Shalyapin who he is. In which operas Shalyapin performed the main parties? "Pskovtyanka" (Ivan Grozny), "Life for the king" (Ivan Susanin), "Mozart and Salieri" (Salieri)

19.04.2019

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Opera and Chamber Singer
People's Artist of the Republic

Fedor Shalyapin was born on February 13, 1873 in Kazan in the family of a peasant from the village of Rieszovo Vyatka province Ivan Yakovlevich Shalyapin.

His mother of Evdokia (Avdoty) Mikhailovna (nee Prozorova) was a birth from the village of Dudinskaya Vyatka province. Father Shalyapin served in the Zemstvo administration. Parents early gave Fedy to learn the craft craft, and then Tokary. Also, Shalyapin managed to arrange Fedy in the 6th city fifume school, which he graduated with a commendable diploma.

Interesting characteristics that later gave Shalyapin to his father, Ivan Yakovlevich, and relatives: "My father was a strange person. High height, with his shoulder breast and trimmed beard, he was not like a peasant. His hair was soft and always well hairs, such a beautiful hairstyle I have never seen anymore. I was pleased to iron his hair in the moments of our affectionate relationship. He wore a shirt, stitched her mother. Soft, with a postponed collar and with a ribbon instead of a tie ... on top of a shirt - "Pinzhak", on the legs - lubricated boots ... "

Sometimes, in winter, bearded people in the naps and zipuny came to them; they smelled firmly rye bread And something else special, by some Vyatka smell: it can be explained by the fact that Vyniki eat a lot of tolnas. These were their native Father - his Dorimend's brother with sons. Fedka was sent for vodka, they drank tea for a long time, unpretentiously by Vyatsky talking about crops, pathesions, about how difficult to live in the village; Someone for non-paying filters hijacked cattle, selected samovar ...

Dorimedount Shalyapin possessed a powerful voice. Returning from Pashny in the evening, shouting, happened: "Wife, put samovar, go home!" - So the whole district was heard. And his son Micah, the cousin of Fedor Ivanovich, also had powerful voice: It happened, plows, yes, like tagger, or heaves, so from one end of the field to another, and further through the forest to the village everything is heard.

Over the years, father's boys became more frequent, in the Crown Ugar he strongly beat his mother until an insensitive state. Then the "ordinary life" began: the sterling father gently went to the "presence" again, the mother sprawled yarn, sewed, revenge and washed under the lingerie. At work, she always somehow sang a song especially sad, thoughtfully and at the same time deludel.

Externally Avdota Mikhailovna was ordinary woman: A small growth, with a soft face, Serubyazy, with Rusy Hair, always smoothly hairstyle, - and so modest, unobtiable. In the memoirs of the "Pages of my life", Shalyapin wrote that the five-year-old boy listened to the evenings Mother with her neighbors "Sitting songs about white fluffy snows began to sing for a buzz of sputulen, about the girl's longing and rayshku, complaining that she was unclear. And she really was not clear. Under the sad words of the song Soul, my softly dream about something, I ... rushed through the fields among fluffy snow ... ".

Surprised the silent resistance of the mother, its stubborn resistance to the need and poverty. There are some special women in Russia: they all their lives are fighting tirelessly with the need, without hope for a victory, without complaints, with the courage of the Great Martyers to transfer the blows of fate. Shalyapin's mother was from a number of such women. She baked and sold pies with fish, with berries, soap dishes on the steamboats and brought out from there: rude bones, pieces of meat, chicken, fish, bread bread. But it happened infrequently. Family starval.

Here is another story of Fedor Ivanovich about his childhood: "I remember five years. In the evening of autumn, I sit on the yield at the Melnik of Tikhon Karpovich in the village of Omery near Kazan, behind the cloudy Sloboda. Melnik's wife, Kirillovna, my mother and two or three neighbors hide the yarn in a null-walled room lit by uneven, lack of light rays. The beacon is stuck in the iron holder - lights; The corrugated corners fall into the tub with water, and are hissing and sigh, and the shadows are crawling along the walls, exactly someone invisible hangs black kisse. Rain noise outside the windows; The wind sighs the wind.

Women are hiding, quietly tell each other scary stories about how the dead at night are departed to young widows, their husbands. Film a deceased husband with a fiery snake, it crushes over the pipe horn by the sparks and suddenly will appear in the church of the sparrow, and then turned into a loved one, the woman whips jeep.

She kisses him, louds, but when he wants to hug, "asks not to touch him back.

This is why my lovely, "explained Kirillovna that he had no back, but on the spot her green fire, and such that, if to touch him, so he burns a man with a soul together ...

To one widow, a fiery snake flew from the neighboring village, so the widow began to dry and think. Noticed this neighbors; They found out what was the matter, and they ordered her to block Lutoshek in the forest and cross all the doors and windows and all the gap, where there is. So she did, having listened to good people. So I flew by snakes, and in the hut, it can not. He turned from evil a fiery horse, yes the gate migrated that the whole cloth dumped ...

All these stories were very worried about me: and it was terribly and nice to listen to them. I thought: what amazing stories are in the world ...

Following the stories of a woman, under the buzz of the spindle, they began to sing guyless songs about the white fluffy snow, about the girl's longing and the radiant, complaining that she was unclear on. And she really was not clear. Under the sad words of the soul lyrics, my soul was quietly dream about something, I flew over the earth on a fiery horse, rushed through the fields among fluffy snow, imagined God, how he early in the morning releases from the golden cage to the Sun of the Blue Sky.

Special joy sat down the dances, which were arranged twice a year: to a semit and for Savior.

