCHH. UMEDHEF PFNEFYFSH, YuFP UFBUPCH PUVPK PVYAELFYCHOPUFSHA OE PFMYUBMUS, Y boFPO yuEIPCH UBNEFIM RP LFPNH RPCHPDH (IPFS Y OE CH UCHSY UP UFBFSHEK P yBMSRYOE), YuFP UFBUP CH "...RTYTPDB DBMB TEDLHA URPUPVOPUFSH RSHSOEFSH DBCE PF RPNPECH" (GYFBFB YY RYUSHNB yuEIPChB UKhChPTYOKH, OPNET 320). OBYUEOYE LFPC UFBFSHY DMS yBMSRYOB, ABOUT NPK CHZMSD, VSHMP DCHPKUFCHEOOSCHN: RPMPTSYFEMSHOSHCHN - DBMB ENKH PZTPNOKHA KHCHETEOPUFSH CH UCHPYI CHNPTSOPUFSI, PFTYGBFEMSHOSHCHN - RBTBMY PCHBMB EZP DESFEMSHOPUFSH CH YUBUFY UPCHETYEOUFCHPCHBOYS CHPLBMSHOPZP NBUFETUFCHB. rPMPTSYFEMSHOSCHK ZBLFPT URPUPVUFCHPCHBM ZTBODYPOPNH KHUREYIH yBMSRYOB CH yFBMYY CH 1901 Z., PFTYGBFEMSHOSHCHK ZBLFPT YNEM PFOPYEOYE L ZBUFTPMSN Ch uyb ​​Ch 1907-8 Z.Z.
TBUUNPFTEOYE Y PGEOLB OBRYUEK CHPLBMSHOSHI RTPY'CHEDEOYK, UDEMBOOSCHI yBMSRYOSCHN CH RTPNETSKHFLE NETSDKH YFBMSHSOULINY Y BNETILBOULINE ZBUFTPMSNY, RP'CHPMSEF CHSHCHULB BFSH OELPFPTSHCHE UPPVTBTTSEOYS, YNEAEYE PFOPYEOYE L UBNYN ZBUFTPMSN.
OP UOBYUBMB - P ЪBRYUSI.
oEULPMSHLP UMCH P LBYUEUFCHE YURPMOEOYS. h OELPFPTSHHI ЪBRYUSI 1901-2 Z.Z.
NPTsOP PVOBTHTSYFSH OEDPUFBFLY NHYSHCHLBMSHOPUFY, CHSTBYFEMSHOPUFY Y CHPLBMSHOPK FEIOILY (BTYS uKHUBOYOB, LHRMEFSH NezHYUFPZHEMS YЪ “ZHBKHUFB”). h ЪBRYUSI 1907 Z., OEUNPFTS ABOUT OELPFPTPE KHMHYUYEOYE CHPLBMSHOPK FEIOIL, NPTsOP KHUMSHCHYBFSH ЪCHKHYUBOYE ZPMPUB NEOEE LTBUYCHPZP FENVTB, YUEN CH ЪBRYUSI 1901-2 Z.Z., RTY OEULPMSHLP CHHMSHZBTOPK NBOETE YURPMOOYS Y OEDPUFBFPYUOPK NHYSHCHLBMSHOPUFY (LHRMEFSH NezHYUFPZHEMS YЪ “ZHBKHUFB”, BTYS YЪ RTPMPZB L “NEZHYUFPZHEMA”).
PE CHUEI EBRYUSI 1901-7 Z.Z. OEF Y OBNELB ABOUT YURPMSHЪPCHBOYE nrly, UPZMBUOSCH ЪCHHLY CH LPOGBI ZhTB "RTPZMBFSHCHBAFUS".
oBRTBYCHBAFUS OELPFPTSHCHCHCHPDSH:
-chP -RETCHSHI, CHPLBMSHOPN YULKHUUFCHE yBMSRYOB RETYPDB 1901-7 Z.Z. VSHCHMY UETSHESHE OEDPUFBFLY Y OE VSHMP OBYUYFEMSHOPZP RTPZTEUUB ЪB RETIP.
-chP-ChFPTSCHI, HTPCHEOSH ЪBRYUEK LFPZP RETYPDB RPЪCHPMSEF RTEDRPMPTSYFSH, YuFP ZTBODYPOSCHK KHUREY YBMSRYOB CH NYMBOE CH TPMY NAZHYUFPZHEMS CH PRET BTTYZP vPKFP “NEZHYUFPZHEM SH”, CH OBYUYFEMSHOPK UFEREOY VSHM UCHSBO OE U EZP CHPLBMSHOSCHN YULHUUFCHPN, B U DTHZYNYY EZP FBMBOFBNY: KHNEOYEN ZYROPFYYTPCHBFSH BHDYFPTYA, CHSHCHDBAEINUS KHNEOYEN ZTYNYTPCHBFSHUS Y YJPVTBTSBFSH MAVSCHE RETUPOBTSY.
-ch-FTEFSHYI, EUMY LBUEUFCHP YBMSRYOULPZP REOYS CH BNETYLE CH “NEZHYUFPZHEME” Y “ZHBKHUFE” (U OPSVTS 1907 Z. RP ZHECHTBMSH 1908 Z.) VSHMP FBLYN CE, LBL Y CH ЪBRYUSI ZNEOFPCH YI FYI PRET, UDEMBOOSCHI CH UEOFSVTE 1907 Z. .

