In which operas did Chaliapin perform the main parts? "The Woman of Pskov" (Ivan the Terrible), "A Life for the Tsar" (Ivan Susanin), "Mozart and Salieri" (Salieri). Fyodor Chaliapin is a great Russian singer. Biography Singer Fyodor Chaliapin

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Chaliapin, Fedor Ivanovich

The famous Russian bass singer. Genus. in 1873, the son of a peasant in the Vyatka province. As a child, Sh. Was a chorister. In 1890 he entered the choir of the Semenov-Samarsky troupe in Ufa. Quite by chance, Sh. Had to transform from a chorus into a soloist, replacing the sick artist in Moniuszko's opera "Pebbles". This debut put forward the 17-year-old Sh., Who occasionally began to be entrusted with small operatic roles, for example, Fernando in "Troubadour". The following year, Sh. Performed in the role of Unknown in Verstovsky's "Askold's Grave". He was offered a place in the Ufa zemstvo, but the Little Russian troupe of Dergach arrived in Ufa, to which Sh joined. Wanderings with her brought him to Tiflis, where he was first able to seriously practice his voice, thanks to the singer Usatov, who was able to appreciate the talent of his student. Sh. 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 and the Panaevsky theater, in the troupe of Zazulin. In 1895 he entered the stage of the Mariinsky Theater in St. Petersburg. and sang with success the part of Mephistopheles ("Faust") and Ruslan. Sh .'s varied talent was also expressed in the comic opera The Secret Marriage by Cimarosa, but still did not receive due appreciation. SI Mamontov, the first to notice an extraordinary talent in Switzerland, invited him to his private opera in Moscow. Since that time (1896), Sh .'s brilliant career began. In "Prince Igor" by Borodin, "The Pskovite Woman" by Rimsky-Korsakov, "The Mermaid" by Dargomyzhsky, "A Life for the Tsar" by Glinka, and in many other operas, Sh .'s talent manifested itself extremely strongly. He was highly acclaimed in Milan, where he performed at La Scala in the title role of Boito's Mephistopheles. Then Sh. Moved to the stage of the Imperial Russian Opera in Moscow, where he enjoyed tremendous success. Sh .'s tour of St. Petersburg on the Mariinsky stage constitutes a kind of events in the St. Petersburg musical world.

(Brockhaus)

Chaliapin, Fedor Ivanovich

Famous opera singer (high bass), b. February 1, 1873 in Kazan, where his father (a peasant in Vyatka province) was a scribe in the zemstvo. As a child, Sh. Did not have the opportunity to study systematically and owed his general education, as well as his musical education, mainly to himself. At the age of 17, Sh., Who had previously sung in the bishop's choir, entered an operetta troupe in Ufa, where they soon began to give him solo parts (Unknown in Askold's Grave); then, as a singer and partly a dancer, he traveled with the Little Russian troupe of Derkach to the Volga region, the Trans-Caspian Territory and the Caucasus, and in 1892 he ended up in Tiflis. Here Sh. Studied singing for about a year with the well-known singer Usatov, who added him to the Tiflis troupe. 1894 Sh. Sang already in St. Petersburg, first at the summer theater "Aquarium", then at the Panaevsky Theater and from 1895 at the Mariinsky Stage, where he rarely performed and did not pay attention to himself. Sh .'s fame begins in 1896, when Sh. Moved to the Moscow Private Opera of S. I. Mamontov, who paid a penalty to the imperial stage for him. Here, the powerful and unique talent of Sh. For the first time had the opportunity to independently enter the broad path of self-improvement. A beautiful and flexible voice, a rare artistic flair, thoughtful study and original interpretation of the performance, an amazing dramatic talent in connection with excellent diction - all this made it possible for Sh. To create - especially in the field of Russian music - a number of bright and original opera images, among which stand out Grozny ("The Woman of Pskov"), Salieri ("Mozart and Salieri"), Godunov ("Boris Godunov") Melnik ("Mermaid"), Mephistopheles ("Faust"), and others. Moscow stage, touring also in St. Petersburg. and provinces. Over the years, he mostly had to perform in the parties he had created earlier (of the new ones, Eremka in "The Power of the Enemy", Demon, etc.). Sh often sings in concerts. He performed abroad only in Milan in 1901 (10 times in Mephistopheles by Boito) and 1904. See Y. Engel, Russian Opera and Sh. ("Russian Vedomosti" 1899).

Chaliapin, Fedor Ivanovich

Art. operas (bass cantante), chamber singer and director. Nar. art. Republic (1918). Genus. in a poor family of a zemstvo council scribe. After graduating from the two-grade mountains. uch-shche, from the age of ten he was an apprentice of a shoemaker, carpenter, bookbinder, worked as a turner, loader, scribe. He had a beautiful treble and from the age of nine he sang in church choirs (including in the choir of the choir director I. Shcherbinin), where he studied muses. literacy and violin playing. In 1886 he first participated in the boys' choir in the opera "The Prophet" in a performance by an opera troupe on tour in Kazan. At the beginning of 1890 he worked as an extra in drama. troupe in Kazan, then entered the Ufa antrum as a chorus player. S. Semenov-Samarsky (Russian comic opera and operetta). Dec 18 of the same year, replacing the sick art., for the first time successfully performed in the role of Stolnik ("Pebble"). Since 1891 the Ukrainian chorus. operetta troupe G. Lyubimov-Derkach, in December. 1891-Jan 1892-bakin. French operettas (antr. D. Lassalle), in February. 1892 soloist of the touring opera troupe of R. Klyucharev (sang in Batum and Tiflis). From Sept. 1892 approx. for a year he studied vocals with D. Usatov for free in Tiflis, where he performed in amateur concerts. His professional debut on the opera stage took place on 28 Sept. 1893 as Ramfis in Tiflis, opera (antr. V. Lyubimov and V. Forcatti). In the summer of 1894 he sang in the theater of petersburg. garden "Arcadia" (antr. M. Lentovsky). in the season 1894/95 - to St. Petersburg. Panaevsky Theater (Opera Association). 5 apr. 1895 made his debut as Mephistopheles (Faust) in St. Petersburg. Mariinsky Theater. OK. years took scene lessons. mastery of the famous tragedian M. Dalsky. In May - August 1896 he performed in N. Novgorod as part of the Moscow. opera troupe S. Mamontov (antrum K. Winter). From Sept. 1896 to 1899 soloist of Moscow. private Russian opera (debuted with great success in the part of Susanin - "A Life for the Tsar"). In June - July 1897 in Dieppe (France) under the hands of. singer and teacher Bertrami prepared the part of Holofernes. Work in t-re S. Mamontov played a huge army in the creative formation and development of the singer. Here he met prominent representatives of the Russian. artist intelligentsia: composers N. Rimsky-Korsakov, A. Glazunov, A. Lyadov, artists K. Korovin, M. Vrubel, V. Serov, sculptor M. Antokolsky, critic V. Stasov, dramas. art. G. Fedotova, O. and M. Sadovsky, the historian V. Klyuchevsky, and others. S. Rachmaninoff Sh. Prepared opera roles. The long-term deep friendship with M. Gorky was of particular importance in his life. 24 Sep 1899 the singer made his debut in the part of Mephistopheles (Faust) on the Moscow stage. Big t-ra. By signing the contract, the manager of Moscow. office imp. t-dv V. Telyakovsky noted in his diary: "Chaliapin is not a Bolshoi or Mariinsky theater singer, but a world singer ... I am terribly glad - I feel genius, not bass." From that time until 1922 Sh. Was the soloist of two of the largest Russian. operatic t-ditch. In 1910 he received the title of "Soloist of His Majesty". In 1914 he sang in Moscow. Opera by S. Zimin and petersburg. antr. A. Aksarina. In 1918, the artist. hand., in 1919 a member of the Directory of the Mariinsky and the Bolshoi T-dv. Repeatedly took part in performances for workers, Red Army soldiers, schoolchildren. Apr 17 1922 for the last time performed in Russia (on the stage of the Petrograd. GATOB), after which he went on a foreign tour and remained in exile (on Aug. 24, 1927, by the resolution of the Council of People's Commissars of the RSFSR, he was deprived of the title of "People's Art. Republic").

He toured in many cities: Kiev (1897, 1902, 1903, 1906, 1909, 1915), Kharkov (1897, 1905), St. Petersburg (tours of the Moscow Private Russian Opera, 1898, 1899, arcade garden theater, 1901 ; New summer t-r "Olympia", 1904, 1905, 1906; Big hall cons., 1909), Kazan (1899), Odessa (1899, 1902), Nikolaev (1899), Kislovodsk (1899, 1904), Tiflis ( 1900), Baku (1900), Moscow (summer park "Hermitage", 1901; summer park "Aquarium", 1906). Riga (Latvian National Opera, 1920, 1931). Since 1901, he has performed with triumphant success at the opera stages of the world: in Milan (La Scala, 1901, 1904, 1908, 1.909, 1912, 1931, 1933, debuted as Mephistopheles in the opera Mephistopheles by A. Boito ), Rome (t-r "Costanzi", 1904), Monte-Carlo (t-r "Casino, annually from 1905 to 1913), Orange (France, 1905), Berlin (" Royal t-r ", 1907; here was awarded the German Order of the Crown, IV degree), New York (t-r "Metropolitan Opera"; late 1907 - early 1908, 1921, 1921-26), Philadelphia (1907, 1923), Paris ("Russian seasons "S. Diaghilev, 1908, 1909, 1913; t-r" Goethe Lyric ", 1911;" Grand Opera ", 1912, 1924, 1925;" Theater Champs Elysees ", 1931;" Opera Comedian ", 1931, 1932, 1935), Buenos Aires (t-r "Colon", 1908, 1930), Brussels (t-r "De la Monnet", 1910), London ("Russian seasons" S. Diaghilev, 1913, 1914; t- p "Covent Garden", 1926; t. "Liceum", 1931), Chicago (1923-25), Washington (1925), Montreal (1926), Boston (1926), San Francisco (1927), Barcelona ( 1929, 1933), Bucharest (1930), Chisinau (1930), Prague (1930, 1934), Montevideo (1930), Rio de Janeiro (1930), Stockholm (1931), Copenhagen (1931), Bratislava (Slovak national. t-r, 1934), Sofia (1934). The last performance on the opera stage took place in January. 1937 as Don Quixote in Paris. t-re "Opera Comedian".

