Denis Sedov Bass. Denis Sedov
For a deep strong bass criticism called Denis Sedov with modern Shalyapin.
However, in my opinion, any comparisons in creativity are very superficial and a bit ambiguous. Especially when it comes to a person undoubtedly talented, extraordinary and versatile. And also - incredibly charismatic and charming. And this is already a stroke to the portrait rather human than creative ...
For the charm of Denis Sedov you get immediately and, as they say, without options. Resistance is meaningless. And you are only feverishly trying to remember whether men's characters who were told by the sounds of her voice in mythology. So the hall was enchanted when the vocalist sang from the philharmonic scene. Thus were fascinated by journalists when Denis answered our questions.
With thoughts about fishing
- Denis, I heard in one of the interviews your recognition is that you are glad that bass, not tenor ...
- Yes. Because I am very suitable in character to be bass.
- And what for such a special character of bass?
- There are so many different jokes on this topic. For example, when they compare what each of the votes thinks during the performance of some kind of work. So, Bariton - about soprano, tenor - about money, and bass - about fishing, which he is going after the performance. Just to us, bass, on the stage is allowed much more than the rest of the singers. This is due to physiology: we sing where they sound. And we do not need to change the voice to take the extensive high notes, or so follow the ligaments, like, for example, the tenors who, in two or three days before the release on the stage, it is impossible even a glass of cold water to drink.
- Does this mean that bass so easily lives and no difficulties in the profession arise?
- Of course not. Maybe compared to other voices, we are easier. But in general, the profession is enough difficulties and bass. Because, firstly, this is a culture for which no one has no money. And secondly, we are all on the point of play - we present yourself, not hiding for any musical instrument. And who are you today on stage, as you sound, and the public and critics are perceived.
And if you still take into account the level of modern technologies that allow you to almost instantly to upload everything into the network ... and it is worth it to make a mistake in the play, not in my voice - the whole world will know about it in a couple of hours, and even with millions of views. No one wants this. But what to do, such a profession - no one in it is not easy.
Ballet ticket
- I know that all your childhood has passed behind the scenes of the Mariinsky Theater ...
- Yes. I generally born on Glinka Street - literally in three steps from Mariins, opposite the Nikolasky Cathedral. And in the theater worked my parents. They were not singers: Dad worked in the administration, Mom Grimer. And I, of course, often had them. I even remember when I drew the bunnies, there were no ballet packs on them - apparently, such an impression on me then the ballerins were produced. And on the performance of me for the first time in three years. And grandma retained in his theatrical binoculars that ticket about my first visit to Mariins.
- And when did you understand what you want to sing? And to sing just a classic?
- When I saw a wonderful documentary film "Leningrad Solovushki" on TV. This is a picture of the St. Petersburg Choir School named after Glinka, where the boys from seven to eighteen years old are engaged in vocals, conducting and everyone else, which is connected with the profession of the musician. And I told my mother that I want to learn exactly there. By the way, last year we with colleagues and guys from the "fifth canal" removed the continuation of this film. In April, there will be a presentation in St. Petersburg Chapel - see what happens.
- And how did you study?
- Perfectly. With love for music and huge responsibility. I remember my first tour very well. I was nine years old, and I, leaving my parents, Grandma and Peter, went with the guys to sing in Yaroslavl days for five ... So I learned wonderful. The most difficult thing, probably, was to do, because the competition was huge: 25 people in place. In general, this institution graduated from many vocalists of the Mariinsky Theater and musicians with worldwide names demanded abroad. I have a photo of the choir, where we are standing with ten-year-old boys - and through one all became famous musicians.
Star Olympiad
- It can be said that you received the first portion of our world fame during the performance at the opening ceremony of the Olympiad in Nagano. Tell us about it more.
- Pevtsov selected the Conductor Sejna Zava - a brilliant Japanese musician who worked all his life in America, in the Symphony Orchestra of Boston. I was then inhabited in the states, in the Metropolitan. And I was lucky that among the huge number of applicants, Seydzhi heard me and took to work in his star team. After all, there were the first consoles from Vienna, Berlin, Chicago, Boston, San Francisco, Israel - a huge orchestra of outstanding musicians from around the world.
Interestingly, they had certain shocks among themselves when choosing the execution strokes. It was often possible to hear: "We in Berlin are all my life up playing!" - "And we in Vienna down!" And then the sejnis was introduced: "Friends, we all gathered here peacefully. Therefore, I will decide the strokes - your terrorist from Japan "...
- What did you feel during the speech itself?
- Of course, the event of this level is an additional excitement that is added to the constant excitation from the coming outlet to the scene. However, when the first note is taken, all feelings not involved in singing are departed into the background. In Japan, we worked on the camera, and all the grandeur of what was happening became clear only after the opening ceremony, when my friends from all over the world were told about how you saw me on the TV screen. And in Japan itself, I felt a few days just a Hollywood star: Literally every came-out recognized me and photographed.
For complete communication
- You know eight languages \u200b\u200b...
- Yes. For more than twenty years, I participate in opera performances in different countries. And each such work takes from three weeks to two months. And the language is part of the culture that people live. For me, it was always important to understand the mentality of others, and without knowing the language it is impossible. As impossible and tell about our Russian culture. After all, we are not only standing on stage, but we communicate a lot, share with each other with our feelings, emotions ...
I have a hobby - playing guitar. At one time I even drove a tool with me. Then he stopped because I realized that the guitar could be found anywhere in the world. And on some parties, when you get acquainted with people, many are musicated, sing. And I also performed the Russian songs under the guitar. And they always asked me: "What are you going?" Because our songs are very much in words, in lyrics, and not so much in harmonic terms.
I explained, and then I'm tired, and I simply translated several cult things into Italian, English or Portuguese, so that everything was clear at once.
- We so smoothly approached the question of music in life, and not on the scene ...
- Spiritual music plays a very big role in my life. I even live in the West, went to church to hit Easter. Now finally recorded a disc with the choir of St. Isaac's Cathedral. It was always very important for me. And I remember well how the first time sang in the temple. It was in 1990 in the Smolny Cathedral, where I sang for the deacon in the liturgy of John Zlatoust ...