h CHPURPNYOBOYSI UREGYBMYUFPCH CH PVMBUFY CHPLBMB Y DTHJEK yBMSRYOB NPTsOP OBKFY KHFCHETTSDEOYS, YuFP yBMSRYO OILPZDB UETSHOP OE TBVPFBM OBD UPCHETYOUFChPCHBOYEN UCHPEK BMSHOPK FEIOILY, RPULPMSHLH ZEOYBMSHOPUFSH EZP OBFHTSCH DBCHBMB CHPNPTSOPUFSH ENKH PE NOPZPN VSHUFTP DPVYCHBFSHUS VMEUFSEYI TEKHMSHFBFPCH. OP DMS CHCHUYI DPUFYTSEOYK CH CHPLBMSHOPN YULHUUFCHE PDOPZP UCHETIFBMBOFB OEDPUFBFPYuOP, OEPVIPDYNSCH ETSEDOECHOSHE NOPZPYUBUPCHSHE ЪBOSFYS ABOUT RTPFSTSEOYY NOPZYI MEF.
bTFHTP fPULBOYOY (YЪ LOYZY hBMSHDEOSP “with REM U fPULBOYOY”):
UETZEK MECHYL (YЪ LOYZY “UBRYULY PRETOPZP RECHGB”):
“with OE CHYDEM yBMSRYOB, YUFPVSHCH BY LPZDB-MYVP YUYFBM YMY KHYYM TPMSH. th CHUE TSE - BY CHUE OBBM, th OILFP FBL UETSHEOP OE PFOPUYMUS L YURPMOOYA Y NKHSHHLE, LBL PO. lBLPK-MYVP TPNBOU PO RTPZMSDSCHBM PDYO TB Y HCE OBBM EZP Y REM.”
rTPYUYFBCH CHSHCHULBYSHCHBOYS MECHILB Y lPTPCYOB, NPTsOP RTEDRPMPTSYFSH, YuFP RTEDCHBTYFEMSHOPK (DPNBIOEK) RPDZPFPCHLPK L URELFBLMSN Y LPOGETFBN yBMSRYO OE ЪBOINBMUS Y, CHUS OEVIPDNBS RPDZPFPCHYFEMSHOBS TBVPFB RETEOPUYMBUSH YN ABOUT TEREFYGYY.
NOEOYE MECHILB P FPN, UFP yBMSRYO CH LLETUYUBI OE OHTSDBMUS, ABOUT NPK CHZMSD, ZMKHVPLP PYYVPYuOP, RPULPMSHLH RBUUBTSY CH YBMSRYOULYI OBRYUSI BTYK YЪ “UPNOBNVHM Shch”, “mHLTEGYY vPTDTSB” Y “dPOB dTsPChBOOY” PVTBGBNY UPCHETYEOUFCHB OE SCHMSAFUS.
p FPN, LBL yBMSRYO CHSHCHRECHBM FTEMY UKhDYFSH OECHPNPTSOP, FBL LBL CH EZP ЪBRYUSI POSCH OE CHUFTEYUBAFUS. OP LPMSH ULPTP yBMSRYO UYUFENBFYUEULY OE REM LYETUYUSH, MYVP YI-YB OETSEMBOYS, MYVP YY-YB RPUFPSOOPZP GEKFOPFB PF PVEEOYS U PZTPNOSCHN YYUMPN TBOSHI MADEK: “...YNEOOOPK KHLBBFEMSH MYG, CHUFTEFYCHYYIUS yBMSRYOKH CH FEYOOYE EZP TSYYOY, UPUFBCHMSEF OUEULPMSHLP FSHCHUSYU...” (YЪ LOYZY y. WITH ZPMPUB. y LFP PZTBOYUYCHBMP EZP ChPNPTSOPUFY RTY CHSHVPTE TERETFHBTB. dB Y OE FPMSHLP LFP. yЪ-ЪB RTEOEVTETSEOOYS CHPLBMSHOSCHNY HRTBTSOEOYSNY DMS YMYZHPCHLY ZPMPUB (OBDP RPMBZBFSH, YuFP nrly ON OYLPZDB OE RTEOEVTEZBM, YOBYUE VSC ybmsryo) yBMSRYO YOP ZDB FETSM DPUFYZOKHFPE CH RBTFYSI, LPFPTSCHE PO REM ABOUT RTPFSTSEOY CHUEK TSYI (CH UCHSY U LFYN, UN. DBMEE PV YOGYDEOFBI RTY ЪBRYUY UGEO YЪ “ZHBKHUFB” U DYTYTSETPN ADTSYOPN zHUUEOUPN).
yBMSRYO Y DYTYTSETSHCH
"l LBREMSHNEKUFETBN yBMSRYO RTEDYASCHMSM ZTPNBDOSHE FTEVPCHBOYS... iCHBMYM PO Y DEKUFCHYFEMSHOP RPYUYFBM FPMSHLP OBNEOYFPZP YFBMSHSOULZP LBREMSHNEKUFETB fPULBOYY PFUBUFY t BINBOYOPCHB. UP CHUENY DTHZYNY DYTYTSETBNY yBMSRYO CHUEZDB URPTYM Y OE MBDAYM... (DBMEE BCHFPT OBCHBM OELPFPTSCHI DYTYTSETPCH, L LPFPTSCHN yBMSRYO VMBZPCHPMYM, IPFS Y OE CHUEZDB - s.t.)… PUFBMSHOSHI RPYUFY CHUEZDB THZBM Y YUBUFP YNEM U OINY UFPMLOPCHEOYS ABOUT IHDPTSEUFCHEOOPK RPYUCHE.”
FEMSLPCHULIK CH “CHPURPNYOBoiSI” PRYUBM NOPZPYUYUMEOOSHE YBMSRYOULYE YOGYDEOFSH U DITYTSETBNY (DB Y OE FPMSHLP U DYYTTSETBNY) Y TBUULBUBBM, YuFP tBINBOYOPCH UYFBM s BMSRYOB ULBODBMYUFPN, OP, MBULPCHP OBSCHBS EZP "DHTPMPNPN", PRTBCHDSCHBM EZP RPchedeoye PFUKHFUFCHYEN CH vPMSHYPN FEBFTE OEPVIPDYNPK DYUGYRMYOSCH Y BMENEOFBTOPZP RPTSDLB , F.E., KHUMPCHYK DMS OPTNBMSHOPZP FCHPTYUEULPZP RTPGEUUB.