He had a flexible, even voice in all registers, soft timbre and a wide range, which allowed the use of. also baritone parts, a rich timbre palette, impeccable intonation, a bright gift of reincarnation. Careful work on each part, constant improvement and updating of the interpretation of the role, the desire to comprehend the character in its psychological and historical accuracy (the make-up, as a talented draftsman, created himself) - all this contributed to the birth of integral vocal scenes. images. Sh., According to the art ballet of F. Lopukhov, "... had a huge impact on the development of choreographic art of the 20th century, in fact, becoming a teacher of truth in musical theater, a teacher of stage gesture, posture, feeling of music in every movement ..." (Fedor Ivanovich Chaliapin. Vol. 3: Articles and statements. Appendices. - M., 1979. P. 224). K. Stanislavsky, evaluating the singers, wrote: "Chaliapin does not count. He stands at the top, especially from everyone." According to him, Sh., Like no one else, fused three types of art together in his work: vocal, musical and stage. "There was Shchepkin, he created a Russian school, which we consider ourselves to be successors. Chaliapin appeared. He is the same Shchepkin, a legislator in the operatic business." “Someone said about Chaliapin,” wrote V. Nemirovich-Danchenko, “when God created him, he was in a particularly good mood, creating to the delight of everyone” **.

The singer's opera repertoire included 67 parts that were extremely different in character (heroic-epic, tragic, everyday, romantic, satirical), of which 36 were in Russian operas. composers.

1st Spanish parts: Salieri (Mozart and Salieri), Ilya (Ilya Muromets), Biron (Ice House), Anafesta Galeof (Angelo; 2nd ed.). Priest ("Feast during the plague"), Dobrynn Nikitich ("Dobrynya Nikitich"), Khan Asvab ("The Old Eagle" by R. Günsburg; January 31, 1909, Monte Carlo), Don Quixote ("Don Quixote"; 6 ( 19) Feb. 1910, Monte Carlo, "Casino"); in Moscow - Ivan the Terrible ("The Pskovite Woman", 3rd ed.), Dositheus ("Khovanshchina"), the Old Jew ("Samson n Delila"); in St. Petersburg - Aleko ("Aleya" by S. Rachmaninov), Miracle ("The Tales of Hoffmann"), Philip II ("Don Carlos"); in the Bolshoi Theater - Boris Godunov (Boris Godunov), Ivan the Terrible (The Woman of Pskov, 3rd ed.), Dositheus (Khovanshchina), Philip II (Don Carlos); at the Mariinsky Theater - Dosifei ("Khovanshchina"), Ivan the Terrible ("The Pskovite Woman"), Boris Godunov ("Boris Godunov"), Don Quixote ("Don Quixote"); in Tiflis and N. Novgorod - Lotario ("Minion"), Gudala ("The Demon" by A. Rubinstein); in N. Novgorod - the Old Jew ("Samson and Delilah"); in Tiflis - Tomsk ("The Queen of Spades"); in Baku - Petra ("Natalka Poltavka"); in rus. scene - Tore ("Santa Lucia Embankment"), Collene ("La Boheme"), Don Quixote ("Don Quixote"); in Paris by Boris Godunov (Boris Godunov, May 19, 1908, the Grand Opera Theater, S. Diaghilev's troupe). Vladimir Galitsky (Prince Igor, May 9 (22), 1909, Chatelet), Ivan the Terrible (The Pskovite, 3rd ed., May 13 (26) 1909, Chatelet, n / a by N. Cherepnin), Dosifei ("Khovanshchina", May 23 (5 June) 1913, Theater of the Champs Elysees, n / a by E. Cooper); in Monte Carlo - Melnik ("Mermaid" by A. Dargomyzhsky, March 25 (April 7) 1909, under L. Jeen), Demon ("The Demon" by A. Rubinstein, in Italian, 11 (24) March 1906, n / a L. Jeen); in London - Boris Godunov (Boris Godunov, June 24, 1913, Drury Lane, Konchak and Vladimir Galitsky (Prince Igor, May 26, 1914, ibid.), Ivan the Terrible (Pskovityanka, 3 ed., June 25 (July 8) 1913, Drury Lane, under E. Cooper); in Brussels - Don Quixote (Don Quixote, May 1 (14) 1910, t- p "De la Monnaie"); in Milan - Boris Godunov ("Boris Godunov" January 14, 1909, Teatro alla Scala) Best parts: Melnik ("Mermaid" by A. Dargomyzhsky), Susanin ("Life for Tsar "M. Glinka;" Shalyapinsky Susanin is a reflection of an entire era, this is a virtuoso and mysterious embodiment of folk wisdom, that wisdom that saved Russia from destruction in difficult years of trial. everything is enclosed in a circle of "complete harmonious perfection." .. This is the height of the art available to an opera performer, and Shalyapin owns it completely. "N. Kashkin), Ivan the Terrible (" The woman of Pskov; of the singer's contemporaries, "a miracle accessible only to a brilliantly gifted artist"), Demon ("The Demon" by A. Rubinstein; creatures ". Yu. Engel), Holofernes (" By the boldness of the concept and the subtlety of its artistic execution, Holofernes occupies a special place among all the other stage creations of Chaliapin ... ". E. Stark), Galitsky, Dosifei, Farlaf, Varlaam, Aleko ( "Aleko" with Rachmaninov), Varangian guest, Salieri, Konchak, Mephistopheles ("Faust"; Swedish artist A. Zorn said during the performance to S. Mamontov: "There is no such artist in Europe! This is something unprecedented! Similar I have never seen Mephistopheles "), Mephistopheles (" Mephistopheles "; A. Mazini wrote on fresh traces of impressions from isp. the singer of the party: "This evening was a real triumph for the Russian artist ..."). Don Basilio ("The Barber of Seville" by G. Rossini; "Basilio in Chaliapin is a highly artistic embodiment of laughter, given with that breadth, scope and carelessness that distinguish the laughter of southern peoples". E. Stark), Philip II, Leporello ("Don Juan" ), Don Quixote ("Look at his photograph in Don Quixote - and you will see in these eyes detached from reality, in this emaciated figure of a spiritual fighter with mills, a beggar knight, as much inspired as it is funny. This is an artistic portrait. And look hundreds of photographs of glorious singers Aid, Radamesov, Delil, Germanov, Raulei, Margarita, Snegurochek, Onegin, etc., and so on - and only a gallery of mummers will pass in front of you. "(Vl. Nemirovich-Danchenko). Other parties: Unknown (" Askold's grave "). The old wanderer, Onegin, Gremin, Vyazminsky, Head (" May Night "), Panas (" Christmas Eve "), Bertram (" Robert the Devil "), Nilakanta, Cardinal (" Zhidovka "), Valentin ("Faust"), Tonneau, Zuniga Partners: A. M. Davydov, T. Dal Monte, D. de Luca, N. Ermolenko-Yuzhina, I. Ershov, E. Zbrueva, E. Caruso, V. Kastorsky, V. Cuza, L. Lipkovskaya, F. Litvin, E. Mravina, V. Petrov, T. Ruffo, N Salina, T. Skipa, D. Smirnov, L. Sobinov, R. Storkjo, M. Cherkasskaya, V. Eberle, L. Yakovlev. Sang by U. Avranek, I. Altani, T. Beecham, F. Blumenfeld, V. Zeleny, M. Ippolitov-Ivanov, E. Cooper, G. Mahler, E. Napravnik, A. Nikish, A. Pazovsky, S. Rachmaninov, T. Serafina, V. Suka, A. Toscanini, I. Truffi, N. Cherepnina, E. Esposito.