Girls came in scarlet ribbons, in bright sundresses, nominated and buried. Guys also liked somehow especially; Everyone got into a circle and, leading a dance, sang wonderful songs. A taire, outfits, festive faces of people - everything has drawn some other life, beautiful and important, without fight, quarrel, drunkenness.

It happened that the Father went with me to the city in the bath.

There was a deep autumn, was an iceman. Father slipped, fell and dislocated his leg. Somehow got to the house, - Mother came to despair:

What will happen to us, what will happen? - she told she killed.

In the morning, my father sent her to the council so that she would tell the secretary, how much the father could not appear to the service.

Let the send someone to believe that I am really sick! Run, devils, perhaps ...

I already understood that if the father was driven from the service, our position would be terrible, at least to peace! And so we jutter in a rustic hut for one and a half rubles a month. I am very memorable fear with whom the father and mother uttered the word:

Get driven from service!

The mother invited Snagrahi, people of important and creepy, they flew his father's feet, rubbed it with some kind of murderous plowing drugs, even remember, caught fire. But after all, the father could not stand with bed for a very long time. This case made parents leave the village and to approach the place of the father's service, we moved to the city on the fishing street to Lisitsyna's house, in which the father and mother lived earlier and where I was born in 1873.

I did not like the noisy, dirty life of the city. We were placed in the same room - Mother, Father, I and Little Brother with a sister. I was then six to seven years. Mother went to the row - wash the floors, wash the underwear, and I was laughed in the room, for a whole day from morning to evening. We lived in a wooden hibarca and - happen to fire - locked, we would burn. But still, I managed to set a part of the frame in the window, we all got out of the room and ran down the street, not forgetting to return home to the well-known hour.

I immediately climbed the chase again, and everything remained Shito-indoor.

In the evening, without fire, in the locked room was scary; Especially bad I felt, remembering the terrible fairy tales and the dark stories of Cyrillovna, everything seemed to be Baba Yaga and Kimikor. Despite the heat, we were all clogged under the blanket and lay silently, fearing to stick your head, choking. And when someone from three coughing or sighed, we spoke to each other:

Do not breathe quieter!

In the yard - a deaf noise, behind the door - cautious roots ... I was terribly rejoiced when I heard the mother's hands confidently and calmly unlock the door lock. This door went out to a gentlemen corridor, which was a "black move" in the apartment of some generals. Once, having met me in the corridor, the general of Laskovo spoke to me about something and then asked if I would visit.

Here, come in to me, my son will teach you literacy!

I came to her, and her son, the gymnasister of 16 years, immediately, as if he had long been waiting for this, began to teach me reading; I studied pretty quickly, to the pleasure of the generals, and she began to make me read it out loud in the evenings.

Soon I got into my hands a fairy tale about Beauvais Korolev, - I was very struck that Bova could simply beat the broom and dispersed the hundredsmatic army. "Good guy! - I thought. - I wish I so! " Excited by the desire of the feat, I went to the courtyard, took the broom and fiercely chased the chickens, for which the cutlets mercilessly beat me.

I was 8 years old when I first saw on the Balagan to the Balagan for the first time in the Easter. Yakov Mamonov was famous at the time of the Volga as a "soldering" and "butterday day".

The fascinated street artist I stood before the bolav until that time that I had a legged legs, and ripples in my eyes from the vocabulary of the clothes of the Polanders.

This is the happiness to be such a person like a yashka! - I dreamed.

All his artists seemed to me with people full of inexhaustible joy; People who are nice to painure, joke and laugh. More than once, I saw that when they get out of the terrace of Balagan - a couple of them take up, as from samovars, and, of course, it did not occur to me that it evaporates sweat, caused by the devilish labor, painful tension of muscles. I don't take it quite confident that it was the first impetus that Mamonov gave the first impetus, it was imperceptible to me awakened in my soul to my mind to the life of the artist, but maybe it was precisely this person who gave himself to the fun of the crowd, I owe a quick interest in me to the theater , to the "presentation", not like reality.

Soon I learned that Mamonov is a shoemaker, and that for the first time he began to "submit" with his wife, son and students his workshop, of which he was his first troupe. It even more bribed me in his favor, - not everyone can get out of the basement and climb to Balagan! I spent all day about Balagan and scaredly regretted when the great post came, passed Easter and Fomina Week, - then the area of \u200b\u200bthe orphan, and the sail from the Balagans were filmed, thin wooden ribs were exposed, and there were no people on the drowned snow covered with shells of sunflowers, shells , paper from cheap candies. The holiday disappeared like a dream. More recently, all here lived noisy and fun, and now the area is exactly the cemetery without graves and crosses.

For a long time, I dreamed of unusual dreams: some long corridors with round windows, of which I saw fabulously beautiful cities, mountains, amazing temples, which is not in Kazan, and many beautiful things that can only be seen in a dream and panorama.

Once, I rarely went to the church, playing on Saturday night near the Church of St. Varlaamia, went into her. There was a whirlpool. From the threshold, I heard slender singing. I was closer to the singing, - men and boys sang on the closer. I noticed that the boys keep the paper sheets in their hands; I have already heard that they have notes for singing, and even somewhere I saw this lined paper with black snorkens, which, in my opinion, it was impossible. But here I noticed something completely inaccessible mind: the boys kept in their hands although graphene, but absolutely clean paper, without black rags. I had to think a lot before guessing that the music signs were placed on the side of the paper that was addressed to singing. I heard choral singing for the first time, and I really liked it.