OP OH TBINBOYOPCH, OH FEMSLPCHULYK OE YOFETRTEFYTPCHBMY RPCHEDEOYE yBMSRYOB UFTENMEOYEN DPVYFSHUS OBYCHSHUYI NKHSCHLBMSHOSHI TEKHMSHFBFPCH. yOPZDB yBMSRYOKH U OEPIPFPK RTYIPDYMPUSH RTYOBCHBFSH OEPVPUOPCHBOOPUFSH UCHPYI RTEFEOOYK L DYTYTSETBN (OYCE S RTPGYFYTHA CHSHCHULBSCCHBOYS PV LFPN fPULBOYOY).
OB NPK CHZMSD, CH VPMSHIYOUFCHE UMKHYUBECH RTYYUYOB UFSHYUEL yBMSRYOB U DITYTSETBNY VSHMB PDOB: BY RTYIPDIM ABOUT TEREFYGYY, VKHDHYU UBN OEDPUFUFPYUOP RPDZPFPCHMEOOOSCHN CH RMBOE NHYSHCHL BMSHOPN, B ЪBFEN, VMBZPDBTS UCHPYN HOILBMSHOSCHN URPUPVOPUFSN UICHBFSHCHBFSH CHUE OBMEFKH, DPVYCHBMUS OHTSOSHI TEKHMSHFBFPCH "YBZBS RP FTKHRBN".
TBUULB yBMSRYOB YI LOYZY a. YMSHYOB Y u. NYIEEECHB “CHEMYLYK LBTHЪP”, level 1995 (RPUME FPZP LBL ABOUT RETCHPK TEREFYGYY “NEZHYUFPZHEMS” fPULBOYOY RPFTEVPCHBM, YuFPVSH yBMSRYO REM RPMOSHN ZPMPUPN):
“s OENEDMEOOOP UDEMBM LFP Y ЪBTBVPFBM UBNSCH YULTEOOOYE RPЪDTTBCHMEOYS. pDOBLP, NBOETB RPCHEDEOYS fPULBOYO OUEULPMSHLP CHCHCHEMB NEOS YYUEVS. th FPZDB lBTHЪP PVYASUOIM NOE, YuFP fPULBOYOY - CHTPDE RUB, LPFPTSCHK VEЪ LPOGB MBEF, OP OE LHUBEF; DEULBFSH, ZPMPUB PUFBMSHOSHI RECHGPCH DYYTTSETKH YJCHEUFOSHCH, UP NOPC CE DEMP PWUFPYF YOBYUE... lBTHЪP RTPYCHEM ABOUT NEOS UBNPE PYUBTPCHBFEMSHOPE CHREYUBFMEOYE, CHEUSH EZP PVMYL P MYGEFCHPTSM UETDEYOOHA DPVTPFH. b EZP ZPMPU - LFP YDEBMSHOSCHK FEOPT. lBLINE OBUMBTSDEOYEN VSHMP REFSH U OIN CHNEUFE!”
JOFTEUOSCH CHSHCHULBSHCHBOYS fPULBOY P TBVPFE U yBMSRYOSCHN CH LOYSE "ARTURO TOSCANINI. Contemporary Recollections of the Maestro" by Haggin, NY 1999.
fPULBOYOY RPRTBCHMSM yBMSRYOB ABOUT TEREFYGYSI: “Was molto bene, molto modesto.”
FOLBOY: "He did some things not perfetto; but we worked. Everything I tell him, he say: "Si, Maestro, si." And he did a wonderful Mefistofele. Correct! CORRECT!!!".
CHUE VSHMP UDEMBOP RTELTBUOP Y VSHM VPMSHYPK KHUREY. fPULBOYOY TEYM, YFP OBLPOEG, OBUYEM RECHGB U RTELTBUOSCHN ZPMPUPN, PFMYUOPZP BLFETB, ULTPNOPZP Y UMEDHAEEZP KHLBBOYSN DYTYTSETB. dYTELGYS RTYZMBUYMB yBMSRYOB RTYEIBFSH UOPCHB CH UMEDHAEEN ZPDH. rPUME bfpzp ybmsryo rem ch prete “nezhjuufpzhemsh” ch mpodpoe y ch rbtYtse y CHEDE U VPMSHYYN KHUREIPN. pDOBTDSCH fPULBOYOY KHOOBM, YuFP yBMSRYO PE CHTENS PDOPZP YJ URELFBLMEK UFBM UYZOBMYFSH DYTYTSETKH: "Via, via, via!" And Toscanini said: "No, no, you make a mistake. Is molto, molto modesto. No, no."
ъBFEN fPULBOYO RTYEIBM CH rBTYTS, ZDE yBMSRYO REM CH “NEZHYUFPZHEME”, Y TBUULBBIBM "Was porcheria! Male-bad-bad taste- everything distorted! I went backstage, and I said to him: "Chaliapin, you must restudy the whole thing when you come to La Scala! We must work again!" "Si, Maestro, si.""
yBMSRYO UOBYUBMB UPZMBUYMUS, B ЪBFEN PFLBBBMUS RTYEIBFSH, Y fPULBOYO CH OEN TBUPYUBTPCHBMUS, IPFS RTDDPMTsBM UYUYFBFSH EZP CHSHCHDBAEEKUS MYUOPUFSH.
rPUME 1901 Z. YI UPCHNEUFOSCHI CHCHUFKHRMEOYK VPMSHYE OILPZDB OE VSHMP. YOFETEUOP, YuFP CH LOYSE CHBMSHDEZP “with REM U fPULBOYA” EUFSH NOPZP TBUULBBPCH fPULBOYO P CHSHCHDBAEYIUS RECHGBI YI NBUFETUFCHE, OP yBMSRYO UTEDY OYI OE OBCHBO, FBL LBL PFD BCBS DPMTSOPE YBMSRYOULPNH FBMBOFH, fPULBOYOY, PYUECHYDOP, NBUFETPN EZP OE UYFBM.