S. was an unsurpassed chamber singer. From 1897 he concentrated in N. Novgorod, Kazan, Samara, Voronezh, Ryazan, Smolensk, Orel, Tambov, Rostov-n / D, Yekaterinoslav, Astrakhan, Pskov, Kharkov, Odessa, Kiev, Yalta, Kislovodsk, Vilno, Riga, Revel ( now Tallinn), Tiflis, Baku, Warsaw, Paris (since 1907; here he sang with A. Nikish and N. Rimsky-Korsakov), Berlin (1910; with S. Koussevitsky; 1924, 1937), London (annually since 1921 to 1925), Montreal (1921, 1924), Boston (1921, 1923), Chicago (1922, 1923), Philadelphia (1922), Stockholm (1922), Gothenburg (1922), Edinburgh (1922), New York ( from 1922), Los Angeles (1923, 1935), San Francisco (1923), Dresden (1925), Leipzig, Munich, Cologne, Prague (1937), Budapest, Hamburg, Brussels, Amsterdam, Antwerp, Tokyo (1936) , Osaka, Harbin, Beijing, Shanghai (1936), Vienna (1937), Bucharest (1937), Glasgow (1937), Zurich (1937), Geneva (1937). In the period 1905-07, he actively spoke to the workers, the Spanish was especially famous. Russian bunk bed songs "Dubinushka". He gave many charity concerts for various organizations. The last concert of the singer took place on June 23, 1937 in Eastbourne (Great Britain). The singer's extensive repertoire (over 100 productions) included arias from operas not performed by him on stage, romances of Russian. and Western Europe. composers (M. Glinka, A. Dargomyzhsky, M. Mussorgsky, C. Cui. A. Rubinstein, N. Rimsky-Korsakov, P. Tchaikovsky, A. Arensky, S. Rachmaninov, L. Beethoven, F. Schubert, R. Schumann, E. Grieg), ensembles, rus. and ukr. bunk bed songs. S. often accompanied S. Rachmaninoff. N. Amani ("Borodino", ballad. Op. 10), M. Antsev (Romances. Op. 18), A, Arensky ("Wolves", ballad. Op. 58), I. Achron (" The Phantom ", op. 30, 1910), M. Bagrinovsky (" Ballad "), Yu. Bleikhman (" Kurgan ", ballad. Op. 26 No. 1, 1896;" At the command gates ", comic song. Op. 26 No. 3), A. Buchner ("Darkness and Fog", "By the Sea"), S. Vasilenko ("Vir", poem. Op. 6 No. 1; "Widow", poem. Op. 6 No. 2), R. Glier ("Blacksmiths". Op. 22), E. Granslln ("How Scary That Night", 1914), A. Grechaninov ("At the Crossroads." Musical Picture. Op. 21, 1901), I. Dobrovin ( "What are you howling, night wind". Op. 7 No. 7; "Fantasy". Op. 7 No. 5), J. Ibert ("Song of the Duke", "Song of Dulcinea", "Death song of Don Quixote", "Farewell song of Don Quixote "from the movie" Don Quixote "), E. Kashperova (" Albatross ", 1912), F. Keneman (" How the king went to war ". Op. 7 No. 6)" King Aladin ". Op. 10 # 2; "Blacksmith". Op. 8 # 2; "Three roads", thought. Op. 7 No. 5; "A myriad of feelings and thoughts." Op. 8 No. 1), Kozakov ("Svyatogor"), N. Kolesnikov ("Dubinushka", folk song; "Eh, workers, God's people", song. Op. 75), V. Korganov ("At the gates of the holy monastery" , 1909), N. Kochetov ("Song of Harold and Yaroslavna". Op. 19; "I am a man." Op. 21 No. 1; "I am a slave to labor." No. 3), S. Koussevitsky ("Ballade", for double bass), C. Cui ("Baben", Russian song), I. Künnap ("After the Battle"), J. Massenet ("If you would like to tell me "), A. Panaev (" Listening to the horrors of war "," Ganna "), S. Paniev (" A song without a flaw about an orphan and a tyrant "," Fatma ", an oriental romance), V. Pergament (" Help "), A. Petrov ("Do not believe"), S. Rachmaninov ("In the soul of each of us." Op. 34 No. 2, 1912; "The Resurrection of Lazarus." No. 11, 1912; "Destiny." M. Rechkunov ("Guslyar", song), N. Rimsky-Korsakov ("Arioso of Tsar Ivan (inserted) from the opera" The Woman of Pskov ", act III, 2 k.), Y. Sakhnovsky (" Oh, haystacks, haystacks! " Op. 8 No. 1; "Death walks around me." Op. 8 # 2; "Blacksmith"; "To the Motherland", "Oh, is it an honor to the young man to spin flax." 5 No. 2); J. Sibelius - M. Fiveisky ("Sad Waltz". From the music to A. Jernefeld's drama "Death". Arr. For bass and piano by M. Fiveisky. Op. 44), A. Simon ("Nightmare", drama sketch. Op. 62; "Oh, how much you possess." Op. 62), M. Slonov ("Oh, you sun, the sun is red." 12 № 1), O. Stukovenko ("The Prisoner". Op. 45), A. Taskin ("Prayer chords", "I want fun"), K. Tideman ("Oh, Kab Volga-mother", song; " Eagle "," Song of the Blacksmith "), I. Truffi, V. Garteveld (" On the haystacks of war ". Musical picture in 1 day), V. Turin (" In prison "), A. Chernyavsky (" Under the fragrant mountain ash ", song; "U wells "), A. Cherny (" Kruchina ", song), N. Shipovich (" By the Sea ". Op. 2 No. 3), V. Ehrenberg (" Wedding ", comic opera in act 1. Based on the story of the same name by A. Chekhov. Op. 5), M. Yazykov ("A deep pit was dug by a spade", "Star", "The forest is noisy and humming", "Lonely grave", "The temple is destroyed").

Recorded on gramophone records (187 productions, 471 records in total): in Moscow ("Gramophone", December 1901, 1902, 1907, 1910), Paris ("Gramophone", 1908; "His Master" s voice ", 1927, 1930 -34), Petersburg ("Gramophone", 1907, 1911, 1912, 1914), Milan ("Gramophone", 1912), London ("Gramophone", 1913; "His Master" s voice ", 1926-27, 1929, 1931), Hayes (suburb of London, "His Master" s voice ", 1921-26), Camden (USA," Victor ", 1924, 1927), Tokyo (" Victor ", 1936).

Sh. Was also involved in directing. Staged operas: Don Quixote (1910, Moscow Bolshoi Theater; 1919, Petrograd Mariinsky Theater), Khovanshchina (1911, St. Petersburg Mariinsky Theater; 1912, Bolshoi Theater), Pskovityanka (1912, Teatro alla Scala), The Barber of Seville (1913, Bolshoi Theater), Enemy Power (1915, Petrograd People's House), Don Carlos (1917, Petrograd Nar. House). The singers I. Ershov, A. M. Labinsky, I. Tartakov, V. Sharonov, who were involved in these productions, highly appreciated Sh .'s work as a director. In 1923 he staged the opera Boris Godunov in Russian, lang. in Chicago.

He starred in the films "Tsar Ivan Vasilyevich the Terrible" ("The Daughter of Pskov", based on L. Mey's drama "The Pskovite Woman", directed by A. Ivanov-Gai, 1915, Russia) and "Don Quixote" (directed by G. Pabst, music. J. Ibert, 1932, France ".

Sh. Was a versatile gifted person - he was fond of painting, graphics, sculpture, and had a literary talent.

The image of the singer was captured by artists I. Repin, V. Serov, L. Pasternak, B. Kustodiev, K. Korovin, I. Brodsky, A. Golovin and others, sculptors P. Trubetskoy and S. Konenkov.

S. was buried in Paris. cemetery Batignolles. 29 oct. 1984 ashes art. was reburied in Moscow. Novodevichy cemetery, in 1986 a monument to the sculptor A. Yeletsky and architect Y. Voznesensky was erected on the grave.

In the USSR, postage stamps were issued with the image of S.: in 1965 - a portrait of the singer by V. Serov (to the 100th anniversary of the artist's birth), as well as an envelope with a portrait of S. from a photograph of 1910. Postage stamps were issued in the NRB in Nicaragua with the image of the singer. On Sept. 1988 the Museum of F.I.Shalyapin was opened in Moscow.

Op. and letters: Pages from my life (Autobiography of F. I. Shalyapin) // Chronicle. 1917. No. 1-12 (partially); in full: F. I. Shalyapin. T. 1. - M., 1957, 3rd ed. - 1976 (Ed.-comp., Commentary by E. A. Grosheva); Flowers of my Motherland // Petersburg. newspaper. 1908 May 10; The same // Navigator (N. Novgorod). 1908.12 May; Also. Les fleurs de mon Pays // Matin (Paris). 1908.19 mai; The same // F.I.Shalyapin. T 1. - M., 1957, 3rd ed. - 1976; Mask and soul. - Paris, 1932; Fragments of the book. // F.I.Shalyapin. T. 1. - M., 1957, 3rd ed. - 1976; Salapin Feodor. Spiewak na scenie operowei // Muzyka. t. 9.1934; Russian per. A. Gozenpuda: Singer on the opera stage // Sov. music. 1953. No. 4; The same // F.I.Shalyapin. T. 1. -M., 1957, 3rd ed. - 1976; About A.M. Gorky (instead of an obituary). - Paris, 1936; The same // F. I. Shalyapin. T. 1. -M., 1957, 3rd ed. -1976; Searches in art // Binoculars (Petrograd). 1917. Oct., No. 1; The same // F.I.Shalyapin. T. 1. - M., 1957, 3rd ed. - 1976; Beautiful and majestic // Zarya (Harbin). 1935. March; The same // F. I. Shalyapin. T. 1. -M., 1957, 3rd ed. - 1976; Correspondence of F.I.Shalyapin with A.M. Gorky // Gorky readings: 1949-1952. - M., 1954; The same // F. I. Shalyapin. T. 1. -M., 1957, 3rd ed. - 1976; Correspondence between F.I. Shalyapin and V.V. Stasov // F.I. Shalyapin. T. 1. - M., 1957, 3rd ed.

1976; Pages from my life; Autobiography of Fyodor Ivanovich Chaliapin; Press and me; First concert; Memories of Gorky; Christmas Eve in Colombos; About A.M. Gorky // F. Chaliapin. Pages from my life // Enter, article, comment. Yu. Kotlyarova. - L:, 1990.