There are several iconic Brazilian songs that I love very much. For example, "Girl from Ipanoma." In general, I love Brazilian music very much - I play the guitar, and I write myself. In St. Petersburg, there is a "White Bossa" project - maybe someday and you will arrive at the tour with this music.
- Or maybe remember some stories related to music?
- My life from the five-year-old age is associated with music. Imagine how many stories! Almost every musical work you can find your own. Because any opera aria causes certain feelings. When you performed her for the first time, or I met someone, or someone sang with you - that is, a lot of things ...
Demonic amplua
- Did you have to sing the villains?
- Sure. Basa is either priests or devils ...
- They say that energy these parties are very difficult to fulfill?
- In my opinion, this is a delusion. This is the same party as everyone else. Opera is written by a person, there are two hundred pages in it - you sent, removed the makeup, left the theater, and that's it. Another thing is that Mephistofil's party is very complex. And even more difficult to the same party at Boyto, so this opera is practically not fulfilled at all. Three and a half hours on stage, the range of voices in two and a half octave.
It was the most difficult party that I had to sing, but it was not connected with the energy. So I think, just people often indicate the wrong reason when they refuse to sing. Who admits that he can't sing because it will not stand? It is easier to refer to poor energy.
- Can you describe your viewer?
- In all countries it is different. But, probably, the uniting features will be: love for music and joy from communicating with her, the willingness to perceive something new and the desire to hear familiar works.
***
Denis Sedov was born in St. Petersburg. He graduated with honors from the Choir School named after M.I. Glinka at the Soviet Chapel of St. Petersburg and the Vocal Faculty of the Jerusalem Academy of Music and Dance named after Rubin. At the end of the last two years, it was internally in the Metropolitan Opera in New York.
The first professional speech of Denis took place in 1993 at the festival in Ludwigsburg, where he sang a concert of modern music with the orchestra. Wide-famous vocalist brought performance of symphony No. 9 Ludwig Van Beethoven at the opening ceremony of the XVIII Winter Olympic Games in Nagano.
As a invitation soloist, takes part in the production of leading opera theaters of the world: the New York Metropolitan Opera, Milan La Scala, Parisian Grand Opera, Covent Garden London.
Sings in the theaters of San Francisco, Barcelona, \u200b\u200bBuenos Aires, Rio de Janeiro, Santiago, Tel Aviv and others.
With the chapel chapel of St. Petersburg in the class of choral conducting and went to enter the conductor in the Jerusalem Academy of Music and Dance. Rubin, but accidentally missed the exam. In order not to lose a whole year of study, Denis decided to go there to the Vocal Faculty.
In 1993, the first professional speech of Denis at the festival in Ludwigsburg, where he sang a concert of modern music with the orchestra.
In 1995, he was invited to participate in the program of development of young artists of Lindemann in Metropolitan-Opera (New York), where he was inhabited 2 years in such legends of the opera as Renata Scotto, Louis Kilico, Lyzhin Krizpan, Carlo Bargon.
The singer's wide fame brought the execution of "Symphony No. 9" Beethoven at the opening ceremony of the XVIII Winter Olympic Games of 1998 in Nagano.
Denis Sedov sang with such stars as: Placido Domingo, Yo-Yo Ma, Pierre Bülez, Riccardo Muta, Nikolai Gayurov, James Levine, Kurt Mazur, Sejsezh Ozawa, Nani Breggvadze. The singer collaborated with several famous recording labels: Deutsche Grammophon, Telarc, Naxos.
International Career
| Year | Theatre | Opera | The consignment |
|---|---|---|---|
| 1996 | Spoleto Festival (Italy) | "Semela" | Somny |
| 1996 | Metropolitan Opera (USA) | Fedor | Nikola |
| 1997 | Seattle Opera (USA) | "Wedding Figaro" | Figaro |
| 1997 | Spoleto Festival (Italy) | "Semela" | Somny |
| 1997 | Spoleto Festival (Italy) | "Or me " | Prophet Elija |
| 1997 | Spoleto Festival (Italy) | "Children's Children" | Herod, Father Family |
| 1997 | Israeli Philharmonic | "Curse of Faust" | Brander (with the Israeli Philharmonic Orchestra) |
| 1997 | Flemish Opera (Antwerp, Belgium) | "World creation " | Adam |
| 1998 | Metropolitan Opera (USA) | "Bohemia" | Collena |
| 1998 | Royal Opera in Covent Garden (United Kingdom) | "Wedding Figaro" | Figaro |
| 1998 | Lyon Opera (France) | "Three sisters " | Salted Vasily Vasilyevich |
| 1998 | Opera comedian (France) | "Somnammbul" | Count Rodolfo |
| 1999 | Opera comedian (France) | "Don Juan " | Don Juan |
| 1999 | Paris Opera Bastil (France) | "Bohemia" | Collena |
| 1999 | "Coronation Poppi" | Seneca | |
| 1999 | Festival of San Denis (France) | "Pulcinell" | with orchestra radio france |
| 2000 | An der Wine Theater (Vienna, Austria) | "Coronation Poppi" | Seneca |
| 2000 | La Scala (Italy) | "Don Juan " | Lepogello |
| 2000 | Minnesota Opera (USA) | "Semiramid" | Assur |
| 2000 | THE ASPEN MUSIC FESTIVAL (USA) | "AIDA" | Pharaoh |
| 2000 | Opera Festival AIX-EN-PROVENCE FESTIVAL (France) | "Coronation Poppi" | Seneca |
| 2000 | Pavilion Dorothy Chandler (USA) | "Requiem (Verdi)" | With the Los Angeles Philharmonic Orchestra |
| 2001 | "Louise Miller" | Count Walter | |
| 2001 | Color Theater (Argentina) | "Norm" | Oryzo. |
| 2001 | Lyon Opera (France) | "Magical flute " | Intensive |