h FEYUEOYE ZBUFTPMEK CH UECHETOPK bNETYLE U OPSVTS 1907 Z. RP ZHECHTBMSH 1908 Z. yBMSRYO UREM CH 22-I URELFBLMSY CH PDOPN UVPTOPN LPOGETFE NEFTPRPMYFEO-PRETSCH CHOSH-KPTLE ZHYMBDEMSHYY. BY UREM NEZHYUFPZHEMS CH PRETE vPKFP “NEZHYUFPZHEMSH” - 8 TBY CH PRETE ZHOP “ZHBKHUF” - 4 TBUB, dPOB vBYMYP CH PRETE TPUUYOY “UECHYMSHULYK GYTAMSHOYL” - 6 TBY MERPTEMP CH PRETE nPGBTFB “dPO dTsPChBOOY” - 4 TBUB. h UVPTOPN LPOGETFE
yBMSRYO UREM “chBLIYUEUULHA REUOA” zMBHOPCHB ABOUT UFIYY b. RKHYLYOB ABOUT ZHTBOGKHULPN SJSHLE.
h LOYZE “UFTBOYGSCH YI NPEK TSYOY” (m. 1990) yBMSRYOKH DMS PRYUBOYS LFYI ZBUFTPMEK ICHBFYMP YEUFY UFTBOYG. BY OYUEZP OE OBRYUBM PUBNYI URELFBLMSI, PRECHGBI-RBTFOETBI Y DYTYTSETBI. PRYUBOYS, CH PUOPCHOPN, ЪBRPMOEOSCH EZP RTEFEOOYSNY L BNETYLE Y BNETYLBOWLINE RPTSDDLBN. OP, OBCHETOPE, P URELFBLMSI, CH LPFPTSCHI YBMSRYO VSHM ЪBOSF, Y P DTHZYI, CH LPFPTSCHI OE VSHM UBBOSF, OP Refinery RTYUKHFUFChPCHBFSH, B FBLCE P TEREFYGYSI NPTsOP VSHMP VSHCH GEMKHA LOYZKH. th LBL YOFETEUOP VSHMP VSH FBLHA LOYZKH OBN YUYFBFSH. chNEUFP LFPPZP, YUYFBEN UEFPCHBOYS: “noe ЪBIPFEMPUSH RPVSCCHBFSH CH UETSHEOPN FEBFTE, RPUMKHYBFSH yELURYTB ABOUT EZP TDOPN SSHCHLE. pLBBBMPUSH, YuFP FBLPZP FEBFTB OEF... tsYMPUSH KHTsBUOP ULHYUOP, Y S UMBDLP NEYUFBM P DOE, LPZDB HEDH CH ECHTPRH.”
pYUEOSH UFTBOOP, RPYUFY OECHETPSFOP, YUYFBFSH P LBLPK-FP ULHLE, LBL-VKhDFP OE VSHMP 22-I PFCHEFUFCHEOOSHI URELFBLMEK, CH LPFPTSCHI OHTsOP VSHMP REFSH YZTBFSH.
y OE RPDFCHETTSDBEF MY ZHTBYB "TSYMPUSH HTSBUOP ULHYUOP" TBOEE CHSHCHULBBOOPE RTEDRPMPTSEOYE, YuFP yBMSRYO, OBIPDSUSH DPNB YMY TSYCHS CH ZPUFYOYGE, L URELFBLMSN OE ZPFPCHYMUS Y OB D TPMSNY OE TBVPFBM. fBLCE OERPOSPHOP, RPYUENH yBMSRYOB OE YOFETEUPCHBMY PRETOSCHE URELFBLMY U KHYUBUFYEN lBTHЪP. YI VSHMP VPMEE FTYDGBFY, RPLB yBMSRYO FBN VSHM, Y SING DCHBTDSCH REMY CHNEUFE CH “ZHBKHUFE”.
h “uFTBOYGBI” yBMSRYO OYUEZP PV LFYI URELFBLMSI OE OBRYUBM. b CHEDSH CH 1901 Z. CH NYMBOE ON VSCHM CH CHPUFPTZE PF REOYS lBTHЪP Y PF PVEEOYS U OYN.
yBMSRYO (YЪ “uFTBOYG”): “lBL UEKYUBU, RPNOA RTEDUFBCHMEOYE PRETSH “mAVPCHOSHCHK OBRYFPL”, CH LPFPTPN UBNEYUBFEMSHOP REM lBTHЪP, FPZDB EEE NPMPDK YUEMPCHEL, RPMOSHCHK UYM, UEMSHUBL Y RTELTBUOSCHK FPCHBTYE. oBFKhTB RP-TKHUULYYTPLBS, BY VSHM YULMAYUYFEMSHOP DPVT, PFYSHCHYUCH Y CHUEZDB PIPFOP, EEDTP RPNPZBM FPCHBTYEBN CH FTHDOSHHI UMKHYUBSI TSYYOY.”
L CBNENPPOPOYOYOSN LBTHP IBMSRECRO RETIPD BNELBOULYA Zbuftpmek with Eae Chetokhush, b -feresh phphele ybmsryulyi chuschufhrmeyk hbetilbuley Zbyefby FPZP FPZP CHENEOI. oBULPMSHLPNOE YJCHEUFOP, CH TKHUULPSYUOPK REYUBFY OILPZDB OE VSHMP PVAELFYCHOPZP BOBMYYB BNETYLBOULYI URELFBLMEK U HYUBUFYEN yBMSRYOB Y OYLPZDB TEGEOY OB Y URELFBLMY OE VSHMY PRHVMYLPCHBOSHCH, RPULPMSHLH PFOPYEOYE TEGEOJEOFPCH L YULHUUFCHH yBMSRYOB, CH PUOPCHOPN, VSHMP OEZBFYCHOSCHN.
ChPF ZhTBZNEOFSH YЪ TEGEOYK:
-Musical Courier, Jan. 22, 1908... the Russian basso has not made the expected sensation here;
Chaliapine is very ordinary basso, who sings in a vulgar way, without polish or refinement, and who has a very bad tremolo. As a singer he is not to be mentioned in the same month with Pol Plancon. As an actor he is only fair, always taking advantage of his great height, his massive limbs, his fine chest and magnificent stage scenery and the limelight.