Lit .: Chaliapin's triumph in Italy // RMG. 1901. No. 12. S. 378-381; Andreev L. About Chaliapin // Courier. 1902. No. 56; Penyaev I. The first steps of F. I. Shalyapin in the artistic field. - M., 1903; Bunin I. Incident with F. I. Shalyapin // Voice of Moscow. 1910. No. 235; Its the same. About Chaliapin / / Illustrative Russia (Paris). 1938. No. 19; Its the same. About Fyodor Chaliapin // Don. 1957. No. 10; Sivkov P.F.I. Shalyapin: Life and artistic activity. - SPb., 1908; Lipaev I. F. I. Shalyapin: Singer-artist. - SPb., 1914; N. Sokolov. F. I. Shalyapin's trip to Africa. - M., 1914; Stark E. Chaliapin. - Pg, 1915; Its the same. F.I.Shalyapin: (To the twenty-fifth anniversary of artistic activity) // Apollo. 1915. No. 10; Asafiev B. (Glebov I.). About song and song // Life of art. 1918. No. 37; Its the same. Sculptor of gesture // Theater. 1923. No. 8; Its the same. Chaliapin // Sov. music. Sat. 4 - M .; L., 1945; Its the same. Fyodor Chaliapin // Mus. life. 1983. No. 13; Karatygin V. Mussorgsky and Chaliapin. - Pg, 1922; Nemirovich-Danchenko V.I. ** From the past. - M .: Academia, 1936.S. 247; Zalkind G. Drawings by F. I. Shalyapin // Theater, almanac. Book. 3 (5). - M., 1946; Nikulin L. Chaliapin's last role. (Sketch) // Ogonek. 1945. No. 39; Its the same. Chaliapin's Letters to Gorky // Krasnoarmeets. 1945. No. 15/16. 21-22; Its the same. Fyodor Chaliapin. -M., 1954; Its the same. Ivan Bunin about Fyodor Chaliapin // Don. 1957. No. 10; Bezymensky A. Orpheus in Hell / / Banner. 1948. No. 7. With 39-44; Dmitriyev N. Glorious pages // Ogonyok. 1948. No. 30; Kryzhitsky G. Singing actor or playing singer? // Theatre. 1948. No. 6; Kunin I. Exhibition "Russian Opera House and F. I. Shalyapin" // Sov. music. 1948. No. 8; Levik S. Chaliapin (Pages from the book "Through the eyes and ears of a singer") // Sov. music. 1948. No. 10; Its the same. Chaliapin on the concert stage // Ibid. 1950. No. 2; Its the same. Notes of an opera singer. - 2nd ed. - M., 1962.S. 711; Its the same. Conversation with Chaliapin // Sov. music. 1966. No. 7; Its the same. Fyodor Chaliapin, Muz. life. 1970. No. 3; Yankovsky M. Chaliapin and Russian opera culture. - L .; M., 1947; Its the same. F.I.Shalyapin. - M .; L., 1951. - 2nd ed. - L., 1972; Its the same. The pride of Russian art // Muz. life. 1973. No. 2; Mamontov V.S. **** Memories of Russian Artists. - M., 1950.S. 31; Stasov V.V. Articles about Chaliapin. - M., 1952; Khubov G. Gorky and Chaliapin: Essays on the first and second // Sov. music. 1952. No. 4, 5; Stanislavsky K. S * Collected. Op. in 8 volumes - M., 1954-1961. T. 6.P. 215; Aisenstadt O. Chaliapin's Drawings // Theater. 1955. No. 12; Kirikov M.F. F. I. Shalyapin and L. V. Sobinov // Siberian Lights. 1956. No. 5. S 162-175; Witting B. About Chaliapin. Memories // Sov. Fatherland. 1957. No. 4; Perestiani Yves. About Fedor Chaliapin // Friendship of peoples. 1957. No. 2; Rosenfeld S. The Story of Chaliapin. - M, 1957; Also. - L., 1966; Belkin A.F.I. Shalyapin in the Tambov region // Tamb. truth. 1957.7 Dec .; Nelidova-Thebeskaya L. Ten meetings with Chaliapin in America // New Siberia. 1957. Book. 36; Her f. From memories of Chaliapin // Sov. music. 1959. No. 1; Lyubimov L. The last years of Chaliapin // Ibid. 1957. No. 7; Skipa T. Yes, I remember Chaliapin // Lit. newspaper. 1957.3.1 Aug; F.I. Shalyapin / Ed.-comp. E. A. Grosheva. T. 1-2. - M., 1957-58; Dolinsky M., Chertok S. Little-known portraits of Chaliapin // Change. 1958. No. 9; Theirs. Forgotten role of Chaliapin // Theater. life. 1958. No. 8; Theirs. We need a museum of F.I.Shalyapin // Ibid. 1960. No. 19; Theirs. "For music I was born in Tiflis" // Lit. Georgia. 1962. No. 10; Theirs. Chaliapin in Georgia // Muz. life. 1962. No. 11; Theirs. Two letters from Chaliapin // Muz. life. 1963. No. 17; Theirs. The story of one find // Theater. life. 1963. No. 21; Zorin B. Chaliapin's Drawings // Smena. 1958. No. 17; Buchkin P. Gorky and Chaliapin // Mus. life. 1959. No. 5; Lebedinsky L. Scene "Clock with chimes" performed by Chaliapin // Sov. music. 1959. No. 3; Its the same. Chaliapin sings Dargomyzhsky // Ibid. 1964. No. 6; It's the same. Chaliapin sings the song "Goodbye, Joy" // Ibid. 1968. No. 4; Its the same. "Dubinushka" performed by Chaliapin // Muz. life. 1973. No. 2; Granovsky B. Letter from F. I. Shalyapin about "Boris Godunov" // Sov. music. 1959. No. 3; Obolensky P. Memorable meetings with Rachmaninoff and F. Chaliapin // Sov. culture.

1960.1 oct .; Its the same. A rare, mighty gift // Ogonyok. 1963. No. 7; Sochinev D. Five years with Chaliapin // Sov. culture. 1960, Jan 7; Chereisky L. Chaliapin in Pskov // Muses. life. 1960. No. 4; Kobtsev N. Chaliapin in Harbin // Don. 1960. No. 5; A. Sh. At the grave of Chaliapin // Sov. music. I960. No. 10; Andronikov I. Veterans of the revolution about Chaliapin // Muses. life. 1960. No. 11; Its the same. What's stored on Graftio Street? New about Chaliapin // Lit. newspaper. 1964. No. 26; Its the same. Complete works of Chaliapin // Culture and Life. 1968. No. 3; Volkov-Lannit L. Chaliapin in front of the mouthpiece // Muses. life. 1961. No. 21; Its the same. Chaliapin's poems. To the biography of the singer // Science and Life. 1981. No. 5; Plotnikov B. Chaliapin at the rehearsal // Muses. life. 1961. No. 3; Less Al. A Thousand Photos of Chaliapin // Sov. music. 1962. No. 5; Its the same. Stories about Chaliapin / / Muz. life. 1971. No. 22; Turbas N. Unbroken horseshoe. From memories of Chaliapin // Theater. life.

1962. No. 3; Chilikin V. Last interview // Ibid. 1962. No. 3; Yudin S. Chaliapin as Holofernes and Salieri // Sov. music. 1962. No. 9; Raskin A. Chaliapin and Russian Artists. - L .; M., 1963; Anufriev V. Faust. To the 25th anniversary of the death of F.I. Shalyapin // Theater. 1963. No. 4; Vinogradov-Mammoth N. On an October night. (Chapter dedicated to F. Chaliapin, from the "Book of meetings") // Week. 1963. No. 6; Huseynova A. Dazzlingly bright. To the 90th anniversary of the birth of F.I. Shalyapin // Lit. Azerbaijan. 1963. No. 2; Doroshevich Vlas. Chaliapin in "Mephistopheles" / / Sov. seal. 1963. No. 3; E. Kaplan. Working on "Aleko" // Sov. music. 1963. No. 2; Shalyapin I. Russian son // Lit. Russia.

1963.15 Feb .; Yurok S. A comet named Fedor // Sov. music. 1963. No. 2; Stepanova S. Chaliapin among the Red Army soldiers // Theater. life. 1963. No. 11; Kollar V. "Shalyapin school" // Muses. life. 1963. No. 3; Its the same. 187 days in the life of Chaliapin. - Gorky, 1967; Its the same. In Sormovo. Stories about Chaliapin // Gorkov. worker. 1978 June 17; Its the same. F.I.Shalyapin on the Volga. - Gorky, 1982; Volkov V. Five images of Chaliapin // Muses. life. 1963. No. 3; Ratotaev A. From the archive of Chaliapin // Muses. life. 1964. No. 12; Artamonov I. "What is libel". (About the stay of F. I. Shalyapin at the Teatro alla Scala in Milan) // Mosk. truth. 1964.27 Sep; Zharov M. Life and role. (From the memoirs of F.I. Shalyapin) // Ibid. 1964.31 May; New pages about Chaliapin. (Based on materials from the Leningrad archives) // Moscow. 1964. No. 6. S. 160-176; Olgina L. Treasure from Graftio Street // Young Guard. 1964. No. 7; Argo (Goldenberg A.M.). The last concert. From the book of memoirs // Sov. stage and circus. 1964. No. 10; Bibik A. Two concerts // Theater. life. 1965. No. 6; Strauss Y. Chaliapin in Harbin // Muses. life. 1965. No. 14; Chaliapin draws ... // Ibid. 1965. No. 22; Perepelkin Y. History of great friendship // Theater. life. 1965. No. 8; Museum, which is not in reference books // Muz. life. 1966. No. 23. C 25; Verbitsky A. The Case of Chaliapin // Teatr. life. 1967. No. 6; Pichugin P. Chaliapin - alive, ageless // Sov. music. 1968. No. 7; Pokrovsky B. Reading Chaliapin // Ibid. 1968. No. 11. 1969. No. 1; Demidova R. - Chaliapin in Tiflis // Muses. life. 1968. No. 8; Labinsky A. M. "The Barber of Seville" (with F. I. Shalyapin; 1913) // Ibid. 1968. No. 8; F.I.Shalyapin Museum // Museums and Architectural Monuments of the Gorky Region. - Gorky, 1968.S. 89-90; Nikiforov N. Shalyapinsky ring // Nikiforov N. The search continues. Collector's stories. - Voronezh, 1968.S. 29-32; Y. Peshkovsky. The last days of Chaliapin // Theater. life. 1968. No. 24; Speranskaya M. Unforgettable // Change. 1968. No. 11; Shalyapina I. From the family album. 95th anniversary of F.I. Shalyapin // Ogonek. 1968. No. 9; Her. Rare photo // Theater. life. 1978. No. 21; Shalyapina I., Lvov N. Longtime evenings // Ibid. 1968. No. 46; Zlotnikova I. Leafing through the pages of time // Theater. life. 1968. No. 21; Isaeva V. I., Shalaginova L. M. Rare photographs of Shalyapin // Sov. archives. 1968. No. 4; The story of one photograph (A.M. Gorky and F.I Chaliapin) // Gorky readings: To the 100th anniversary of the birth of the writer. - M., 1968; Kuvshinov S. Chaliapin in Kronstadt // Theater. life. 1968. No. 3; Rubinstein L. Chaliapin and Tukay // Friendship of peoples. 1969. No. 9; Tanyuk L. Chaliapin and Staritsky // Ibid. 1969. No. 2; Samoilenko N. How Chaliapin was buried // Don. 1969. No. 1; Shcherbak A. I. Muses on the thorns. Dilogy about the young Chaliapin and his contemporaries. - Kiev, 1969 (in Ukrainian); Kokane V. The last tour of Chaliapin // Theater. 1969. No. 3; Lavrentyev M. 187 days with Fyodor Chaliapin // Tourist. 1970. No. 7; Kazakov V. Kishinev applauds Chaliapin // Codri (Kishinev). 1970. No. 7; Solntsev N. Bravo, hero! // Theatre. life. No. 10; Belov A. Unusual autograph // Theater. life. 1970. No. 24; Gitelmacher V. Sketches for a portrait // Ogonek. 1970. No. 50; Korovin K.A. Chaliapin. Meetings and life together // Konstantin Korovin recalls. - M, 1971; G. Kogan Reflecting on Chaliapin // Sov. music. 1971. No. 7; Kabalevskaya O. The first meetings of Shalyapin with the works of Musorgsky // Questions of theory and aesthetics of music. Issue 10. - L., 1971. S. 165 - 198; Grosheva E. Chaliapin in Bulgaria // Sov. music.