| 2001 | Theater Shatle (France) | "Three sisters " | Salted Vasily Vasilyevich |
| 2001 | "Magical flute " | Intensive | |
| 2001 | Edinburgh Festival Theater (Scotland) | "Three sisters " | Salted Vasily Vasilyevich |
| 2001 | Opera Festival AIX-EN-PROVENCE FESTIVAL (France) | "Magical flute " | Intensive |
| 2001 | THE SALZBURG EASTER FESTIVAL (Germany) | "Ariodant" | King Scotland. |
| 2001 | Montreux Festival (Switzerland) | "Romeo and Juliet " | Lorenzo |
| 2001 | Theater du Capitole de Toulouse (France) | "Count Ori" | Gootner |
| 2001 | Munich Philharmonic (Germany) | "Norm" | Oryzo, (with the symphony orchestra of the Bavarian Radio) |
| 2001 | Semper Opera (Dresden, Germany) | "Ariodant" | King Scotland. |
| 2001 | Edinburgh Festival Theater (Scotland) | "Three sisters " | Salted Vasily Vasilyevich |
| 2001 | SEVERANCE HALL (Cleveland, USA) | "Romeo and Juliet " | Lorenzo |
| 2002 | "Don Juan " | Lepogello | |
| 2002 | National Opera Bordeaux (France) | "Don Juan " | Don Juan |
| 2002 | Opera San Francisco (USA) | "Carmen" | Escamilo |
| 2002 | Opera San Francisco (USA) | "Julius Caesar in Egypt" | Akill |
| 2002 | "Magomet ii" | Magomet II. | |
| 2002 | Theater de Champs-Eliza (France) | "King Edip" | Tiece |
| 2002 | Rossini Festival in Visbald (Germany) | "Magomet ii" | Magomet II. |
| 2003 | National Opera Bordeaux (France) | "Tsarist Bride" | Dog |
| 2003 | Theater Shatle (France) | "Tsarist Bride" | Dog |
| 2003 | Music Theater Amsterdam (Netherlands) | "Bohemia" | Collena |
| 2004 | Opera in Nice (France) | "Italian in Algeria" | Mustafa Bay |
| 2004 | Opera de Montreal (Canada) | "Turandot" | Timur |
| 2004 | Opera House of Marseille (France) | "Turks in Italy" | Selim |
| 2004 | National Rhine Opera (France) | "Italian in Algeria" | Mustafa Bay |
| 2004 | Opera de Montreal (Canada) | "Romeo and Juliet " | Lorenzo |
| 2005 | "Ann Bolein " | King England Henry VIII | |
| 2005 | Royal Theater Torino (Italy) | "Don Juan " | Don Juan |
| 2006 | Metropolitan Opera (USA) | "Mazepa" | Orlik |
| 2006 | Big Theater Liseu (Spain) | "Ariodant" | King Scotland. |
| 2006 | Philharmonic Radio France Orchestra | "Requiem (Mozart)" | |
| 2006 | Royal Theater De La Monna (Belgium) | "Journey to Reims" | Don Profond |
| 2006 | Gastro round theater of the Metropolitan Opera in Japan | "Don Juan " | Masetto |
| 2006 | Municipal Theater Santiago (Chile) | "Don Juan " | Don Juan |
| 2006 | Opera de Montreal (Canada) | "Romeo and Juliet " | Lorenzo |
| 2007 | Seattle Opera (USA) | "Puritan" | Sir George Walton |
| 2007 | Minnesota Opera (USA) | "Wedding Figaro" | Figaro |
| 2007 | Cincinnati Opera (USA) | "Faust" | Mephistopheles |
| 2008 | Washington National Opera (USA) | "Pearl seekers" | Nurabad |
| 2008 | L'Opera De Montreal (Canada) | "Romeo and Juliet " | Lorenzo |
| 2008 | Atlanta Opera House (USA) | "Bohemia" | Collena |
| 2008 | Bercy Sports Palace (Paris, France) | "Symphony number 8 (Gustav Maleter)" | |
| 2008 | Arena "Colosseum Pepsi" (Quebec, Canada) | "Symphony number 8 (Gustav Maleter)" | |
| 2009 | Teatro De La Maestranza (Seville, Spain) | "Orlando" | Zoroacero |
| 2009 | Carnegie Hall (USA) | "Solovy" | Chamberlain |
| 2009 | Lyric Opera Chicago (USA) | "Song of the Forests" | bass Basa |
| 2010 | Color Theater (Argentina) | "Bohemia" | Collena |
| 2010 | Pittsburgh Opera House (USA) | "Lucia di Lammermur" | Raymondo |
| 2010 | Atlanta Opera House (USA) | "Magical flute " | Intensive |
| 2010 | Palm Beach Opera (USA) | "Don Juan " | Lepogello |
| 2010 | Cincinnati Opera (USA) | "Bohemia" | Collena |
| 2010 | Cincinnati Opera (USA) | "Othello" | Lodovico |
| 2010 | AMIGOS DE LA OPERA DE PAMPLONA (Spain) | "Carmen" | Escamilo |
| 2010 | The Vancouver Concert Hall (Canada) | "Symphony number 8 (Gustav Maleter)" | |
| 2011 | Cincinnati Opera (USA) | "Eugene Onegin " | Prince Gremin |
| 2011 | "Mozart and Salieri" | Salieri | |
| 2011 | Municipal Theater Rio de Janeiro (Brazil) | "Requiem (Mozart)" | |
| 2011 | Teatro Cervantes (Malaga, Spain) | "Ivan groznyj " | Ivan groznyj |
| 2011 | Catalan Music Palace (Spain) | "Bells (Rachmaninov)" | Bariton Party |
| 2012 | Municipal Theater Giuseppe Verdi in Salerno (Italy) | "Romeo and Juliet " | Lorenzo |
| 2012 | THEATRO MUNICIPAL DE SAO PAULO (Brazil) | "Solovy" | Chamberlain |
| 2012 | Carnegie Hall (USA) | "Symphony number 8 (Gustav Maleter)" | |
| 2012 | Theater in Costa Mesa (USA) | "Bohemia" | Collena |
| 2013 | Carnegie Hall (USA) | "Symphony number 1 (Ernest Bloch)" | |
| 2013 | Theatro Da Paz (Brazil) | "Flying Dutchman " | Daland |
| 2013 | Theatro Belo Horizonte (Brazil) | "Requiem (Verdi)" | |
| 2013 | Teatro Rio Pedras (Puerto Rico) | "MINA DE ORO" | Lawyer Himenes |
| 2014 | Carnegie Hall (USA) | "Oratorius" Haggada "(Paul Dessau)" | |
| 2014 | Theater Jacksonville (USA) | "Requiem (Verdi)" | |
| 2014 | New Israeli Opera (Israel) | "Seville Ciry" | Basilio |
| 2014 | Theatro Da Paz (Brazil) | "Mephistofel" | Mephistopheles |
| 2014 | Opera Nice (France) | "Semela" | Somny, cadm. |
| 2015 | Teatro Baluarte (Pamplona, \u200b\u200bSpain) | "Don Juan " | Lepogello |
| 2016 | National Opera "Estonia" (Tallinn, Estonia) | "AIDA" | Ramfis |
Career in Russia
Denis Sedov leads extensive touring activities not only abroad. Russian listeners about eighty cities from Moscow and St. Petersburg to Murmansk and Vorkuta, from Tyumen and Kazan to Irkutsk, Chita, Vladivostok and Sakhalin were able to hear the voice of the singer on the scenes of their philharmonic and opera theaters.