(nBTUEMSH tsKhTOE, dhbtd de teyle, rpmsh rmboupo, nptyu teop, chylfpt nptemsh, bofpoip ulpffy - CHSDBAEYEUS ZhTBOGKHULYE Y FBMSHSOULYE RECHGSHCH-BLFETSH, VBUSH Y V BTYFPOSH, UPCHTENEOOILY yBMSRYOB, U LPFPTSCHNY UTBCHOYCHBMY EZP BLFETULPE Y CHPLBMSHOP NBUFETUFCHP, - s.t.) .
about NPK CHZMSD, NOPZPE CH OEZBFYCHOPK LTYFYLE YBMSRYOULPZP REOYS NPTSEF VSHFSH FBLCE PFOUEOP L OBRYUSN, UDEMBOOSCHN OERPUTEDUFCHEOOP RETED ZBUFTPMSNY.
pGEOYCHBS YFY ЪBRYUY U RPIYGYK RPUMEZBUFTPMSHOSHI YYNEOOYK CH CHPLBMSHOPK FEIOMPMPZY YBMSRYOB Y KHMHYUYOEOS FENVTPCHSHCHI LTBUP EZP ZPMPUB, RPDFCHETTSDBENSHI OBRYUBNY 1908. .
part FEMSLPCHULYK PV BNETYLBOULYI ZBUFPMSI yBMSRYOB y LOYZY part FEMSLPCHULPZP “NPK UPUMKHTSYCHEG yBMSRYO”:
“...RETCHBS RPEЪDLB yBMSRYOB CH OSHA-kPTL PLBBBMBUSH TPLPCHPK DMS EZP UHDSHVSHCH... rPUME OBLPNUFCHB U bNETYLPK zhEDPT yCHBOPCHYU YYNEOMUS UBN. p OPCHSHI RBTFYSI ON UFBM DKHNBFSH NBMP Y YUBEE UPPVEBM P OYI YOFETCHSHAETBN, YUEN TBVPFBM OBD OINY, P OPCHSHI RPUFBOPCHLBI ON HCE OE VSHM CH UPUFPSOYY, LBL LPZDB-FP, ZPCHPTYFSH CH CHPMOPCHBOOP Y DPMZP. bFP CHTENS VSHMP RETEMPNPN CH EZP BTFYUFYUEULPK LBTSHETE.
tHUULBS PRETB HCE OE YOFETEUPCHBMB EZP, LBL RTETSDE, IPFS BY EE EEE GEOIM.
FERETSH EZP UFBM YOFETEUPCHBFSH FPF YOFETOBGYPOBMSHOSCHK IPDPCHPK TERETFHBT, LPFPTSCHK ON VHDEF REFSH UB ZTBOYGEK... lBL IHDPCOIL Y LBL OPCHBFPT PRETOPZP FEBFTB ZHEDP YCHB OPCHYU PUFBOPCHYMUS CH UPEN TBCHYFYY. h PRETBI BY YOPZDB UFBM RETEIZTSCHBFSH, h YUBUFOPUFY, CH “UECHYMSHULPN GYTAMSHOYLE”. EZP GBTSH vPTYU UP CHTENEOEN YЪNEMSHYUBM CH NBUYFBVBI, Y CH UGEOE ZBMMAGIOBGYK HCE RPSCHYMUS OBMEF FEBFTBMSHOPZP NEMPDTBNBFYNB, RTYYEDYK ABOUT UNEOKH VSHMPNKH FTBZYUEULPNH RBZHPUKH CHEMYUBKYEZP OBRTSCEOYS.”
oBRTBOOOP YULBFSH CH “uFTBOYGBI” LBLYE-MYVP PVASUOEOYS RTYUYO RETEMPNB.
chTSD MY OEZBFYCHOSCH TEGEOY YMY RPFETS RPMPTSEOOSCHI CH RMPIPK VBOL DEOEZ NPZMY OBDPMZP YURPTFIFSH OBUFTPEOYE yBMSRYOKH. BY HTSE YUETE DEUSFSH DOEK RPUME CHPTBEEOYS NOPZP CHSHCHUFKHRBEF CH TBOSCHI ZPTPDBI ECHTPRSCH, B MEFPN PFRMSCHCHBEF CATSOKHA bNETYLH DMS KHYUBUFYS CH PRETBI “NEZHYUFPZHEMSH”, “u ECHYMSHULYK GYTAMSHOIL” Y “dPO dtspchbooi”.
h YUEN TSE RTYUYOSCH RETEMPNB, WHERE IS YI YULBFSH? nPTsEF VSHFSH, CH URELFBLMSI?
KHYUBUFYE YBMSRYOB CH “NEZHYUFPZHEME”, “UECHYMSHULPN GYTAMSHOYLE” Y “ZHBKHUFE” OILBL OE NPZMP VSHFSH RTYYUYOPK, RPULPMSHLH RBTFYY CH FYI PRETBI VSHMY DMS OEZP “VPECHSHCHNY” LPOSNY", Y OEUNPFTS ABOUT OEZBFYCHOHA LTYFYLH CH RTEUUE, X RHVMYLY PO YNEM CHOYI KHUREY, IPFSH Y OEUTBCHOYNSCHK U ECHTPREKULIN, OP KHUREY.