Shortly thereafter, we moved again into the clouded slobs, in two small rooms of the basement. It seems that on the same day I heard the head of my church singing over my head and immediately found out that he had church singing over his head and immediately found out that the regent lives and now he has a diet. When singing stopped and singers diverged, I bravely went upstairs and asked a man there, who even had a bad thing from embarrassment, "he will not take me into singing. A man silently took the violin from the wall and told me:

Traniy for the bow!

I diligently "pulled out" for a violin a few notes, then the regent said: - There is a voice, there is a rumor. I will write notes to you - learn!

He wrote on the line of paper a gamut, explained to me what a diezer, a bimol and keys. All this immediately interested me. I quickly comprehend the wisdom and through two all-perplexed already distributed to the singing notes on the keys. Mother was terribly rejoiced by my success, his father - remained indifferent, but still expressed the hope that if I was well singing, then maybe I will fix it though Rulevka per month to his meager earnings. So it came out: three months I sang for free, and then regent put me a salary - one and a half rubles a month.

Regent called Shcherbinin, and it was a special person: he wore long, combed her hair and blue glasses, which gave him a very strict and noble look, although his face was ugly insisted with smallpox. He dressed in some wide black robe without sleeves, a wipe, on his head wore a robbery hat and was a little rest. But despite all his nobility, he died as desperately, as well as all the residents of Sukonnaya Sloboda, and since he served as a scribe in the district court, then for him the 20th the number was fatal. In the closed Sloboda, more than in other parts of the city, after the 20th, people became pitiful, unhappy and insane, producing a desperate Kavardak with the participation of all elements, and the entire stock of the mother. I sorry I was regent, and when I saw him wildly drunk - my soul was sick for him. "

In 1883, Fedor Shalyapin came to the theater for the first time. He managed to get a ticket to the gallery for the production of "Russian Wedding" Peter Suchonina. Remembering this day, Shalyapin wrote later: "I was twelve for years when I first got into the theater. It happened like this: in the spiritual choir, where I sang, there was a pretty young man panmas. He was already 17 years old, but he sang still a Cotton ...

So, somehow once for the dinner Pakratyev asked me - I do not want to go to the theater? He has an extra ticket in 20 kopecks. I knew that the theater was a large stone building with semicircular windows. Through the dust glasses of these windows on the street looks out some kind of garbage. Hardly in this house can do something that it would be interesting to me.

And what will be there? - I asked.

- "Russian Wedding" - a daily performance.

Wedding? I so often sang at the weddings that this ceremony could not excite my curiosity. If a French wedding, it's more interesting. But still I bought a ticket from Pankratyev, although not very willingly.

And here I am on the theater gallery. There was a holiday. There are a lot of people. I had to stand, sticking to my hands for the ceiling.

I watched with amazement into a huge well, surrounded by semicircular places, on the dark bottom of it, installed by the ranks of the chairs, among which people spread out. Gas burned, and the smell of him remained for me for my life with a pleasant smell. A picture was written on the curtain: "Oak Green, the Children's Chain on the Oak Tom" and "The scientist's cat walks around the chain around the chain," the Medvedev curtain. Played orchestra. Suddenly the curtain doubled, rose, and I immediately Obomba, fascinated. Before me came to life some vaguely familiar to me a fairy tale. On the room, wonderfully decorated, walked perfectly dressed people, talking to each other somehow especially beautiful. I did not understand what they were talking. I was shocked by the spectacle to the depths of the soul and, without blinking, I did not think about anything, I looked at these wonders.

The curtain descended, and I was all stood, fascinated by a sleep that I had never seen, but I always waited for him, waiting to this day. People shouted, pushed me, left and returned again, and I was all stood. And when the performance ended, they began to extinguish the fire, I became sad. I could not believe that this life ceased.

My hands and legs were dropped. I remember that I was hacked when I went out. I realized that the theater was incomparably more interesting than Balagan Mamonov Yashka. It was strange to see that on the street day and bronze daughty was lit by the setting sun. I turned back to the theater and bought a ticket to the evening performance ...

The theater brought me crazy, made almost intimensional. Returning home around the deserted streets, seeing exactly through the dream, as rare lights die to each other, I stayed on sidewalks, remembered magnificent speeches of actors recited, imitating facial expressions and gestures of everyone.

Tsarina I, but - woman and mother! - I headed in the night silence, to the surprise of sleepy watchmen. It happened that the gloomy passerby stopped in front of me and asked:

What's the matter?

Sophisticated, I flew away from him, and he, looking after me, probably thought drunk, boy!

... I myself did not understand why in the theater about love they say beautifully, sublime and clean, and in the cloth Sloboda love is a dirty sickness, exciting evil ridicule? On the scene, love causes feats, and in our - Mordoboy. What are there two love? One is considered the highest happiness of life, and the other is a breaking and sin? Of course, at that time I was not very thought about this contradiction, but, of course, I could not not see him. I really beat me in my eyes ...

When I asked my father, is it possible to go to the theater, he did not let me go. He said:

You need to go to the wipers, a well, wipers, and not in the theater! You need to be a janitor, and you will have a piece of bread, cattle! And what about the theater is good? You didn't want to be masters to be and jail. Wandmands are how they live, dressed, shod.

I saw the masters for the most part torn off, barefoot, half-starving and drunk, but believed my father.

After all, I work, rewrite the paper, "I said. - how much wrote ...