Bossa Nova & Samba
In the plans of the singer, work immediately in several copyright projects. First of all, the show program "with a balalaica around the world" with the Bis-Kwit ensemble, also the program of Brazilian popular music - Boss Nova and Samba - "White Bossa Project" in chamber background.
Videos
- - "Coronation of Poppi" Claudio Monteverdi (Seneca), dir. Klaus Michael Gruber, Dir. Mark Minkowski, ex-en-enabled opera festival.
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Excerpt characterizing Sedov, Denis Borisovich
- But it would be nice, gentlemen!The officers laughed.
- If you would interfast these monasters. Italian, they say, there are young. Right, five years of life would give!
"They are boring," laughing, the officer said, who was a bed.
Meanwhile, the Sweet officer, who stood ahead, indicated something to General; The general looked at the auditorium.
"Well, it is, and there is," the general said angrily, lowering the handset from the eyes and shrugging, "so there is, they will be hit by crossing. And what do they break there?
On the side of the side, the enemy was visible and his battery was visible, from which the milky white smoke appeared. Following the haze, a distant shot was heard, and it was seen how our troops knew on the crossing.
Nesvitsky, hanging out, rose and, smiling, approached the general.
- Does it want to eat your Excellency? - he said.
"It's not good," said General, not answering him, "we were tested.
- Do not go, is your Excellency? - said Nesvitsky.
- Yes, please go, please, - said the general, repeating what was ordered to be detailed already in detail - and tell Husar, so that they laugh and lit the bridge, as I ordered, so that the combustible materials on the bridge still inspect.
"Very good," Nesvitsky answered.
He clicked the Cossack with a horse, ordered to remove the handbag and the flask and easily threw his heavy body on the saddle.
"Right, will come to monastery," he said to the officers, with a smile looked at him, and drove along the curly path under the mountain.
- Nut ka, where comes, captain, enough ka! - said the general, turning to the artillertist. - Have a boredom.
- Delivery to the tools! - commanded an officer.
And in a minute, the artilleryrs ran out of fires and charged.
- First! - the team heard.
Boyko bounced the 1st number. Metallic, stunning, clogged to the gun, and through our heads under the mountain, whistling, flew by a pomegranate and, far from the fleshing before the enemy, the smoke showed the place of his fall and burst.
Persons soldiers and officers have fun at the same sound; All rose and engaged in observations over visible, as on the palm, movements at the bottom of our troops and ahead of the movements of the approaching enemy. The sun at the same moment completely out of the clouds, and this beautiful sound of a lonely shot and glitter of the bright sun merged into one cheerful and fun impression.
Over the bridge, two enemy nuclei have already flying, and the bridge was a crush. In the middle of the bridge, tears from the horse, pressed by their thick body to the railing, stood Prince Nesvitsky.
He dares, looked back at his Cossack, who with two horses stood several steps behind him.
Just Prince Nesvitsky wanted to move forward, as again the soldiers and carts were picked up on him and again pressed him to the railings, and he had nothing left to smile.
- Ecco you, brother, mine! - said the Cossack to the Furshtati soldier with a wagon, wrapped on the crowned V of the whites and horses of the infantry, - Ecca you! No to wait: you see, to get to the general.
But Furstat, not paying attention to the name of the general, shouted to the soldiers who drove him the road: - Hey! Falls! Hold on to the left, wait! "But countrymen, crowing the shoulder with a shoulder, clinging to the bayonets and not interrupting, moved the same solid mass along the bridge. Looking for the railing down, Prince Nesvitsky saw fast, noisy, low waves of the Ens, who, merging, Ryabya and bending around the piles of the bridge, distilled one different. Looking at the bridge, he saw such a monotonous live waves of soldiers, Kutasi, Kiiver with covers, wovents, bayonets, long rifles and from under the civerers of the face with wide cheekbones, wounded cheeks and carelessly with stupid expressions and moving legs on a straight mud . Sometimes between the same waves of soldiers, like a white foam spray in the waves of Anx, was silent between the soldiers officer in a raincoat, with his own from the soldier of the physiognomy; Sometimes, like a sliver, curling along the river, a hiking hussar, a bunker or a resident; Sometimes, as a log swimming along the river, surrounded by all sides, flew along the bridge the rotary or officer, superimposed and covered with leather, wagon.
"Vish, they, like a dam, broke," said the Cossack hopelessly, said. - Many of you are still there?
- Melion without one! - the winking spoke to the cheerful soldier who went to the groceshed posttel and hid himself; For him passed another, old soldier.
"As he (he is the enemy) Taperich on the bridge will begin to pierce," said the gloomy old soldier, referring to his friend, "you will go forget.
And the soldier passed. Behind him, another soldier was driving on the cart.
- Where, Chort, shut down? - Speaking the bunch, running following the wagon and a bow in the back.
And this one passed with a wagon. Behind this went merrising and, apparently, drunk soldiers.
"As he, a dear man, hollows with a butt in the most teeth ..." one soldier said happily in highly sublipped overcoat, widely waving his hand.
- then it is, sweet ham then. - answered another with laughter.
And they passed, so Nesvitsky did not recognize who was hit in the teeth and what the ham was treated.
- Ver hurry that he is cold, and you think everyone will turn away. - said Unter Officer angrily and scrutically.