OP EZP KHUBUFYE CH “dPO dTsPChBOOY” CH RBTFYY MERPTEMMP, ABOUT NPK CHZMSD, - LFP PDOB YY RTYUYO. rBTFYA MERPTEMMP BY UREM CH TSIJOY 4 TBBB CH UECHETOPK bNETYLE, B ЪBFEN DPMTSEO VSHM CH LPOGE MEFB LFPZP TSE 1908 Z. UREFSH EE CH VHIOPU-bKTEUE (P FPN, YuFP yBMSRYO UR EM FBN BFH RBTFYA, FPYuOSCHI UCHEDEOOK OEF), OP VPMSHYE OYLPZDB HER OE REM.
yBMSRYO CH PRETE nPGBTFB “dPO dTsPChBOOY”. ZHUFBC NBMET - DITYTSET
yЪ YBMSRYOULYI “uFTBOYG”: “...rTYEIBM OBNEOIFSHCHK CHEOULYK DYTYTSET nBMET.
about OBYUBMY TEREFYTPCHBFSH “dPO-tsKHBOB” (OBCHBOYE PRETSH “dPO dTsPCHBOOY” UDEMBOP nPGBTFPN Y RTYOSFP PE CHUEN NYTE, LTPNE TPUUYY, ZHERE OBSHCHBMY Y RTDPDPMTSBAF OBSCHCHBFSH “dPO-ts” KhBOPN” - s.t.). VEDOSCHK nBMET! PO ABOUT RETCHPK CE TEREFYGYY RTYYEM CH RPMOPE PFYUBSOYE, OE CHUFTEFYCH OY CH LPN FPK MAVCHY, LPFPTHA PO UBN OEYYNEOOOP CHMBZBM CH DEMP.
NYTPCHPE RTYOBOE NBMETB (1860-1911), LBL ZEOYBMSHOPZP LPNRPYFPTB, RTPYIPYMP CH FTYDGBFSHCHI-UPTPLPCHSHCHI ZPDBI DCHBDGBFPZP UFPMEFYS, OP LBL P ZEOYBMSHOPN DYTY CETE P OEN EUFSH NOPZP PFЪSCCHPCH EZP UPCHTENEOOILPC. UTEDY OYI YCHEUFOSH RYUBFEMY Y NKHSHCHLBOFSHCH: z. ZBHRNBO, f. nBOO, u. gCHEKZ, c. hBMSHFET, b.
lBYEMMB Y DT.
ZETIBTD zBKHRFNBO (YЪ LOYZY “ZKHUFBCH NBMET”): “ZEOYK zKHUFBChB nBMETB RPLBBBFEMEO DMS CHEMYLYI FTBDYGYK OENEGLPK NKHSHHLY. dBCE RTPFYCHOIL, LPFPTSCHN YUKHTSDSCH EZP UYNZHPOYY, UPZMBUSFUS,... EUMY CHURPNOSF FChPTYUEULHA NPESH, PFMYUBAEKHA nBMETB Y FPZDB, LPZDB PO CHPURPYCHPDYF CHEMILHA NHJ SCHLH RTPYMPZP. according to PVMBDBEF DENPOYNPN Y RMBNEOOPK NPTBMSHOPK UYMPK OENEGLPZP NBUFETB, FEN EDYOUFCHEOOSCHN VMBZPTPDUFCHPN, LPFPTPPE NPTsEF DPLBBFSH UCHPE RPDMYOOOP VPTSEUFCHOOPE RT PYYIPTSDEOOYE..."
yЪ RPNSH UFEZHBOB gCHEKZB “DYTYTSET”, RPUCHSEOOOPK z. nBMETKH (YЪ LOYZY “zHUFBCH nBMET”):
“... pFLHDB X OEZP
fBLBS CHMBUFSH, YuFPV ЪCHHLY RPLPTYFSH,
MADEK BUFBCHYFSH MYFSH DOORCH, LBL LTPCHSH,
rPCHESOHFSH OBU, DSHBIBOSH EBFBYCHYI,
h FTECHPTSOSCHK UPO Y UMBDLIN SDPN ЪЧХЛПЧ
oBU PDHTNBOIFSH? YuFPVSH PEHEBM S,
lBL CHNBI EZP THLY CH NPEK ZTHDY
lBLYE-FP OBFSOKHFSCHE UFTKHOSHCH
chDTHZ TBTSCHCHBEF?..."
yЪ UFBFSHY VTHOP chBMSHFETB “pV PRETOPN FEBFTE” (CH UV. “yURPMOYFEMSHULPE YULHUUFCHP ЪBTHVETSOSHI UFTBO”, ChShchR. 1, n. 1962):
OBDP RPMBZBFSH, YuFP yBMSRYO, UKhDS RP OBRYUBOOPNH CH “uFTBOYGBI”, OE VSHM DPUFBFPYuOP PUCHEDPNEO P ZHEOPNEOE NBMETB (OBRYUBOYE CH “uFTBOYGBI” ZHBNYYY YUTE “Ј” LBL NBM JT ZPCHPTYF P FPN, UFP yBMSRYO Y CH RPUMEDHAEYE ZPDSH OE RTPSCHMSM YOFETEUB L VYPZTBZHIY ZEOYBMSHOPZP DYTYTSETB-LPNRPYFPTB).
lTPNE FPZP, yBMSRYO, CHETPSFOP, OE PUEOSH SUOP UEVE RTEDUFBCHMSM, YUEN PFMYUBEFUS REOYE CH PRETBI nPGBTFB PF REOYS CH YFBMSHSOULYI ZHTBOGKHYULYI PRETBI, CH LPFPTCHI PO DB YNEM YKHNOSHCHK KHUREY. y, RPTsBMHK, FPMSHLP VMBZPDBTS UCHPEK ZEOYBMSHOPK YOFKHYGYY, yBMSRYO UKHNEM UREFSH YYIPVTBYFSH MERPTEMMP CH YUEFSHTEI URELFBLMSI “dPOB dTsPChBOOY”, IPFS ЪDEUSH DPM TsOSCH VSHCHMY RTPSCHYFSHUS (Y, OBCHETOPE, RTPSCHYMYUSH) OELPFPTSHCHE IBTBLFETOSHCH PUPVEOOPUFY EZP MYUOPUFY Y EZP YULHUUFCHB, OEUPCHNEUFYNSCHE U FTEVPCHBOYSNY, RTEDYASCHMSENSHNY L KHYBUFOILBN NPGBUFPCHULYI PRET. b ZMBCHOPE FTEVPCHBOYE - LFP YUEFLPE CHBINPDEKUFCHYE U RBTFOETBNY RTY REOY CH BOUBNVMSI. OBDP RPMBZBFSH, YuFP YBMSRYO VUPVPZP Choynboys Pfopuimus l Feng Zhtbzneofbn rushing, h LPMCEO VSHM Fchptike NHSHSHSHSHSHSHSHSHLBMSHYU LTBUPSHSHECHEPSHEPHEPHEPHEPHEPhop at RBTFFFETBENY. according to RPDYUB "ЪBVYCHBM" OE FPMSHLP DTHZYI KHUBUFOILPC, OP Y UBNY ZHTBZNEOFSHCH.