He threatened me: you end to learn, I'm in a case! So know, lobotryas! "

Visiting the theater solved the fate of Fedor Chaliapina. Very young he wanted to speak in the pleasant choir of Serebryakov, where he had a meeting with Maxim Gorky, who accepted the choir, and there was no Shalyapin. Without becoming acquainted with each other, they broke up to meet in Nizhny Novgorod in 1900 and make friends for life. The 17-year-old Chaliapin left Kazan, and drove into Ufa, signing a contract for the summer season to Semenov-Samara. Subsequently, being in Paris, Fedor Shalyapin wrote Gorky in 1928: "Fucking little, as read in a letter about your stay in Kazan. As in front of your eyes, it has grown in my memory of my beautiful (for me, of course) from all cities in the world - the city! I remembered my diverse life in it, happiness and misfortune ... And I almost asked, stopping the imagination from the August Kazan City Theater ... ".

December 30, 1890 in Ufa Fedor Shalyapin first sang the solo party. He told about this event: "Apparently, and in the modest role of Horist, I managed to show my natural musicality and thorny voice tools. When one day one of the baritons of the troupes suddenly, on the eve of the performance, for some reason, he refused the role of the Malnik in the opera Montyushko "Pebble", and it was some kind of replacing it in the troupe, then the entrepreneur Semenov-Samara appealed to me - Whether I would not agree to sing this party. Despite my extreme shyness, I agreed. It was too seductive: the first in life is a serious role. I quickly learned the party and spoke. Despite the sad incident (I sat on the stage by the chair), Semenov-Samara was still a togan and my singing, and a conscientious desire to portray something similar to the Polish magnate. He added me to a salaries five rubles and also became instructed to me and other roles. I still superstitly think: good sign The newcomer in the first play on the stage in the public sitting past the chair. I, however, vigilantly followed the chair and feared not only to sit past, but also to sit in the chair of the other ... In this first one, I sang another Fernando in Troubadour and the Unknown in the Askold Togil. Success finally strengthened my decision to devote yourself to theater. "

Then the young singer moved to Tiflis, where he took free lessons The singing at the singer Dmitry Usatov, performed in amateur and student concerts. In 1894, he sang in performances held in the St. Petersburg country garden "Arkady", then in Panayevsky Theater. On April 5, 1895, Fyodor made his debut in Mephistopel's party at the Faust opera Charles Guno in the Mariinsky Theater.

In 1896, Chaliapin was invited to the Savoy Mammoth in the Moscow private opera, where he took the lead and in its entirety revealed his talent, creating a whole gallery of unforgettable images in Russian Operators in this theater: Ivan Grozny in PskovSyanka Nikolai Roman Corsakov , Distinity in Hovhanchyna and Boris Godunov in the Musorgsky Modest Opera Musorgsky. "One great artist became more," wrote about the twenty-five-year-old Shalyapin V.Stasov.

Shalyapin as King Boris Godunova.

"Mammoth provided me with the right to work freely," Pador Ivanovich recalled. "I immediately began to improve all the roles of my repertoire: Susanin, Melnik, Mephistople."

Shalyapin, I wondered to put the Roman Corsakov Opera, told: "To find the face of the Terrible, I went to the Tretyakov Gallery to watch the pictures of Schwartz, Repin, the sculpture of the anticoline ... Someone told me that the Chokolov engineer had a portrait of the formidable work Victor Vasnetsov . It seems that this portrait is still unknown to the general public. He made a big impression on me. On him, the face of Grozny is depicted in three quarters. The king is wondering the dark eye looks somewhere aside. From the connection of everything that the Repin, Vasnetsov and Schwartz gave me, I made a rather successful makeup, faithful, in my opinion, figure. "

The premiere of the opera took place in the Mammont Theater on December 12, 1896. Grozny sang Fedor Shalyapin. The scenery and costumes for the spectral are made according to the sketches of Viktor Mikhailovich Vasnetsov. "Pskovtyanka" blew up Moscow, it was at full charges. "The main decoration of the play was Chaliapin, who fulfilled the role of Grozny. He created a very characteristic figure, "the critic Nikolay Cashkin admired.

"Pskovtyanka" brought me closer with Viktor Vasnetsov, generally fed to me a hearty location, "said Shalyapin. Vasnetsov invited the artist to his home, on the Meshchansky street. The singer delighted his house, cut down from large thick bribes, simple oak benches, table, stools. "It was nice to me in such an environment," Shalyapin continued, he heard the hot praise from Vasnetsov, Ivan Grozny, whom he wrote a convergent from the staircase in mittens and with the staff. "

Shalyapin and Vasnetsov became friends. Viktor Mikhailovich mentally recalled child and youthful years in Vyatka. Shalyapin told a friend about his silent, non-walled wardings in Russia, on the beggar of the stray of the artist. Once, Fedor Ivanovich shared his thoughts on the role of Melnik in the opera Dargomyzhsky "Mermaid", which was to speak soon in the Mammont Theater. The artist interested in this, made an outline of a costume and makeup for the role of Melnik. In it, he handed down the powerfulness, the lucavia, good nature, the grasp of the miller. So he depicted on stage Fedor Shalyapin.

The presentation turned out to be super-supersay, glad was for the artist and Viktor Mikhailovich. Subsequently, he repeated Shalyapin in the role of Melnik. When Vasnetsov bought a small old estate in the suburbs in the suburbs, he spoke close: "I will certainly establish a mill to repair and the best in Russia Melnik will invite Fedor Shalyapin! Let yourself flour chalk and the song sings us! ".