1971. No. 12; Her. The path to beauty is truth // Sov. culture. 1973.13 Feb .; Her. A brilliant musician / / Sov. music. 1973. No. 2; Engel Yu. D. *** Through the Eyes of a Contemporary: Selected Articles on Russian Music. 1898-1918. - M., 1971. S. 127; Strakhov B. Chaliapin sings the Demon // Theater. 1972. No. 2; V. Bakumenko Tragic Opera Scene // Theater. life. 1972. No. 8; It's the same. Chaliapin's roles // Ibid. 1973. No. 24; Lebedinsky L. Five essays on the Chaliapin reading of the musical text // Mastery of musical performance. Issue 1. - M., 1972.S. 57-127; Chaliapin is on vacation. (Recorded by E. Alesin) // Mus. life.

1972. No. 17; Lvov N. From memoirs. (To the 100th anniversary of the birth of F.I. Shalyapin) // Theater. life. 1973. No. 3; Vasiliev S. At the Ratukhinskaya dacha // Ibid. 1973. No. 3; Rummel I. Triumph in Pskov // Sov. music. 1973. No. 2; Three documents. From an interview in 1936 // Theater. life. 1973. No. 3. S. 24-25; Chaliapin-artist // Muz. life. 1973. No. 2. P. 25, Cup of F. Shalyapin's Mask // Theater. 1973. No. 3; From Chaliapin's archive // Ibid. 1973. No. 3; Mil A. Museum in the apartment // Theater. life. 1973. No. 14; Dpankov V. The nature of Shalyapin's talent. - L., 1973; Dmitrievsky V. Great artist. - L., 1973; Its the same. Chaliapin and Gorky. - M., 1981; Pakhomov N. Shalyapin draws // Lit. Russia. 1974.4 Jan .; Volkov S. Meyerhold and Chaliapin // Mus. life. 1974. No. 18; Gozenpud A. A. Russian Opera House at the turn of the XIX-XX centuries and F. I. Shalyapin. 1890-1904. - L., 1974; Almedingen B.A. Golovin and Chaliapin. Night under the roof of the Mariinsky Theater. - 2nd ed. - L., 1975; Glibko-Dolinskaya G. At the father's homeland // Theater. life. 1976. No. 5; Fedor Ivanovich Chaliapin / Ed. E. A. Grosheva. T. 1-3. - M., 1976 - 1979; Dmitrievsky V., Katerinina E. Chaliapin in St. Petersburg-Petrograd. - L., 1976; Kotlyar G. Research of acoustic means of expressing emotions in singing F.I. - M., 1977.S. 586-589; Litinskaya E. An unusual feeling of joy // Muses. life. 1978. No. 15; Zavadskaya N. Music and painting // Muses. life. 1978. No. 12; Popov A. "I never did a role right away" // Theater, life. 1979. No. 14; Kotlyarov Yu F.I. Chaliapin and the Bulgarian opera and performing culture / / Russian-Bulgarian theatrical ties: Sat. articles. - L., 1979. With 130-144; Gorsky G. Songs calling to life // Daugava. 1979. No. 12; Dreyden S. Listening to Chaliapin // Neva. 1980. No. 4; Babenko V. Shalyapin jokes // Ibid. 1980. No. 8; Goltsman S. In the footsteps of a photograph // Komsomolets of Tataria (Kazan). 1980.31 Dec .; Emelyanov T. Semi-rehabilitation // Ogonek. 1988. No. 48, pp. 14-17; Krylova L. Gorky listens to F. Chaliapin // Leninskaya change (Gorky). 1981.12Sep .; Tolstova N. Here Chaliapin sang // Izvestia. 1981.11 November; Belyakov B. Chaliapin, Zimin Theater, 1916 // Leninskaya Smena (Gorky). 1982 Dec. 7, 9 and 12; E. Witting. Meetings with F. I. Shalyapin // Neman (Minsk). 1982. No. 5; Bonitenko A. "Small Alexis" (Letter from F. I. Shalyapin to the composer and accompanist A. V. Taskin) / / Neva (L.). 1982. No. 7; Tomina V. Chaliapin in Buenos Aires // Sov. ballet. 1983. No. 6; Kotlyarov Y. "We are dreaming of a theater" // Theater. 1983. No. 6; Simonov R. Chaliapin in the memoirs of the largest Soviet theater director Ruben Simonov // Culture and Life. 1983. No. 8; Petelin V. Ascent. A documentary story about the young Chaliapin / / Moscow. 1983. No. 9. C 3-117; No. 10. S. 6-101; Its the same. New about Chaliapin: Articles and interviews // Theater. 1983. No. 6; It's the same. Benefit. Fragments of a biographical story about F, Chaliapin // Kuban. 1983. No. 8. S. 3-46; Konchalovskaya N. Spring in Trubnikovsky // Sov. culture. 1983.6 Sept .; Sokolovsky A. Great life in art // Sov. music. 1983. No. 9; Fyodor Chaliapin // Mus. life. 1983. No. 13. S. 15-16; Samsonova P. Dedicated to Chaliapin // Ibid. 1983. No. 14; Grinkevich H. H. Chaliapin lines // Grinkevich H. H. Strings, letters, destinies. - Alma-Ata, 1983.S. 94-98; Elizarova M.N. They were in Kazan. - Kazan, 1983.S. 76-84; Beyul O. Chaliapin. (Mini-memoirs) // Neva. 1983. No. 10. Lapchinsky G. Three musical sketches. (Chaliapin visiting S.M.Budyonny) // Rise. 1983. No. 11; Ardov V. Sketches for portraits. - M., 1983.S. 144-153; Zarubin V. Our great pride // Theater, life. 1983. No. 3; Usanov P. How young we were // Sov. culture. 1983. Oct 29; Malinovskaya G.N. Near Shalyapin // Ibid. 1983.24 Dec .; Khrennikov T. Chaliapin, son of Russia. (To the 110th anniversary of his birth) // Ogonyok. 1983. No. 9; Yanin V. Glorious anniversary // Melody. 1984. No. 1; Semenov Yu. Pink rain "Column" // Izvestia. 1984.17 Feb; Korshunov G. F. Chaliapin in life and on stage. Chapters from the book "Chaliapin Abroad" // Don. 1984. No. 6; Ivanov M. About Shalyapin // Shalyapin F.I.Mask and soul. - M. 1989.S. 19-48; Poznin V. A familiar voice sounds // Ibid. 1984.27 Oct .; Izyumov E. The pride of the Russian land // Ibid. 1984.27 Oct .; Let's bow to the great singer // Ogonyok. 1984. No. 46, p. 30; Ceremony at the Novodevichy Cemetery // Sov. culture. 1984.30 Oct .; Filippov B. How I saw off Chaliapin // Ibid. 1984.30 Oct .; Ivanov V. Chaliapin's autograph // Muses. life. 1984. No. 17; Obraztsova E. Connecting to the native land ... // Worker. 1984. No. 12; Chronicle of the life and work of F.I. Shalyapin. In 2 books / Comp. Yu. Kotlyarov, V. Garmash. - L., 1984; A collector's gift. (An unknown portrait of Chaliapin was donated to the Soviet Union by a Japanese collector) // Izvestia. 1985, Jan 3; Preobrazhensky K. Details of a rare find / / Sov. culture. 1985.12 Jan .; Its the same. The portrait of Chaliapin will be transferred to Moscow // Ibid. 1985. 16th of May; Gogoberidze Gr. Granted to the Museum // Ibid. 1985. June 4; Burakovskaya M. Chaliapin's Album // Ibid. 1985.13 July; Razgonov S. A Gift of a Collector // Sov. culture. 1985 18 July; Tuchinskaya A. Knight of Art // Aurora. 1985. No. 9; Medvedenko A. Argentina applauded Chaliapin // Smena. 1985.24 Aug; Resurrection M. In memory of Chaliapin. Have you been to this museum? // Evening. Leningrad. 1985.27 Aug; Paklin N. He glorified Russian art // Week. 1986. No. 45 (1389); Dmitrievskaya E. R., Dmitrievsky V. I. Shalyapin in Moscow. - M., 1986; F.I.Shalyapin / Comp. R. Sargsyan. - M., 1986; Goltsman S. V. F. I. Shalyapin in Kazan. - Kazan, 1986; Kuleshov M. Chaliapin's autograph // Lenin's banner. 1986.12 November; Svistunova O. Moscow address of Chaliapin // Vech. Moscow. 1987.28 November; Shalnev A. For the Chaliapin Museum // Izvestia. 1988.September 3; Sokolov V. And the broad Slavic soul responded ... // Sov. culture. 1989.27 May. P. 2; Zhelezny A. When the first records of F. I. Shalyapin were recorded // Zhelezny A. Our friend - gramophone record. Collector's Notes. - Kiev., 1989. S 92-98; Sedov A. Rare plates of Chaliapin // Sov. culture. 1989.2 October; Peschotte J. Ce géant, F. Chaliapine. - Paris, 1968; Goury J. F. Chaliapine. Paris, 1970 (with discography); Сosma V. Saliapin in Romania // "Muzica". 1973. No. 2.