- How it will fly past me, Uncle, the kernel, - said, barely holding away from laughter, with a huge mouth of a young soldier, - I'm measured. Right, she god, so worried, trouble! - said this soldier, as if caught by what he was frightened. And this one passed. He was followed by a wagon, unlike all those who were passing so far. It was a German formpan on a pair, loaded, seemed to be a whole home; For Formpan, who was drunk, was attached to be beautiful, motley, with a huge exam, cow. A woman with an infant child was sitting on Perina, an old woman and a young, bugs, a healthy gentle girl. It can be seen, according to the special resolution, these evolving residents were missed. The eyes of all the soldiers appealed to women, and while the wagon drove, moving step by step, and, all the remarks of the soldiers were only to two women. On all the faces there was almost one and the same smile of obscene thoughts about this woman.
- Icher, sausage, too, is removed!
"Sell Mother," hitting the last syllable, said another soldier, turning to the German, who, lowering his eyes, angrily and frightened a wide step.
- Ec removed like! What devils!
- I wish you to stand to them, Fedotov.
- Vidali, brother!
- Where are you going? - asked the infantry officer, the evident apple, also half overlooking and looking at a beautiful girl.
German, closing his eyes, showed that he did not understand.
"You want, take yourself," the officer said, feeding the girl an apple. " The girl smiled and took. Nesvitsky, like everyone else on the bridge, did not descend the eyes with women until they drove. When they drove, they went again the same soldiers, with the same conversations, and finally everyone stopped. As it is often happens, horses in the rotary wagon were jammed on the departure of the bridge, and the whole crowd had to wait.
- And what become? There is no order! - said soldiers. - Where are you? Chort! There is no wait. Worse will be like he will set fire to the bridge. You see, and the officer was embarrassed, "the stopped crowds said from different sides, looking around each other, and all stood forward to the exit.
Looking at the bridge on the waters of Ens, Nesvitsky suddenly heard a new sound for him, quickly approaching ... something big and something flattened into the water.
- You're you, where fata! - Strictly said nearly standing soldiers, looking at the sound.
- Calesing to go through, - said the other restless.
The crowd came again. Nesvitsky realized that it was the core.
- Hey, Cossack, give a horse! - he said. - Well you! Party! Strangle! Road!
He got to the horse with great strengthen. Do not stop screaming, he tried forward. The soldiers sink to give him the road, but again they pressed on him so that they were given to him, and the nearest were not to blame, because they were pressed even stronger.
- Nesvitsky! Nesvitsky! You, r "Ryuva! - I heard at this time a rapid voice.
Nesvitsky looked around and saw in fifteen steps from him with a mass of moving infantry of red, black, shaggy, in a cap on the back of the head and in the youth man on the shoulder of the Mentik Vaska Denisov.
- you walked to them, Cheg "Tie, devils, give the dog" Ogu, shouted. Denisov, apparently being in the seizure of the hotness, brightly and reeling with his black, like coal, eyes in the inflamed proteins and Mahai unbearable from the scabble of a saber, which he kept the same red, like a face, a little hand.
- e! Vasya! - answered joyfully Nesvitsky. - Yes, what are you?
- The ESCAD "ONU PG" can not be closed, - Vaska Denisov shouted, viciously by opening white teeth, peppering his beautiful crow, a blowed Bedouin, who blinking ears from the bayonets to which he stumbled, snorty, splashing around himself a foam with mouthpiece, ringing, He beat the hooves on the boards of the bridge and, it seemed, was ready to jump over the railing of the bridge, if the sedok would allow him. - What is it? As a bug "Ana! At exactly the exact bug" Ana! GHG "Ok ... give your dog" Ogu! ... stand there! You're a wagon, chog "t! Sable zeg" I'll clean! - He shouted, really taking out the naked saber and starting to wave it.
Soldiers with frightened persons pressed each other, and Denisov joined Nesvitsky.
- What are you not drunk now? - said Nesvitsky Denisov, when he drove up to him.
- And then the VG "Emey will not give! - answered Vaska Denisov. - A whole day is there, then the regiment is dragging here. DG" AWER - So DG "ARCH. And then, he knows what it is!
- What are you scoop now! - looking around his new mentor and Valtrap, said Nesvitsky.
Denisov smiled, pulled a scarf from Tashka, spread the smell of perfume, and put Nesvitsky into the nose.
- It is impossible, in the case I go! Select "Overall, the teeth cleaned and shed.
The Osanovy figure of Nesvitsky, accompanied by the Cossack, and the decisiveness of Denisov, Mahavei Sable and desperately screamed, have worked so that they were swaying on the side of the bridge and stopped the infantry. Nesvitsky found a colonel from the exit, which he had to give orders, and, fulfilling his order, went back.
Clearing the road, Denisov stopped at the entrance to the bridge. Carelessly holding back the stallion rushing toward her and taking his foot, he looked at the squadron moving towards him.
On the boards of the bridge, the transparent sounds of hoofs were heard, as if he had a few horses, and the squadron, with officers ahead of four people in a row, stretched over the bridge and began to go to the other side.
Stopped infantry soldiers, crowing in a mushroom mushroom, with the most special incurious sense of alienation and ridicule, how commonly different types of troops are found, looked at clean, silent hussar, slightly passed by them.
- Elegant guys! If only the renovinsky!
- What is the right from them! Only at the bottom and water! - said another.
- Infantry, not dust! "He joked a hussar, under which the horse, Slap, splashed the mud in the infantryman.
- Would drive you with the early transition two, the laces would be rushed, - wiping the sleeves of dirt from the face, the infantryman said; - And then not a man, and the bird is sitting!
"That would be, Zikin, put on the horse, the clefts would be," joked a corner over the spirits, jarred from the severity of the wreck of a soldier. "
"Take a baton between the legs, here's a horse," Gusar responded.