When in 1902, Chaliapin rehearsed the role of Farlaff in Opere Glinka "Ruslan and Lyudmila", at his request Viktor Mikhailovich made a sketch of costume and makeup: in the ring to his knees, with a huge sword worth this "fearless" knight, proudly occasioned and putting a leg. The artist emphasized the squeezed courage of Farlaff, his teachlessness and sassay. Shalyapin developed the features scheduled in the sketch, adding rampant and self-liberation to them. In this role, the artist had a deafening, tremendous success. "In my glorious and great countryman of the roads and is valuable to me his genius, charming for all of us," said Viktor Mikhailovich.

"I felt like spiritually transparent, with all my creative massiveness, Vasnetsov," said Shalyapin. - His horses and heroes, resurrecting the atmosphere Ancient Russia, I was instilled in me a sense of great power - physical and spiritual. From Viktor Vasnetsov's creativity, "the word about the regiment of Igor".

Communication in the Mammoth Theater with best artists Russia V. Polenov, I. Levitan, V.Serovyov, M.Vrubel, K. Korovin gave a singer powerful incentives for creativity: their scenery and costumes helped in creating a convincing stage image. A number of opera parties in the theater, the singer prepared from the then novice conductors and composer Sergey Rakhmaninov. Creative friendship united these two great artists to the end of life. Rachmaninov dedicated a singer several of his romances: "Fate" for the words of A.Aipukhin and "You knew him" on the words F. Tyutchev and other works.

Fedor Shalyapin, Ilya Repin and his daughter Vera Ilichnna.

The deep national art of the singer admired his contemporaries. "In the Russian art of Shalyapin - the epoch, like Pushkin," she wrote bitter. Relying on the best traditions National Vocal School, Shalyapin opened new era In domestic music Theater. He managed to surprisely organically combine the two most important starts of the opera art - dramatic and musical, subjugate their tragedy gift, unique scenic plastic and deep musicality of a single artistic intent. "Scale of the Opera Gesture," the singer called musical critic B. Asafiev.

From September 24, 1899, Shalyapin became the leading soloist of the Great and at the same time Mariinsky theaters, toured with a triumphal success abroad. In 1901, in Milan "La Scala" he sang a lot of success in Mephistofel's party in the Opera A. Besteo with Enrico Caruso, conducted Arturo Tuscanini. The world's fame of the Russian singer was approved by Tours in Rome in 1904, Monte Carlo in 1905, Orange in France in 1905, Berlin in 1907, New York in 1908, Paris in 1908 and London in the period from 1913 in 1914. The divine beauty of the voice of Chaliapina conquered the listeners of all countries. His high bass, delivered by nature, sounded with a velvety soft challenge, sounded full, powerfully and possessed the richest palette of vocal intonations.

Shalyapin and writer A.I.Kuprin.

"I go and think. I go and think - and I think about Fedor Ivanovich Shalyapin, "Writer Leonid Andreev wrote in 1902. - I remember his singing, his powerful and slender figure, his incomprehensibly mobile, purely russian person - And strange transformations occur in my eyes ... Because of the good and gently outlined physiognomy of the Vyatka men, Mephistofel himself looks at me, with all his ramparts and the Satanic mind, with all his devilish malice and mysterious obviousness. Mehistofel himself, I repeat. NOT THAT DISCOUNT CUT, that, together with a disappointed hairdresser, in vain staggers on theatrical layouts and he sings under the conductor wand - no, real devil, from which itifies horror.

... and the queen itself
And the frames of it
From fleas did not become urine
Not to live. Haha!

And they are afraid to touch
Not to beat them.
And we, who began to bite,
Immediately come on - choke!
Ha ha ha ha ha ha ha ha ha ha ha ha ha ha hay.
Ha ha ha ha ha ha ha ha ha ha ha ha ha ha hay.

That is, "Sorry, brothers, I seem to be joking about some kind of fleas. Yes, I joked - Do we have a beer: there is a good beer. Hey, waiter! " And brothers, incredulously settling, while looking for a treacherous tail from a stranger, guess beer, pleasantly smiling, one after the other slip out of the cellar and silently silently make their way home. And only at home, closing the shutters and exhausting from the world by the fat body Frau Margarita, mysteriously, whisper to her: "Do you know, a dot, today I seem to see hell" ...

What more i can say? Unless it is to joke at the end of the story with Shalyapin. As written by Chekhov: "Does not understand the person's jokes - write gone! And you know: this is an unreal mind, be a person at least seven spans in the forehead. "

Once the singer came to Chaliapin and was pretty brazen asked:

- Fedor Ivanovich, I need to lease your suit in which you sang Mephistopel. Do not worry, I'll cry!

Shalyapin rises in the theater pose, dials into light air and sings:

- Blook Kaftan?! Ha ha ha ha ha! ".

The effect of artistic reincarnation was amazed in the singer of listeners, and the singer hit not only an external appearance (Shalyapin paid special attention to makeup, costume, plastic, gesture), but also a deep internal content that his vocal speech passed. In the creation of capacious and stage expressive images, his extraordinary polyhedral helped: he was a sculptor, and an artist, wrote poems and prose. Such a versatile gifting of the great artist resembled masters of the Renaissance. Contemporaries compared his opera characters with Titans Michelangelo.

The art of Shalyapin stepped over the national borders and influenced the development of the world's opera theater. Many Western conductors, artists and singers could repeat the words of the Italian conductor and composer D.Gavadzeni: "The innovation of Shalyapin in the sphere of the dramatic truth of the Opera Art had a strong impact on italian Theater.... Dramatic art The Great Russian Artist left a deep and incomplete trace not only in the field of the execution of Russian operas italian singersBut in general, on the whole style of their vocal and scenic interpretation, including Verdi works ... ".