Chaliapin, Fedor Ivanovich

(b. 1873) - an outstanding opera and concert singer, high bass. In early childhood until the 90s. 19th century Sh. Lived in difficult material and living conditions; He did not receive a systematic education and, as a rare nugget, almost independently formed into an exclusively original artistic personality. Sh .'s popularity began in 1896, when he moved from the Mariinsky stage to the private enterprise of the Moscow philanthropist S. Mamontov, who immediately appreciated the wealth of Sh .'s talent and created around him a favorable artistic atmosphere in which Sh's talent matured. Here the artists Polenov, Serov, Vrubel, Vasnetsov, Korovin, and others had a significant impact on the education of Sh .'s artistic taste. During the same period, the historian Klyuchevsky and composer Rachmaninoff helped Sh. Reveal the roles of Godunov and Dosifei in Mussorgsky's brilliant works Boris Godunov and Khovanshchina. Possessing a vivid dramatic talent, combined with exceptional vocal skills and captivating temperament, Chaliapin managed to create in his artistic activity a number of unforgettable - in strength and deep truthfulness - images: the miller (Dargomyzhsky's Mermaid), Mephistopheles (Faust by Gounod and Mephistopheles by Boyto), Ivan the Terrible (The Pskovite Woman of the Roman Korsakov), etc. High technical skill, full possession of the resources of the voice in Sh. Is always subordinated to the musical and dramatic tasks of the role played. Revealing this or that artistic image, Chaliapin is never carried away by the outwardly spectacular side of his stage embodiment, trying to reveal its ideological content, achieving the utmost clarity of its musical and dramatic expressiveness. As an artist, Sh. Is a rare example of the greatest master, in which the musician and the dramatic actor are organically merged. Sh .'s bright and bold innovative activity stirred up the routine swamp of the old opera stage with its obsolete pseudo-classical pathos of magnificent props, with its traditional attitudes towards "beautiful sound" with almost complete disregard of musical and dramatic expressiveness, etc. Sh. Was able to raise the musical dramatic skill of the opera actor to a great height and thus greatly contributed to the health of the opera. This is undoubtedly the huge positive role of Sh. In the history of musical and dramatic performance. However, Sh. Did not create schools, remaining a largely isolated talent in the Russian pre-revolutionary musical and dramatic art. It is no coincidence that Sh .'s directorial experiments ("Khovanshchina" in St. Petersburg, "Don Carlos" in Moscow) had no independent significance.

In the conditions of pre-revolutionary Russia, all of Sh .'s creative activity can be characterized as a single phenomenon. Sh. Emerged from the lumpen-proletarian milieu. Walking the hard way of a novice amateur singer and actor in an atmosphere of vagrancy and bohemia, Sh., Thanks to his exceptional artistic abilities, was noticed "from above", received and treated kindly by the "caring" attention of Russian bourgeois patronage of arts. This led to the dual nature of the rebellious-anarchic and at the same time limited-philistine and egoistic nature of Sh. As a person. Sh. Was essentially always alien to social and political life and struggle and very easily succumbed to the influences of the situation in which he found himself. The entire path of the mature Sh. - from friendship with Gorky and revolutionary "sympathies" to the kneeling performance of the tsarist anthem, from artistic activity in the young Soviet Republic (for which he was awarded the title of People's Artist by the Soviet government) to open communication with White Guard organizations abroad - clearly confirms this conclusion.

In his last book, published in 1932 abroad (Soul and Mask), Sh. With cynical frankness exposed the complete ideological, insignificance and lack of principle of his "social" activity, finally slipping into the camp of terry reaction. In 1928, the Soviet government stripped Sh. Of the title of People's Artist and banned him from entering the USSR.

Shal I am pin, Fedor Ivanovich

Genus. 1873, d. 1938. Singer (bass). Has appeared on the stage of the Moscow Private Russian Opera (1896-1899), the Bolshoi Theater, the Mariinsky Theater. Best roles: Boris (Boris Godunov), Mephistopheles (Faust), Mephistopheles (Mephistopheles), Melnik (Mermaid), Ivan the Terrible (The Pskovite Woman), Susanin (Ivan Susanin). A wonderful performer of Russian folk songs, romances ("Along the Piterskaya", "Dubinushka", etc.). People's Artist of the Republic (1918). In 1922 he emigrated.

Big biographical encyclopedia... 2009. -, Russian singer (bass), People's Artist of the Republic (1918). Born into the family of a petty office clerk. He worked as an apprentice of a shoemaker, turner, and scribe. At the same time he sang in the bishop's choir. WITH… … Great Soviet Encyclopedia

Coming from a peasant family, Fyodor Chaliapin performed at the most prestigious theaters in the world - the Bolshoi, the Mariinsky, the Metropolitan Opera. Among the admirers of his talent were composers Sergei Prokofiev and Anton Rubinstein, actor Charlie Chaplin and the future English king Edward VI. Critic Vladimir Stasov called him "a great artist", and Maxim Gorky - a separate "era of Russian art"

From the church choir to the Mariinsky Theater

"If everyone knew what kind of fire smolders in me and goes out like a candle ..."- Fyodor Chaliapin said to his friends, convincing them that he was born to be a sculptor. Already a famous opera performer, Fyodor Ivanovich drew a lot, was engaged in painting, sculpted.

The talent of the painter manifested itself even on stage. Chaliapin was a "virtuoso of makeup" and created stage portraits, adding a bright picture to the powerful sound of the bass.

The singer seemed to sculpt his face, contemporaries compared his manner of applying makeup with the canvases of Korovin and Vrubel. For example, the image of Boris Godunov changed from picture to picture, wrinkles and gray hair appeared. Chaliapin-Mephistopheles in Milan caused a real sensation. Fyodor Ivanovich was one of the first to make up not only his face, but also his hands and even the body.

“When I went on stage dressed in my costume and made up - it caused a real sensation, very flattering for me. Artists, choristers, even workers surrounded me, gasping and delighted, like children, touched their fingers, felt, and when they saw that my muscles were painted on, they were completely delighted. "
Fyodor Chaliapin

And yet the talent of the sculptor, like the talent of the artist, served only as a frame for an amazing voice. Chaliapin sang from childhood - a beautiful treble. Coming from a peasant family, while still in his native Kazan, he studied in the church choir and performed at village holidays. At the age of 10, Fedya first visited the theater and dreamed of music. He comprehended shoemaking, turning, carpentry, bookbinding, but he was attracted only by the art of opera. Although from the age of 14 Chaliapin worked as a clerk in the Kazan district council, he devoted all his free time to the theater, going on stage as extras.

Passion for music led Fyodor Chaliapin with nomadic troupes around the country: the Volga region, the Caucasus, Central Asia. He worked as a loader, a crochet hooker, starved, but waited for his finest hour. One of the baritones on the eve of the performance fell ill, and the role of Stolnik in Moniuszko's opera "Pebbles" went to the chorus player Chaliapin. Although the debutant sat down by the chair during the performance, the entrepreneur Semenov-Samarsky was moved by the performance itself. New parties have appeared and confidence in the theatrical future has grown.

“I still think superstitiously: it’s a good sign for a newcomer to sit past a chair in front of an audience in the first performance on stage. Throughout my subsequent career, however, I kept a keen eye on the chair and was afraid not only to sit by, but also to sit in another's chair. "- Fyodor Ivanovich said later.

At 22, Fyodor Chaliapin made his debut at the Mariinsky Theater, sang Mephistopheles in the opera Faust by Gounod. A year later, Savva Mamontov invited the young singer to the Moscow Private Opera. "I got the repertoire from Mamontov, which gave me the opportunity to develop all the main features of my artistic nature, my temperament.", - said Chaliapin. The young summer bass was gathering a full house with his performance. Ivan the Terrible in Rimsky-Korsakov's The Woman of Pskov, Dosifei in Khovanshchina and Godunov in the opera Boris Godunov by Mussorgsky. "One Great Artist Has Got More", - wrote the music critic Vladimir Stasov about Chaliapin.

Fyodor Chaliapin starring in a production of Modest Mussorgsky's opera Boris Godunov. Photo: chtoby-pomnili.com

Fyodor Chaliapin as Ivan the Terrible in the production of Nikolai Rimsky-Korsakov's opera "The Woman of Pskov". The year is 1898. Photo: hrono.ru

Fyodor Chaliapin as Prince Galitsky in the production of Alexander Borodin's opera "Prince Igor". Photo: hrono.ru

"Tsar-Bass" Fyodor Chaliapin

The art world seemed to be just waiting for the young talent. Chaliapin communicated with the best painters of that time: Vasily Polenov and the Vasnetsov brothers, Isaac Levitan, Valentin Serov, Konstantin Korovin and Mikhail Vrubel. The artists created amazing sets that accentuated the vivid stage images. At the same time, the singer became close to Sergei Rachmaninov. The composer dedicated to Fyodor Chaliapin the romances "You knew him" to the verses by Fyodor Tyutchev and "Destiny" based on the poem by Alexei Apukhtin.