The rest of the infantry hurriedly passed on the bridge, spoiling a funnel at the entrance. Finally, everything went through, the crusher became smaller, and the last battalion joined the bridge. Some hussars squadron Denisov remained on the other side of the bridge against the enemy. The enemy, in the distance visible from the opposite mountain, from the bottom, from the bridge, was not still visible, since the river flowed, the horizon ends up the opposite elevation of no further half-head. There was a desert in front of which a bunch of our traveling Cossacks moved. Suddenly, on the opposite elevation of the road, troops in blue hoods and artillery appeared. These were the French. Traveling Cossacks Rysnye away from the mountain. All officers and people of Denisov's squadron, although they tried to talk about outsiders and look around, did not stop thinking only about what was there, on the mountain, and were indiscriminately everyone looked at the spots that they were recognized for the enemy troops. The weather after noon again turned out, the sun brightly descended over the Danube and the dark mountains surrounding it. It was quiet, and from that mountain occasionally the sounds of horns and the cries of the enemy. There was no one between the squadron and enemies, except for small jets. Empty space, in three hundred, separated them from it. The enemy stopped shooting, and the more clearly, the strict, formidable, impregnable and elusive line was felt, which shares two enemy troops.
february 2015.
Bass in the theater, in life and in the church
In February, at the Shalyapin Festival in Philharmonic, it would be possible to hear how Denis Sedov sings - a singer, endowed with a deep, very powerful voice and no less bright personality. He can be very different. When you hear Russian folk songs in his performance - it seems that the singer nugget sings, but deeply, to the very larger feeling Russian music. Baroque Aria in its performance sounds easily, virtuoso, absolutely European. Then it turns out that there is also rock music in his repertoire, and Bosanova and that he loves Russian spiritual chants very much.
- You have a very wide range of interests - you are a opera singer, but perform and pop music, enjoy Latin American styles. These are completely different manners of singing - do they interfere with one another?
- Singing is the most harmonious type of execution. These are vibrations born inside a person; There is no obstacle between the singer and the listener in the form of a tool. In this sense there is no different manner of singing, there are different individuals. The manner can be correct or wrong, the voice can be supplied or not. If the artist perfectly owns his voice, he will be able to perform any genres, such as, for example, Magomaev.
- Bass - not such a "star" role, like tenor. Hobbating mass genres arose from the desire to be closer to the public? Or is it pure musical interest?
- Tenor is a very specific creature, and I am very glad that I am not a tenor. I am very suitable in character to be bass (although, maybe this voice produces one or another character at the singer). High piercing soprano can make a singer is unbearable, and the singing of high-profile high notes at the tenor causes a tide of blood into the brain, he sees the circles before his eyes, is lost in music and in life. Velvet Baritons are in love with themselves in a mirror, having heard with their magic chain, and Basi come from fishing to the theater and, coughing around the scenes a couple of times, go to sing party kings and devils.
- If the instrumentalist can improve all his life, then the voice is given from nature. He is either there or not. What is the professional development of the singer? Are there any goals that are not available to you, but which would you like to achieve?
- To become a good opera singer and make an international career, today it is not enough to have a voice. It is important to be an educated musician, be able to communicate with different people, have excellent memory, talk in several languages. Also, they will also have to expose the stress of many hours of flights and acclimatization, and all this is done to the detriment of the family and children, which due to touring, maybe it will be possible to see not often.
At the same time, the most important factor is the constant maintenance of the form by classes with the teacher of vocals (even after 20 years of career), classes with a tutor, helping to learn new games, and just work at home.
The singer, like any other professional musician, develops a lifetime, even to some extent, more than others, since over the years its tool is growing and grows in volume, which you can not tell about clarinets or pianists. The repertoire of the singer is also associated with a fortress and voting volume. My goals are related to the expansion of the repertoire.
Magic is not available to me, but if I were a wizard, I would have done so that non-singular people would never give advice on singing singers. Neither by singing, nor by a diet, nor by the method of treating angina.
- What is your first bright impression of music?
- When I was in kindergarten under Pushkin, I got angry and missed many rehearsals of the musical holiday, which was preparing for February 23 and March 8. When I came to the kindergarten after illness, the teacher did not allow me to perform with other children. I was very worried. But then the nurse gave me a pity of the spoon, and I performed a virtuoso solo on them, showing an outstanding feeling of rhythm. After that, I was allowed to play in the mini-orchestra of the older group, and I turned out to be a very necessary link, as I got well in the first fraction, which the orchestra could not do. For that I was given to sing the song "You are not afraid of my mother, I'm with you." I went ahead and sang all two bills about the armored personnel carrier and something else ... I remember my young parents in the hall at a concert. It was my first music.
- What is the hardest in the profession and the most difficult thing in life?
- The most difficult thing in the profession is to constantly prove its performance, continuously collected. And for "free artists", like me, is a job search and the unknownness of tomorrow. You get used to it, but it always lives in consciousness. Our life is our profession, our roles styled and renewed with great difficulty.
- What would you do if you were not a musician?
- If not music, then, probably, architecture. I love to draw at home, palaces and cathedrals.
- You have left Russia rather early, and - after almost 20 years, they decided to return. What was the impetus for the first and for the second solutions?
- The possibility of leaving and learning in the West served to the departure. In nineties as if freedom smelled. I went, in 20 years I lived in four countries, I saw forty more. When nothing else was held there, I began to ride a visit to Petersburg. I liked it, friends persuaded, and I returned - on the same street in the center where he grew up. Now I go around the world from here.
- Do you perform spiritual music at concerts, is there anyone to sing in the church for worship? In Russian spiritual music for bass just 20 times ...
"Thanks to a friend-one-chain, I came to Dunaev. He is regent, a wonderful musician and conductor. Lev told me about the service and invited to sing. And now, when I come to St. Petersburg, I always sing all-in-bed and liturgy in St. Isaac's Cathedral. I have the honor and give sing solo.
Spiritual singing for me is the most exciting. In this music, I grew up like a musician, I performed a lot, when in the late 1980s we had the opportunity to touch the church services again. I really missed her in the West, and here, as soon as I returned, I began to crash. Returning to dreams, one of the largest - burn the disc of spiritual music with a choir. I would like to do something special, bright, something that will help and calm down, will approve faith and bring the joy to those who hear this music.
- Do you sing in other temples?
- Yes of course. My musical formation occurred in church music. When I drive around the world, it is always looking for an Orthodox Cathedral for the holidays, just come and ask where the regent can and can I sing. First, of course, they look at me very suspicious - who I am. Ask, if I know the glands, I can sing. I answer that I have a low bass and usually sing for the second bass, because I am octavist. And after the service, they always ask, and if I still come on Saturday, and on Sunday.