Moscow changed the life of Shalyapin completely and irrevocably. Here Fyodor Ivanovich met with his future wife - Italian ballerina Iola Lo-presting, speaking under the pseudonym Tornagi. Desperately loved, in his sense, the singer confessed to the most original way. On the rank of "Eugene Onegin" in Aria, Gremina unexpectedly sounded the words: "Onegin, I swear on the sword, I love tormented insane!". Iola was sitting in the hall at this moment.

Shalyapin and Iola Tornagi.

"In the summer of 1898, he recalled Shalyapin," I marked with a ballerina Tornagi in a small rural church. After the wedding, we arranged a funny some Turkish feast: sitting on the floor, on carpets and born like small guys. There was nothing that is considered obligatory at weddings: no richly decorated table with a variety of dissections, no eloquent toasts, but there were a lot of wildflowers and red wine.

In the morning, six hours, the window of my room broke out a hellish noise - a crowd of friends with S.I. Mamontov led the concert performed on the furnaces, iron dampers, on the vendors and some piercing whistles. It a little reminded me of a clouded slob.

- What dam do you dry here? - shouted mammoths. - In the village come not to sleep! Stop, go to the forest for mushrooms. And do not forget the fault!

And again pounded in the dampers, whistles, rally. And he conducted by this unprecedented Kavardas S.V. Aramaninov. "

After the wedding, the young wife left the scene, devoting himself to the family. She gave birth to Shalyapin six children.

The press loved to count the artist fees, supporting the myth of the fabulous wealth, about the greed of Chaliapina. Even bunin in a brilliant essay about singer failed to stay from philistine arguments: "He loved the money, almost never sang with charitable goals, loved to say:" Free only birds sing. " But the speeches of the singer in Kiev, Kharkov and Petrograd in front of a huge working audience are known. During the First World War, Chaliapina tour trips stopped. The singer discovered two lazaret for his wounded soldiers, but did not advertise his "benefits." Lawyer M.F. Rolkenstein, who many years led the financial affairs of the singer, recalled: "If we just knew how much the money salyapin was held through my hands to help those who need it!".

This is what Chaliapin himself wrote in a letter to Gorky from Monte Carlo, in 1912: "... December 26, I gave a concert in favor of starving. I gathered 16,500 rubles clean. I distributed this amount between six provinces: Ufa, Simbirskaya, Saratov, Samara, Kazan and Vyatka ... ".

In his letter of his daughter Irina Fedor Shalyapin reported that on February 10, 1917 they were arranged with a charitable purpose of the performance in the Bolshoi Theater. She was operating "Don Carlos". The amount resigned from the performance, he distributed among the poor population of Moscow, the wounded soldiers and their families, political exile, including the people's house in the village of Leszhglah (Vyatka Province and County) - 1800 rubles.

Known the next story. War time 1914 caught Shalyapin out of Russia, in Brittany. Muscovites returned from Brittany told about a wonderful, wonderful day concert, who gave there Shalyapin under the open sky on the beach. There was an amazing weather. Shalyapin among others walked on the shore in anticipation of fresh newspapers. Suddenly "Komblotse" appeared with steals:

- Russian victory in Eastern Prussia !!!

Shalyapin revealed his head. Its example followed the whole crowd. Suddenly, the sounds of a unique, powerful Shalyapin voice. He sang a lot and willingly, and then he took a hat and began to collect in favor of the wounded. Gave generously. Shalyapin sent this money for the needs of the front.

After the October Revolution of 1917, Fyodor Shalyapin was engaged in the creative reorganization of the former imperial theaters, was the elected member of the Directorates of the Big and Mariinsky Theaters, led in 1918 by the artistic part of the Mariinsky Theater. In the same year, he was the first of the artists awarded the title of the People's Artist of the Republic. At the same time, the singer sought to get away from politics in every way, he wrote in his memoirs to his memoirs: "If I was something in my life, just an actor and singer, I was devoted to my mind. But less than all I was a politician. "

Outwardly it might seem that the life of Shalyapin was safe and was creatively saturated. He was invited to perform on official concertsHe performed a lot for the general public, he was awarded honorary titles, asked to lead the work of various art jury, the advice of theaters. But they immediately sounded sharp calls to "socialize Shalyapin", "put his talent on the service of the people", often expressed doubts about the "class dedication" of the singer. Someone demanded a mandatory attraction of his family to the fulfillment of labor service, someone spoke with straight threats former artist Imperial theaters ... "I saw more clearly that no one needs what I can do that there was no point in my work," the artist admitted. The peak of the popularity of the singer coincided with the arrival of Soviet power. Lenin and Lunacharsky, conscious, what the influence on the minds of the listeners was provided by Chaliapin, invented the way to attract the artist to his side. Especially for Shalyapin in 1918 the title of "People's Artist of the Republic" was established. By this time, the singer sang in the Big and Mariinsky Theaters, often drove on tour and earned a lot. But His spending were also great: he lived in fact on two houses. In St. Petersburg, the singer appeared the second family - the wife of Maria and three daughters, not counting two girls spouses from the first marriage. Iola, who did not give a divorce, and five of his older children remained in Moscow. And he rushed between two cities and two favorite women.

June 29, 1922 Fedor Ivanovich Shalyapin left Russia to emigration, officially on tour. The decision to leave Russia to Shalyapin did not come immediately. From the memories of the singer:

"If I returned from my first trip abroad to St. Petersburg with some hope somehow to break out to the will, then from the second I returned home with the firm intention to implement this dream. I made sure that abroad I can live more calmly, more independently, without giving any of any reports, without asking how the preparatory class student, is it possible to exit or can not be ...