Chaliapin is a whole era of Russian art and since 1899 has been the leading soloist of the country's two main theaters - the Bolshoi and the Mariinsky. The success was so great that contemporaries joked: "There are three miracles in Moscow: Tsar Bell, Tsar Cannon and Tsar Bass - Fyodor Chaliapin"... Shalyapinsky high bass was known and loved in Italy, France, Germany, America, Great Britain. Opera arias, chamber works, and romances evoked an enthusiastic reception of the public. Wherever Fyodor Ivanovich sang, crowds of fans and listeners gathered around. Even while relaxing in the country.

The triumphant tour was stopped by the First World War. The singer organized the work of two hospitals for the wounded at his own expense. After the 1917 revolution, Fyodor Chaliapin lived in St. Petersburg and was the artistic director of the Mariinsky Theater. A year later, Tsar-bas was the first art worker to receive the title of People's Artist of the Republic, which he lost when he emigrated.

In 1922, the artist did not return from a tour of the United States, although he believed that he was leaving Russia only for a while. Having traveled all over the world with concerts, the singer performed a lot at the Russian Opera and created a whole "romance theater". Chaliapin's repertoire consisted of about 400 works.

“I love gramophone records. I am excited and creatively excited by the thought that the microphone does not symbolize any specific audience, but millions of listeners. ", - said the singer and recorded about 300 arias, songs and romances. Leaving a rich legacy, Fyodor Chaliapin did not return to his homeland. But until the end of his life he did not accept foreign citizenship. In 1938, Fyodor Ivanovich died in Paris, and half a century later, his son Fyodor obtained permission to reburial his father's ashes at the Novodevichy cemetery. At the end of the 20th century, the title of People's Artist was returned to the great Russian opera singer.

“Chaliapin's innovation in the field of the dramatic truth of operatic art had a strong impact on the Italian theater ... The dramatic art of the great Russian artist left a deep and lasting mark not only in the performance of Russian operas by Italian singers, but also in the whole style of their vocal and stage interpretation , including works by Verdi ... "
Gianandrea Gavazzeni, conductor and composer

Great performers of the twentieth century

Fyodor Chaliapin. Tsar Bass

Like Sabinin in Glinka's opera, I exclaim:
"Immeasurable joy!"
Great happiness fell on us from the sky!
A new, great talent was born ...

(V. Stasov)

We live in that amazing time when miracles became common, everyday occurrence. Thanks to one of these miracles, now, just like Vladimir Vasilyevich Stasov once did, we can exclaim: "Immeasurable joy!"- we hear the voice of Chaliapin.

Tsar Bass

“Someone said about Chaliapin,- wrote V.I. Nemirovich-Danchenko, - when God created him, he was in a particularly good mood, creating for the joy of everyone. "

This voice, once heard, is truly impossible to forget. You come back to it again and again, despite the imperfection of the old records. There were wonderful voices both before and after Chaliapin, but few can compare with his high velvet bass, which was distinguished by incredible expressiveness. And the listener is mesmerized not only by the unique timbre, but also by how accurately and subtly the singer managed to convey the slightest shades of feelings inherent in the work, be it an opera part, a folk song or a romance.

Chaliapin raised vocal art to new heights, teaching musical truth lessons to those who were around, and generously sharing his secrets with future generations of artists.

And the life story of the Russian Tsar-Bas is a lesson for everyone. In whatever conditions you live, if there is a spark of talent in you, follow your dream, work hard, strive for perfection ... And everything will work out.

Since September 24, 1899, Chaliapin has been the leading soloist of the Bolshoi and at the same time the Mariinsky Theaters, with a triumphant tour abroad. In 1901, at La Scala in Milan, he sings with great success the part of Mephistopheles in the opera of the same name by A. Boito with Enrico Caruso, conducted by A. Toscanini. The world fame of the Russian singer was confirmed by tours in Rome (1904), Monte Carlo (1905), Orange (France, 1905), Berlin (1907), New York (1908), Paris (1908), London (1913/14).

The divine beauty of Chaliapin's voice conquered listeners of all countries. His high bass, delivered by nature, with a velvety, soft timbre, sounded full-blooded, powerful and had the richest palette of vocal intonations. The effect of artistic transformation amazed the listeners - there is not only an external appearance, but also a deep inner content, which was conveyed by the singer's vocal speech. In creating capacious and scenic expressive images, the singer is helped by his extraordinary versatility: he is both a sculptor and an artist, writes poetry and prose. Such a versatile talent of the great artist reminds of the masters of the Renaissance - it is no coincidence that his contemporaries compared his opera heroes with Michelangelo's titans.

Chaliapin's art crossed national borders and influenced the development of the world opera house. Many Western conductors, artists and singers could repeat the words of the Italian conductor and composer D. Gavazeni: “Chaliapin's innovation in the field of the dramatic truth of operatic art had a strong impact on the Italian theater ... interpretation, including the works of Verdi ... "

Of particular importance was Chaliapin's participation in the "Russian Seasons" as a propagandist of Russian music, primarily the work of M. P. Mussorgsky and N. A. Rimsky-Korsakov. He was the artistic director of the Mariinsky Theater (1918), and an elected member of the directories of the Bolshoi and Mariinsky theaters. Leaving abroad in 1922 on tour, Chaliapin did not return to the Soviet Union, lived and died in Paris (in 1984, Chaliapin's ashes were transferred to the Novodevichy cemetery in Moscow).

The largest representative of the Russian performing arts, Chaliapin, was equally great both as a singer and as a dramatic actor. His voice - amazing in flexibility, timbre richness - sounded now with heartfelt tenderness, sincerity, now with stabbing sarcasm.

Mastering the art of phrasing, subtle nuances, diction, the singer saturated each musical phrase with a figurative meaning, filled it with deep psychological implications. Chaliapin created a gallery of diverse characters, revealing the complex inner world of his characters.

The artist's summit creations were the images of Boris Godunov (Boris Godunov by MP Mussorgsky) and Mephistopheles (Faust by Charles Gounod and Mephistopheles by Arrigo Boito). Among other parties: Susanin ("Ivan Susanin" by M. I. Glinka), Melnik ("Rusalka" by A. Dargomyzhsky), Ivan the Terrible ("The Pskovite Woman" by N. A. Rimsky-Korsakov), Don Basilio ("The Barber of Seville "G. Rossini), Don Quixote (" Don Quixote "by J. Massenet).

Chaliapin was an outstanding chamber singer: a sensitive interpreter of the vocal works of M.I. Glinka, A.S. Dargomyzhsky, M.P. Mussorgsky, P.I.Tchaikovsky, A.G. Rubinstein, R. Schumann, F. Schubert a soulful performer of Russian folk songs. He also acted as a director (productions of the operas "Khovanshchina", "Don Quixote"). He acted in films. He also owns sculptural and painting works.

The memory of the artist is immortalized in the city of his childhood - Kazan. On the occasion of the 125th anniversary of his birth, the world's first city monument to F.I.Shalyapin by sculptor Andrei Balashov was unveiled here. He took his place on a pedestal near the Epiphany Cathedral, in which Chaliapin was once baptized, on the central street of the city.

Arias from the opera "Boris Godunov" M. P. Mussorgsky

Most of all the composers Chaliapin loved Mussorgsky. And he sang it in such a way that it seems that everything created by Mussorgsky was created specifically for Chaliapin. Meanwhile ...

“My big grief in life is that I did not meet Mussorgsky. He died before I arrived in St. Petersburg. My grief ... "

Yes, they never knew each other. However, no, it is not so. Mussorgsky did not really know Chaliapin. And this is very sad to think about. How happy Modest Petrovich Mussorgsky would be if he heard, saw in the performance of Chaliapin his Tsar Boris, his Varlaam, Pimen, Dositheus, all his men, whom he sang in music with such love, with such great pain and compassion.

And Chaliapin knew Mussorgsky. He understood and loved him like his closest friend. With the heart of a great artist, he felt every thought of his music, knew every note in it. All of Musorgsky's compositions that the bass could sing were in his repertoire. In the opera Boris Godunov there are three bass parts. And all three were performed by Chaliapin.

We know that Chaliapin was not only a great singer, but also a great actor. And although we have never seen how Chaliapin plays, we understand this when looking at his portraits in roles. It is hard to believe that this is one and the same person, that this is all Chaliapin.

And it's not only makeup and costume that change the artist that way.

Boris Godunov. Boris Godunov has a strong, strong-willed face; he is a handsome, courageous person with a sharp, inquisitive look. But somewhere in the depths of his intelligent, beautiful eyes, a great alarm, almost despair is beating, screaming.

Hearing: M. Mussorgsky. Boris' monologue (prologue) "The soul grieves ..." from the opera "Boris Godunov", performed by F. Chaliapin.

Chaliapin's daughter, Irina, recalls:

“The curtain went up, and under the bell ringing,“ led under the hands of the boyars, ”Tsar Boris appeared.

The soul grieves ...

We listen to Chaliapin sing. Beautiful, juicy, thick, I want to say - a regal voice. Only in this royal majesty there is no peace. Anxiety and sadness are clearly heard in the voice. Tsar Boris is dim in his soul. The ringing of bells does not please him, the solemn election to the kingdom does not please. But Boris Godunov is a man of strong will. He overcame his anxiety. And now in Russian widely:

And there to call the people to a feast ...

As if this mighty, generous bass hugged everyone:

Free entrance for everyone; all guests are dear ...

Hearing: M. Mussorgsky. Boris's monologue "I have reached the highest power ..."(Act 2) from the opera Boris Godunov, performed by F. Chaliapin.

Pimen - completely different. This old man knows a lot. He sees a lot. He is calm and wise, he is not tormented by remorse, which is why his gaze is so straight and calm. Remember, in Pushkin: "Night. Cell in the Chudov Monastery. Pimen writes in front of the lamp ".

The voices of the strings in the orchestra sound muffled, note by note is strung unhurriedly, monotonously. Like a quiet rustle of a goose feather on an old parchment, like an intricate ligature of Slavic writing stretches, telling about the "past fate of the native land."