For example, I sang in Seattle in the Orthodox Cathedral in Seattle, and the Batyushka gave me an icon with gratitude from the flock and clergy. That is, they reacted very kind to my musication. In many other cities, it was also possible to sing in the temples - in Vancouver, in New York ... Sometimes I was offered money for singing abroad, but I always refused. But most often I do not just come to the temple to sing. Here in St. Petersburg, I always sing with my friends and colleagues who came to church in different ways.
- Do you remember how the first time was in the temple?
- I walked with my grandmother, opposite which was born. In my memory, he was always valid. And I remember when the 1000th anniversary of the Baptism of Rus in 1988 was celebrated (and I lived on Glinka Street), I first saw a procession from my window.
"I think that music in the temple is a step to enlightenment, holiness, to prayer. This is help in immersion in prayer. So that the world from which you came to the temple remained behind."
- In big cities and in the cathedrals, it is customary to sing professional singers on the services. But there is also the opinion that too beautiful singing distracts from prayer. How do you think you can combine prayer and musical art?
- Yes, there is such an opinion. I will not argue, but when I sing on the bishops, I notice that the greatest church ranks love the beauty of sound, beautiful voices and stylish singing. Although it happened that I sang on unprofessional trains, but I still believe that the Lord gave me this voice and I serve them. That is, I do not see which claims may be to me. The Russian Orthodox Church and singers in it are one inseparable integer. It's impossible to imagine that the church be without singers. I went to the service in Buenos Aires, where they sing without notes, on hooks. There are 2-3 Orthodox families who live in Argentina for many decades and sing the whole family. It seemed to me as strange that they did not take generally accepted glands, certain musical numbers known to everyone - for example, the "Kheruvim" bobtyansky. And when I came to this temple, I lacked my music. I think that music in the temple is a step to enlightenment, to holiness, to prayer. This is help in immersion in prayer. So that the world from which you came to the temple remained behind. The music immediately helps to plunge into the atmosphere of the hill.
- Do you agree that the song culture in Russia has declined?
- Of course, because the music does not earn money, so it is not interesting for anyone ...
- Moms do not know how to sing lullabies, in schools reduce the number of music lessons, adults stopped singing at the table ...
- Well, I know these people who are now singing at the festive table. But about the general trend - I think it is generally connected with the decline of intelligentsia. Because when it is a little resolved, in Russia there is always a surge of culture, as in the XIX century. The cultural figures of the time created the base on which the art of the first half of the twentieth century was constructed. And with the disappearance of the intelligentsia as a social class in the Soviet Union, this culture may have really went to the decline. But in the situation in which we are now and in which music does not earn in any way, few people become musicians.
In fact, art is a vocation. And the one who was called by God to do it, he will do it, despite anything. And it will teach their children to sing, as I teach my son. And it turns out that today there are enough singers, whose children sing and know the service, and carry on both art and prayer.
Russian opera singer - bass-baritone, soloist Metropolitan Opera, La Scala, Grand Covent Garden Opera and many other world theaters, Denis Sedov arrived in Bishkek to support Diamond & Friends..
- Hello, Denis! On behalf of all fans of opera art, I welcome you in the Kyrgyz land and tell you: "Welcome!".
- Thank you. I am glad.
- Have you ever been to our country?
- Not. Just a few hours ago, I flew here from Brazil. The ladder of the aircraft met me, brought to the hotel. I managed to sleep only a couple of hours, and here I am again on stage.
- And what is your first impression of Kyrgyzstan?
- conquered the benevolence and hospitality of people. All smiling, kind. The air is amazing clean. It is filled with the aroma of herbs and colors. Spring in full swing. Sea of \u200b\u200bsun and greens. Very nice.
- Denis, just ended the rehearsal. How do you assess the acoustics of the hall and the game of orchestrants?
- You have a cozy and thoughtful theater. Acoustics is awesome. Most likely, the building was built in the 50s of the last century. Because at the time, during the construction of opera rooms, special attention was paid to acoustic properties. I met the conductor and orchestra musicians just a few minutes before the start of the rehearsal and immediately began to sing. From the maestro, we had contact from the very same chords. Feeling professionalism of musicians. They hear the soloist. I was comfortable. All just great.
- Certainly, you have already familiarized with the concert program. Whose images do you present before our audience?
- I will start with Mofistofel couplets from the Opera Arrigo Boito "Mephistofel". Aria Konchaka from the opera of Borodin "Prince Igor", Maskanya - "Rural Honor", the song of Niccles from the operetta "Babi Raun" and the performance will be completed "Tolerant from the opera Giuseppe Verdi" Traviata ". I was fortunate enough to sing them in Brazil and now you have. In my opinion, this is enough.
- As far as I know, you came here, as a friend of Almaz Istambayev and at his invitation. How did you meet him?
- We introduced us to the director of the Petersburg Theater. Then we communicate with the diamond on the site. He told me about the project and invited to take part in it. I gladly agreed. Moreover, I have not yet been in Kyrgyzstan. And this is a new trip, new people and new friends, which is very important for me.
- You, of course, heard that you are called "modern" salyapin. What do you think about it?
- Fedor Ivanovich Shalyapin was smart, kind, intelligent and, of course, a talented man. I am impressed to me.
- What traits do you like in people?
- Openness, hospitality, decency.
- What don't you like yourself?
- laziness.
- Then, on what principle do you live?
- Work, work and work again.
– Are there any parties that you would like to sing?
- Yes. Their two - King Philip in Opera. Verdi "Don Carlos" and Boris Godunova in the Opera garbage "Boris Godunov".
- What prevents?
- age. These parties are quite complicated in the vocal plan. The age of the soul, that's what makes these parties in unique. Spectators can not be deceived either with makeup nor costumes. Only when the voice comes from the soul, it will vibrate and transmit all experiences and emotions to the public, filling the hearts by delight, and the eyes are tears.
- Your hobby?
- I love to draw.
- Like Shalyapin. And do sculptures?
- Not. Sculptures never practiced. I drew ten years old, and then got carried away by playing the guitar. In Brazil, I was attracted by the incendiary rhythms of the guitar. I learned Brazilian songs and learned to play guitar dance melodies in the style of Bosseanov and Sambo. At first, entertained the singing of friends, drove a guitar with him on tour. Gradually, the hobby has turned into work. For 15 years I have been doing a guitar. In St. Petersburg and Tel Aviv, I have my creative teams. So, the guitar won.