To live abroad to one, without a favorite family, I did not think, and the departure with the whole family was, of course, more complicated - will they allow? And here - I repent - I decided to shove my soul. I began to develop the idea that my speeches abroad bring the Soviet government to benefit to her great advertising. "Here, they say, the artists live in the" councils "and flourish!" I, of course, did not think. All the same it is clear that if I sing well and play well, then in this chairman of the Council, neither the soul, nor the body is guilty, that I really, long before Bolshevism, created the Lord God. I just covered in my profit.

I reacted to my thought, however, seriously and very favorably. Soon in my pocket lay the cherished permission to go abroad with my family ...

However, my daughter remained in Moscow, who is married, my first wife and my sons. I did not want to expose them to some trouble in Moscow and therefore turned to Felix Dzerzhinsky with a request not to make hasty conclusions from any messages about me foreign press. After all, an enterprising reporter will be found, which will print a sensational interview with me, and I did not dream.

Dzerzhinsky listened carefully and said: - "Good."

Two or three weeks after that, in the previous morning, on one of the embankments of the Neva, near the Art Academy, a small circle of my friends and friends gathered. I was standing on the deck with my family. We waved with scarves. And my speaking musicians of the Mariinsky orchestra, the old my blood colleagues, played marches.

When the steamer moved, from the stern of which I, removing the hat, waved it and bowed to them - then in this sad moment for me, sad because I already knew that I would not return to my homeland for a long time, - the musicians played the "international" ...

So, in front of my friends, in the cold transparent waters of the Tsaritsu-Neva melted forever the imaginary Bolshevik - Fedor Shalyapin. "

Visiting the artist I.Repina in the fenats.

In the spring of 1922, Shalyapin did not returned from foreign tour, although he continued to consider his non-return temporary for a while. A significant role in what has happened has played home environment. Caring for children, fear to leave them without a means of existence forced Fyodor Ivanovich to agree on endless tour. The eldest daughter Irina remained living in Moscow with her husband and mother, hollow Ignatievna Tornagi-Shalyapina. Other children from the first marriage - Lydia, Boris, Fedor, Tatiana and children from the second marriage - Marina, Marfa, Department and Children Maria Valentinovna (second wife) - Eduard and Stella lived with them in Paris. Shalyapin was especially proud of Son Boris, who, according to N. Benua, achieved "great success as a landscape system and portraitist."

Shalyapin with sons Fyodor and Boris, 1928.

Fedor Ivanovich willingly posed her son; The portraits made by Boris and the sketches of the father became invaluable monuments to the Grand Artist.

Boris Shalyapin. Fedor Ivanovich Shalyapin, 1934.

But later, the singer more than once asked himself a question, why did he go and did he get right? Here is a fragment from the memories of one of the closest Fedor Ivanovich people - the artist Konstantin Korovina:

"Somehow in the summer we went with Shalyapin to Marna. Stopped on the shore near a small cafe. Around cried big trees. Shalyapin talked:

Listen, here we are now sitting with you from these trees, birds sing, spring. Drink coffee. Why are we not in Russia? It's all so difficult - I do not understand anything. How many times I asked myself - what is the matter, no one could explain to me. Bitter! Something says, and nothing can explain. Although pretends that he knows something. And I begin to seem to me that it is exactly nothing knows. This international movement can cover all. I bought in different places at home. Maybe you have to run again.

Shalyapin spoke concernedly, his face was like a parchment - yellow, and it seemed to me that some other person says to me.

Going to America to sing concerts, "he continued. - Jouron calls ... It is necessary to be treated soon. Yearning...".

Abroad, meanwhile, the concerts of Fedor Chaliapine enjoyed the continued success, he toured in almost all countries of the world - England, America, Canada, China, Japan, Hawaiian Islands. Since 1930, Chaliapin performed in the troupe "Russian Opera", the performances of which were famous high levels producing culture. Special success in Paris had the Opera "Mermaid", "Boris Godunov" and "Prince Igor". In 1935, Chaliapina elected a member of the Royal Academy of Music, together with Arturo Tuscanini and presented a diploma academician.

"Once," Alexander Vertinsky told, "we sat with Shalyapin in Zabachka after his concert." Own, Shalyapin took a pencil and began to draw on the tablecloth. He painted pretty good. When we paid and got out of the zucchini, the hostess caught up with us on the street. Not knowing that this is Shalyapin, she pounced on Fedor Ivanovich, shouting:

- You spoiled my tablecloth! Pay for it ten kroons!

Shalyapin thought.

"Good," he said, "I will pay ten crowns." But the tablecloth will take with you.

The hostess brought a tablecloth and received money, but as long as we waited for the car, she was already explained what's the matter.

"Fool," one of his buddies told her, "you would put this tablecloth in a frame under the glass and hung in the hall as proof that you had Shalyapin." And everyone would go to you and watched.

The hostess returned to us and stretched ten crowns with an apology, asking for a tablecloth back.

Shalyapin shook his head.

"Sorry, Madame," he said, "My tablecloth, I bought it with you." And now, if you please get it back ... fifty crowns!

The hostess paid money and took a tablecloth.

In the repertoire of Chaliapin there were about 70 parties. In the operations of Russian composers, he created unsurpassed strength and life truth Melnik's images in the "Mermaid" stage, Ivan Susanin in the formulation of Ivan Susanin, Boris Godunova and Varlaam in the formulation of Boris Godunov, Ivan the Terrible in the formulation of Pskovtyanka. Among his best parties in the Western European Opera were parties of Mephistophele in the "Faust" and "Mephistofel", Don Basilio in the formulation " Seville Berber", Lepogello in the formulation of Don Juan and Don Quixote in the formulation of Don Quixote.