<...the fact remain s that from his first gigantic entrance in the "Calumny" aria ,which had to be repeated, the big, rough Russian bass made his every point a telling one with the house. Only the time-honored reentrance in "Good-night" ensemble fell flat, because the laughing audience had exhausted its applause just before...>yЪ LOYZY The Golden Age of Opera, NY 1983 (PV YURPMOOY yBMSRYOSCHN RBTFYY vBYMYP CH “UECHYMSHULPN GYTAMSHOYLE”):
. TBL YFP RTYYEYYE ABOUT URELFBLMSH TBDY yBMSRYOB VSHCHMY CH CHPUFPTZE, B RTYYEDYE TBDY PRETSH TPUUYOY….(?).
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YoFETEUOSCH CHPURPNYOBOYS dTSETBMSHDYOSCH ZBTTBT, RECHYEK GETMYOKH, P yBMSRYOE CH TPMY MERPTEMMP CHE LOYSE: The Autobiography of Geraldina Farrar, NY 1938:
“The success, however, did not measure up to the European hysteria to which he had long been accustomed. He was displeased, out of sorts, and dissolved in a huge Russian pout all winter. This humor did nothing to effect harmony in a revival of "Don Giovanni", in which he was cast as Leporello, under the electrical baton of Mahler. Mahler was very ill - a doomed man; highly sensitive, irascible and difficult, but not un reasonable if the singer was serious and attentive. Chaliapin, however, was completely oblivious to rehearsal obligations. Mahler was sorely tried.
The beautiful Emma Eams and the reliable Gadski, with Scotti, Bonci and myself, did our best to avert clashes. As I had sung Zerlina in Berlin under Strauss -under Muck in Salzburg - this training earned me Mahler's pleasant commendation; but we were, nevertheless, on pins and needles at every meeting. Happily, no overt act marred the performances, thoug h it was a trifle disconcerting, to Scotti particularly, to have Chaliapin make a studied departure into Russian recitative where the fluent Italian text offered cues none too facile at any time; but this was purveyed with such bland impertinence, it was impossible to resist or chide this naughty giant!
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The Musical Courier (Jan. 29, 1908)
"Chaliapine failed to give all the comic gusto, all the rich rascality that belong to Don Giovanni"s able assistant. Chaliapine"s Leporello is too rustic." (The New York Times).
"Chaliapine made a dirty, vulgar boor and buffon out of the part of Leporello." (The New York Tribune).
"Chaliapine's Leporello was commendable, if not exceptional." (The Sun).
"Chaliapine was especially good in his acting." (The New York Herald).
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YMY
First People's Artist of the Republic (1918-1927, title returned in 1991).

The son of the peasant of the Vyatka province Ivan Yakovlevich Chaliapin (1837-1901), a representative of the ancient Vyatka family of the Shalyapins (Shelepins). Chaliapin's mother is a peasant woman from the village of Dudintsy, Kumensky volost (Kumensky district, Kirov region), Evdokia Mikhailovna (nee Prozorova).
As a child, Fedor was a singer. As a boy, he was sent to study shoemaking with shoemakers N.A. Tonkov, then V.A. Andreev. He received his primary education at Vedernikova’s private school, then at the Fourth Parish School in Kazan, and later at the Sixth Primary School.

Chaliapin himself considered the beginning of his artistic career to be 1889, when he joined the drama troupe of V.B. Serebryakov, initially as a statistician.

On March 29, 1890, the first solo performance took place - the part of Zaretsky in the opera “Eugene Onegin”, staged by the Kazan Society of Stage Art Lovers. Throughout May and early June 1890, he was a chorus member of V.B.’s operetta company. Serebryakova. In September 1890, he arrived from Kazan to Ufa and began working in the choir of an operetta troupe under the direction of S.Ya. Semenov-Samarsky.
Quite by accident I had to transform from a chorister into a soloist, replacing a sick artist in Moniuszko’s opera “Galka” in the role of Stolnik.
This debut brought out the 17-year-old boy, who was occasionally assigned small opera roles, for example, Ferrando in Il Trovatore. The following year he 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 Derkach came to Ufa, and Chaliapin joined it. Traveling with her led him to Tiflis, where for the first time he managed to take his voice seriously, thanks to the singer D.A. Usatov. Usatov not only approved of Chaliapin’s voice, but, due to the latter’s lack of financial resources, began giving him singing lessons for free and generally took a great part in it. He also arranged for Chaliapin to perform in the Tiflis opera of Ludwig-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 in Lentovsky's opera troupe, and in the winter of 1894-1895. - in the opera partnership at the Panaevsky Theater, in the Zazulin troupe. The beautiful voice of the aspiring artist and especially his expressive musical recitation in connection with his truthful acting attracted the attention of critics and the public to him.