- The brightest event in your life?
- Birth of my son. In May, he will be nine years old. Tight chart of the tour will not prevent us together to celebrate his birthday. Perhaps I will bring him here to show your wonderful and hospitable country.
Thank you for the time to respond to our questions.
Our reference. Opera singer was born in St. Petersburg. In 11 years, Denis graduated with honors from the choir school named after M. Glinka in class Choir conducting and parents sent it to the Jerusalem Academy of Music and Dance named after S. Rubin, to enter the conductor department. So it happened that he accidentally missed the exam. In order not to lose a whole year of study, Denis decided to go there to the Vocal Faculty. In 1993, the first professional speech of Denis at the festival in Germany in Ludwigsburg took place. In 1995, he was invited to participate in the development program of young artists of Lindemann in New York - Metropolitan-Opera. At the age of 22, his debut took place in the opera "Fedor" Umberto Jordano, where he sang along with Placido Domingo and Mirella France. One of the bright stages in the singer's career was a performance at the opening ceremony of the XVIII Winter Olympic Games in Japan. Currently, the singer's repertoire consists of more than 50 opera roles that collect antilags in more than 40 countries of the world.
7
"In Saransk - a wonderful musical theater"
Opera bass Denis Sedov - "Capital C"
Denis Sedov's opera singer is called the man of the world, he performed the main parties in the best theaters - "Covent Garden", Paris Opera and La Scala. On February 3, the famous vocalist took part in the concert "Parade of the best bass of modernity", which took place on the scene of the Music Theater. Yayusheva in the framework of the first World Shalyapin Festival. The organizer is the Foundation "Talents of the World". The artist told Tatiana Mikhailova about the strength of the voice and the most memorable concert in his life.
"I am for the first time in Mordovia. In Saransk, a beautiful musical theater, "said Denis in the break between rehearsals. - Here are beautiful acoustics. Pure, beautiful. Comfortable dressing rooms ... "
All opera singers carry with them the suitcase of medicines! For 20 years of classical singing with permanent disposals and changing climatic belts, I already understood how to treat the throat with a minimal cold!
"C": you are a supporter of singing without a microphone ...
Opera performers are studying this decades, and then try to implement on the scene. The microphone is a barrier between the performer and the listener. The opera genre was created for singing without technical devices so that the voice supplied the voice sounded more powerful orchestra.
"C": you sing very easily, without tension. What is worth it?
For many years of work on vocal technique and severe inner work. I am glad if people perceive my singing without noticing it.
"C": how did you find your calling?
How friends say, the highest strength lead me! From early childhood knew that I would be a singer. At the age of 6, I looked at the documentary about the school of singers at the chapel of "Leningrad Solovushki" and wanted to associate life with music. Immediately decided the parental problem where to identify the child to learn! Further fate also decided on someone over. I missed the exam on choral and symphonic conducting, so I entered the Vocal Faculty and no longer left with this path. In the most difficult minute, I knew: I am here to sing and through music to transmit some energy to the hall.
"C": such projects like the "parade of the best bass of modernity" are able to popularize opera arts?
Sure. This is the purpose of our trips to the Russian outback. In two years I traveled 80 cities and watching great interest everywhere. We are waiting for us and then they write the sea letters with gratitude.
"C": the concert is devoted to the memory of Fyodor Shalyapin. What works from the repertoire of the great singer do you like to sing most?
Russian folk song "Hey, US" in the processing of Shalyapin. This is your favorite! The nationality of this singer is indescribable. You need to hear his voice to understand: Shalyapin understood all the segments of the population of Russia.
"C": however, that the power of his voice Fedor Shalyapin broke the glasses?
I have not seen it did it. But one day she personally watched the glass, quietly standing on the bedside table, scattered himself without outside sounds! Apparently, some kind of voltage of molecules ... After one of my concerts, friends said that the walls were trembling when I sang the "dance of death" of the garbage. There are very strong moments ... I think it was a joke! (Laughs - "C".)
"C": you worked on the most prestigious scenes of the world, participated in the opening of the Olympics in Nagano ... If it would be possible, which of the concerts would you like to repeat?
Closing the Festival "Spoleto" in Italy, where I performed by Mendelssohn. This is great music, a large form - two and a half hours. There was an indescribable concert on a summer evening ... 10 thousand people sat at the Square of the Cathedral. Huge choir, big orchestra and four strong soloists ... live Concert broadcast Italian television Rai ...
"C": Are you proud of the belonging to the Russian people?
Sure. Now a lot of superfluous talk about spirituality and the Russian nation in general ... True in one thing: no people have such a deep soul as we have.
"C": you are called a man of the world, and where is your spiritual homeland?
In St. Petersburg. I also like Rio de Janeiro. These cities are similar in energy, despite the different climate.
"C": within the framework of the project "Parade of the best bass of modernity" you are touring together with the Honored Artists of Russia, Vladimir Kuisko and Vladimir Firem. How do you spend time outside concerts?
Today we arrived by train from Moscow and to the rehearsal immediately fell to sleep in the dressings! Usually share stories about lived ... We have fun!
"C": What do you read?
I lived in the West for 20 years and always read Russian classics. I reread everything - from Tolstoy to Nabokov.
"C": grabs time to watch feature films?
I watch a lot when I fly on airplanes. Once, Andrei Tarkovsky made an indelible impression on me. For a long time it was ... Newly interested in new things. "Leviathan" did not look and unlikely to. And without the life of every Russian every day there is a lot of negative. Apparently, so the film did not find such a strong response.
"C": what women do you like?
As Satirik Mikhail Zhvanetsky said, among women it is necessary to choose a cheerful, from merry - smart, and from smart - devotees!
Private bussiness
Denis Sedov
\u003e Born in 1974 in St. Petersburg. He graduated from choir school. Glinka with a chapel chapel of St. Petersburg. In 1991, he moved with his family to Israel. He studied at the Jerusalem Academy of Music. He was adopted at the Opera Studio in Tel Aviv. Later, he joined the program of young singers in the Metropolitan-Opera, where two years was engaged in Renata Scotto and Carlo Bargon.
He participated in the opening ceremony of the 1998 Winter Olympics in Japan. Takes part in opera productions worldwide.