One more, last saying and my chronicle is over ...

A wise tired voice. This man is very old. All the passion, all the tension that so shocked us in Boris disappeared from Chaliapin's voice. Now it sounds absolutely even, completely calm. And at the same time there is some elusive characteristic in it. He resembles something. But what? However, he may not remind you of anything: you probably have never heard church singing. Unless only in the movies. And Chaliapin knew well how the priests sing: always at least a little, but "in the nose", a little nasal. Listen to the voice of Chaliapin Pimen ... The singer gives him a barely noticeable "church" tone. He feels that Mussorgsky's music demands it.

Almost the entire monologue of Pimen sounds unhurried, thoughtful. But there is no monotonous, boring monotony in Chaliapin's voice. If in the part of Boris he can be compared with the artist's palette, on which you see a variety of colors - blue, and yellow, and green, and red, then Chaliapin-Pimen's voice is like a palette with different shades of the same paint (for some reason, then it appears - lilac) from thick dark to light; blurry.

Hearing: M. Mussorgsky. Pimen's monologue (act 1) from the opera Boris Godunov, in Spanish. F. Chaliapin.

Varlaam. Here he is, all at a glance - a sloppy, flabby, half-drunk tramp. But once you look into his eyes, you immediately see: no, this fugitive monk is not at all so simple - his eyes are smart, cunning and very unkind.

How does Chaliapin imagine him?

"Mussorgsky, with incomparable art, conveyed the bottomless longing of this tramp ... The melancholy in Varlaam is such that even if you strangle yourself, and if you don't want to hang yourself, then you have to laugh, invent a kind of wild drunkenness, as if it were funny ..."

That is why Varlaam-Chaliapin has such eyes.

In the tragedy of Pushkin, the role of Varlaam is very small. He has no big monologues. And Mussorgsky, creating his own Varlaam, did not invent any special arias for him. But remember, Pushkin says: “Varlaam sings the song“ How was it in the city in Kazan ”?

The all-knowing Stasov found the original text of this old Russian song, which tells how Tsar Ivan Vasilyevich the Terrible took Kazan. This song became the first characteristic of Varlaam. And instead of the second, specified by Pushkin, the song of Varlaam "The young monk has cut his hair", Varlaam Mussorgsky sings the song "How does the yon go."

Two songs tell us about the character of Barlaam. And as they say! Especially if Chaliapin sings Varlaam.

We listen to the first song - "How it was in the city in Kazan" and we understand that Chaliapin, speaking about how he imagines his Varlaam, did not reveal to us everything that is in his fugitive monk.

As with gunpowder, that barrel spun
I rolled along the trenches, rolled along the trenches,
Yes, and banged ...

Oh no, not only drunken revelry is heard in Barlaam's voice. Stasov says that Varlaam "sings brutally and fiercely." He says this about Mussorgsky's music, but Chaliapin sings just like that - "beastly and fiercely." Huge strength - dense, irrepressible - is felt in this person. Someday she will break free! .. And she breaks free.

“Subsequently,- writes Stasov, - this same Barlaam with a mighty hand will raise a terrible popular storm against the Jesuits who wandered into Russia with False Dmitry "... This is a scene that was banned by censors in pre-revolutionary times. This is the final scene of the opera - the popular uprising near Kromy, in which Varlaam plays a very important role.

So much for the fugitive drunken monk!

Three roles - three different people. Such different people, of course, and the voices should be completely different. But since we are talking about Shalyapin, it is quite clear that everyone will have one voice - an unforgettable Shalyapin bass. You will always recognize him if you have heard him at least once.

Hearing: M. Mussorgsky. Varlaam's Song (act 1) from the opera Boris Godunov, performed by F. Chaliapin.

Rondo Farlaf from the opera "Ruslan and Lyudmila" by Mikhail Glinka

F. I. Shalyapin performed the roles of Ruslan and Farlaf in Mikhail Glinka's opera Ruslan and Lyudmila, and it was in the second role that, according to A. Gozenpud, he reached the top, surpassing his famous predecessors.

Impudence, boasting, unrestrained arrogance, intoxication with one's own "courage", envy and anger, cowardice, voluptuousness, all the baseness of Farlaf's nature were revealed by Chaliapin in the performance of rondo without caricature exaggeration, without emphasizing and pressure. Here the singer reached the pinnacle of vocal performance, overcoming technical difficulties with virtuoso ease.

Hearing: M. Glinka. Farlaf's Rondo from the opera Ruslan and Lyudmila, performed by F. Chaliapin.

Song of the Varangian guest from the opera "Sadko" by N. A. Rimsky-Korsakov

The song of the Varangian guest performed by Chaliapin is stern, warlike and courageous: "O formidable rocks are crushing with a roar of waves." The timbre of a low male voice and the thick sonority of wind instruments, mainly brass instruments, harmonize well with the whole appearance of the Varyag - a brave warrior and sailor.

The role of the Varangian guest is fraught with tremendous artistic opportunities that allow you to create a vivid stage image.

Hearing: N. Rimsky-Korsakov. Song of the Varangian Guest from the opera "Sadko", performed by F. Chaliapin.

Aria by Ivan Susanin "You will rise my dawn ..." from the opera "Ivan Susanin" by Mikhail Glinka

"Shalyapinsky Susanin is a reflection of an entire era, it is a virtuoso and mysterious embodiment of folk wisdom, the wisdom that saved Russia from destruction in difficult years of testing."

(Edward Stark)

Chaliapin sang Susanin's aria brilliantly at the private debut at the Mariinsky Theater, when he came from the provinces to conquer the capital and was admitted to the imperial stage on the day of his full majority, February 1 (13), 1894.

This audition took place on the recommendation of the patron of the arts, a prominent official TI Filippov, known for his friendship with Russian composers and writers. In the house of Filippov, young Chaliapin met with MI Glinka's sister Lyudmila Ivanovna Shestakova, who showered praise on the young singer, having heard the aria of a Russian national hero in his performance.

Ivan Susanin played a fateful role in the work of Fyodor Chaliapin. In the spring of 1896, the singer decides to go to Nizhny Novgorod for the summer. There he meets S.I. On May 14, the performance "Life for the Tsar" with Shalyapin in the title role began regular performances of the Mamontov troupe, which toured in Nizhny Novgorod.

Hearing: M. Glinka. Aria Susanin "You will rise my dawn" from the opera "Ivan Susanin", in Spanish. F. Chaliapin.

Chaliapin was unusually musical. He not only understood and knew music, he lived in it, music permeated his entire being. Every sound, every breath, gesture, every step - everything was subordinated to her.

The great singer always "chose" from the richest arsenal of technical methods exactly the one that the musical image demanded of him. Chaliapin completely gives his voice to the service of music. He fiercely hates singers who consider their own singing to be the main thing in their activities.

“After all, I know singers with beautiful voices, they control their voices brilliantly, that is, they can sing loudly and quietly at any moment ... but almost all of them sing only notes, adding syllables or words to these notes ... Such a singer sings beautiful ... But if this charming singer needs to sing several songs in one evening, then almost never one is different from the other. Whatever he sings about, love or hate. I don’t know how an ordinary listener reacts to this, but after the second song I personally find it boring to sit in a concert ”.

Do not think, however, that a deep understanding of music came to Chaliapin by itself. He had mistakes, failures, and breakdowns. There was dissatisfaction with myself. So it was even with Musorgsky, whom he adored.

“I stubbornly didn’t cheat on Mussorgsky, I sang his pieces at all the concerts in which I performed. I sang his romances and songs in accordance with all the rules of canted art - I gave a ribbed breath, kept my voice in a mask and generally behaved like a decent singer, but Mussorgsky came out dimly with me ... "

It was like that in my youth. And Chaliapin tries, rehearses, achieves. In a Shalyapin's way, passionately he strives for knowledge, eagerly absorbs everything that seems necessary to him to achieve a single goal. This goal is to serve music.

Presentation

Included:
1. Presentation - 15 slides, ppsx;
2. Sounds of music:
Glinka. Opera "Ivan Susanin":
Aria Susanin "You will rise my dawn ...", mp3;
Glinka. Opera "Ruslan and Lyudmila":
Rondo Farlaf, mp3;
Mussorgsky. Opera "Boris Godunov":
Boris's monologue (prologue), mp3;
Pimen's monologue (1 act), mp3;
Varlaam's song (1 act), mp3;
Boris's monologue (act 2), mp3;
Rimsky-Korsakov. Opera "Sadko":
Song of the Varangian Guest, mp3;
(all works performed by Fyodor Chaliapin)
3. Accompanying article, docx.

Fyodor Ivanovich Chaliapin is a famous Russian opera singer, one of the brightest and most talented soloists of the Bolshoi Theater of Moscow in the first half of the 20th century.
Born in 1887 in Kazan, he received his primary education at a parish school, where he also participated in the church choir. In 1889 he was enrolled in the theater troupe of Vasily Serebryakov as an extra, but a year later he performed his debut solo role in the opera "Eugene Onegin" by Pyotr Tchaikovsky.
After moving to Moscow, the famous metropolitan philanthropist Savva Mamontov drew attention to Fyodor Ivanovich Chaliapin, who predicted world fame for the aspiring singer and invited him to the opera house to play leading roles. Several years of work in the private troupe of Mamontov opened the way for Fyodor Chaliapin to the stage of the Bolshoi Theater, where he served from 1899 to 1921.
The first success came to Fyodor Chaliapin during a foreign tour in 1901, after which he was recognized as one of the best Russian opera soloists.
In 1921, having recovered on a world tour with the troupe of the Bolshoi Theater, Chaliapin decided not to return to his homeland, and in 1923 began a solo career, simultaneously acting in films with the Austrian director Georg Pabst.
In 1938 he died in Paris from leukemia, and 46 years later his ashes were transported to Moscow and reburied at the Novodevichy cemetery.