In 1895, he was accepted by the directorate of the St. Petersburg Imperial Theaters into the opera troupe: he entered the stage of the Mariinsky Theater and successfully sang the roles of Mephistopheles (Faust) and Ruslan (Ruslan and Lyudmila). Chaliapin’s varied talent 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 1895-1896 season he “appeared quite rarely and, moreover, in parties that were not very suitable for him.” Famous philanthropist S.I. Mamontov, who at that time ran an opera house in Moscow, was the first to notice Chaliapin’s extraordinary talent and persuaded him to join his private troupe. Here, in 1896-1899, Chaliapin developed artistically and developed his stage talent, performing in a number of responsible roles. Thanks to his subtle understanding of Russian music in general and modern music in particular, he completely individually, but at the same time deeply truthfully created a number of significant images of Russian opera classics:
Ivan the Terrible in “Pskovianka” N.A. Rimsky-Korsakov; Varangian guest in his own “Sadko”; Salieri in his “Mozart and Salieri”; Miller in “Rusalka” by A.S. Dargomyzhsky; Ivan Susanin in “Life for the Tsar” by M.I. Glinka; Boris Godunov in the opera of the same name by M.P. Mussorgsky, Dosifey in his “Khovanshchina” and in many other operas.
At the same time, he worked hard on roles in foreign operas; for example, the role of Mephistopheles in Gounod’s Faust in his broadcast received amazingly bright, strong and original coverage. Over the years, Chaliapin has gained great fame.

Chaliapin was a soloist of the Russian Private Opera, created by S.I. Mamontov, for four seasons - from 1896 to 1899. In his autobiographical book “Mask and Soul,” Chaliapin characterizes these years of his creative life as the most important: “From Mamontov I received the repertoire that gave me the opportunity to develop all the main features of my artistic nature, my temperament.”

Since 1899, he again served in the Imperial Russian Opera in Moscow (Bolshoi Theater), where he enjoyed enormous success. He was highly praised 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 donated proceeds from his performances to workers. His performances with folk songs (“Dubinushka” and others) sometimes turned into political demonstrations.
Since 1914 he has been performing in private opera companies of S.I. Zimina (Moscow), A.R. Aksarina (Petrograd).
In 1915, he made his film debut, the main role (Tsar Ivan the Terrible) in the historical film drama “Tsar Ivan Vasilyevich the Terrible” (based on Lev Mei’s drama “The Pskov Woman”).

In 1917, in the production of G. Verdi’s opera “Don Carlos” in Moscow, he appeared not only as a soloist (the part of Philip), but also as a director. His next directorial experience was the opera “Rusalka” by A.S. Dargomyzhsky.

In 1918-1921 - artistic director of the Mariinsky Theater.
Since 1922, he has been on tour abroad, in particular in the USA, where his American impresario was Solomon Hurok. The singer went there with his second wife, Maria Valentinovna.

Chaliapin's long absence aroused suspicion and negative attitude in Soviet Russia; so, in 1926 V.V. Mayakovsky wrote in his “Letter to Gorky”:
Or live for you
how Chaliapin lives,
splashed with scented applause?
Come back
Now
such an artist
back
to Russian rubles -
I'll 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 presented on May 31, 1927 in the VSERABIS magazine by a certain VSERABIS employee S. Simon as support for the White Guards. This story is told in detail in Chaliapin’s autobiography “Mask and Soul”. On August 24, 1927, by a resolution 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 title of artist was awarded to him” or, according to other sources, by the fact that he allegedly donated money to monarchist emigrants.

At the end of the summer of 1932, he played the main role in the film “Don Quixote” by the Austrian film director Georg Pabst, based on the novel of the same name by Cervantes. The film was shot in two languages ​​at once - English and French, with two casts, the music for the film was written by Jacques Ibert. Location shooting of the film took place near the city of Nice.
In 1935-1936, the singer went on his last tour to the Far East, giving 57 concerts in Manchuria, China and Japan. During the tour, his accompanist was Georges de Godzinsky. In the spring of 1937, he was diagnosed with leukemia, and on April 12, 1938, he died in Paris in the arms of his wife. He was buried in the Batignolles cemetery in Paris. In 1984, his son Fyodor Chaliapin Jr. achieved the reburial of his ashes in Moscow at the Novodevichy Cemetery.

On June 10, 1991, 53 years after the death of Fyodor Chaliapin, the Council of Ministers of the RSFSR adopted Resolution No. 317: “To cancel the resolution of the Council of People's Commissars of the RSFSR of August 24, 1927 “On depriving F. I. Chaliapin of the title “People's Artist” as unfounded.”

Chaliapin was married twice, and from both marriages he had 9 children (one died at an early age from appendicitis).
Fyodor Chaliapin met his first wife in Nizhny Novgorod, and they got married in 1898 in the church of the village of Gagino. This was the young Italian ballerina Iola Tornaghi (Iola Ignatievna Le Presti (after Tornaghi’s stage), died in 1965 at the age of 92), born in the city of Monza (near Milan). In total, Chaliapin had six children in this marriage: Igor (died at the age of 4), Boris, Fedor, Tatyana, Irina, Lydia. Fyodor and Tatyana were twins. Iola Tornaghi lived in Russia for a long time and only in the late 1950s, at the invitation of her son Fedor, she moved to Rome.
Already having a family, Fyodor Ivanovich Chaliapin became close to Maria Valentinovna Petzold (née Elukhen, in her first marriage - Petzold, 1882-1964), who had two children of her own from her first marriage. They have three daughters: Marfa (1910-2003), Marina (1912-2009) and Dasia (1921-1977). Shalyapin's daughter Marina (Marina Fedorovna Shalyapina-Freddy) lived longer than all his children and died at the age of 98.
In fact, Chaliapin had a second family. The first marriage was not dissolved, and the second was not registered and was considered invalid. It turned out that Chaliapin had one family in the old capital, and another in the new one: one family did not go to St. Petersburg, and the other did not go to Moscow. Officially, Maria Valentinovna’s marriage to Chaliapin was formalized in 1927 in Paris.

prizes and awards

1902 - Bukhara Order of the Golden Star, III degree.
1907 - Golden Cross of the Prussian Eagle.
1910 - title of Soloist of His Majesty (Russia).
1912 - title of Soloist of His Majesty the Italian King.
1913 - title of Soloist of His Majesty the King of England.
1914 - English Order for special services in the field of art.
1914 - Russian Order of Stanislav III degree.
1925 - Commander of the Legion of Honor (France).