As much as noticeable was Chaliapin in chamber-vocal execution, where he brought the element of theatricality and created a kind of "Romance Theater". Its repertoire included up to 400 songs, romances and other chamber-vocal music genres. On his masterpieces of performing skills included "Blokha", "Forgotten", "Trepak" Mussorgsky, "Night-looking" Glinka, "Prophet" Romansky-Korsakov, "Two Grenaders" R. Shuman, "Double" F. Schubert, as well Russian folk songs "Goodbye, joy", "do not be vended to Masha for a river to walk", "because of the island on Strazhen." In the 1920s and the 1930s, about 300 gragrams were made. "I love gramophone records ... - Fedor Ivanovich recognized. - I worry me and creatively excites the idea that the microphone symbolizes not some particular public, but millions of listeners. " The singer himself was very demanding for the records, among his favorites - the entry of "Elegy" Massne, Russians folk songsHe included in the programs of his concerts throughout the creative life. According to Asafyev's memories: "The widespread, the powerful inener breath of the Great Singer sat down, and he could have heard, there is no limit to the fields and the steppes of our Motherland."

On August 24, 1927, the Council of People's Commissars adopted a resolution on the deprivation of Chaliapina of the title of the People's Artist. In the possibility of removal from the chalypin the title of people's artist, what rumors crawled around in the spring of 1927, Bitter did not believe: "The title of" people's, artist ", given to you by the Council, only the Council and may be annulled, which he did not do, and, of course , and will not do. " However, in fact, everything happened at all as it was assumed by the bitter ... Commenting on the decision of the Sovnarkom, Lunacharsky decisively noted the political background, claiming that the only motive of the deprivation of Chaliapina title was a stubborn reluctance to come at least for a long time to their homeland and artistically serve whose artist he was proclaimed. "

The reason for the sharp and Soviet government was the reason for such a sharp exacerbation of the relationship between the Shalyapin and Soviet government. This is how Chaliapin himself wrote about him in his biography:

"By this time, thanks to success in different countries of Europe, and mostly in America, my material affairs were in excellent condition. After leaving a few years ago from Russia, I can now arrange a good house, furnished in my own taste. Recently, I moved to this new focus. According to the old to my upbringing, I wished to treat this pleasant event religious and arrange a prayer service in my apartment. I am not so religious to believe that the Lord God will strengthen the roof of my home and send me a graceful life in the new dwelling. But I, in any case, felt the need to thank the usual consciousness, the highest being, which we call God, and in essence do not even know whether it exists or not. There is some kind of pleasure in a sense of gratitude. I went with these thoughts behind the pop. I went with my friend my one. It was in the summer. We passed to the church yard ... I went to the Milee, an educated and touching priest, Father Georgia Spassky. I invited him to come to me into my house for prayers ... When I left the Spasskaya's father, at the very porch of his houses came to me some women, torn off, clouded, with the same tormented and disheveled children. These children stood on the curves of their feet and were covered with a root. Women asked to give them something on bread. But such an accident was released that neither me nor my friend had no money. So it was inconvenient to say this unfortunate that I have no money. This violated the joyful mood with whom I left the priest. That night I felt disgusting.

After my prayer, I arranged breakfast. On my desk there was caviar and good wine. I do not know how to explain it, but for some reason I remembered the song for some reason:

"And the despot is singing in a luxurious palace,
Anxious wine pouring ... "

My soul, indeed, was alarming. God will not take gratitude to mine, and whether this prayer was needed at all, I thought. I thought about yesterday's case on the church yard and the nepoupe answered the questions of the guests. To help these two women, of course, maybe. But two of them only or four? There must be a lot. And so I got up and said:

Batyushka, I saw on the church courtyard of unfortunate women and children on the church courtyard. They are probably a lot near the Church, and you know them. Let me offer you 5000 francs. Distribute them, please, at your discretion. "

In Soviet newspapers, the act of artist was regarded as the help of white-emigration. However, the USSR did not leave attempts to return Shalyapin. In the autumn of 1928, Gorky wrote Fedor Ivanovich from Sorrento: "They say - will you sing in Rome? I'll come to listen. Very want to listen to you in Moscow. I said that Stalin, Voroshilov, and others. Even the "rock" in the Crimea and some treasures would return to you. "

Meeting Shalyapin with Gorky in Rome took place in April 1929. Shalyapin with great success sang Boris Godunova. Here's how Gorky's daughter-in-law recalls this meeting: "After the performance, they gathered in the" Library "tavern. Everyone was in a very good mood. Alexey Maksimovich and Maxim made a lot of interesting things about the Soviet Union, responded to a lot of questions, in conclusion, Alexey Maksimovich told Fyodor Ivanovich: "Go home, look at the construction of a new life, on new people, their interest is huge to you, seeing you, you want to stay There, I'm sure. " At that moment, Chaliapina's wife, he had heard silently, suddenly decisively stated, turning to Fedor Ivanovich: "You will go to the Soviet Union only through my corpse." All the mood fell, quickly discussed home. "

Shalyapin and Maxim Gorky.

More Shalyapin with Gorky did not meet. Shalyapin saw that the cruel time of growing mass repression brokes many fates, he did not want to become a voluntary victim, nor he who herald of Stalin's wisdom, nor a weakened nor the chance of the leader of the peoples.

In 1930, the scandal broke out due to the publication of "pages from my life" in the publishing house "Surbo", for which Shalyapin demanded the payment of the author's fee. It served as a reason for last letter Gorky, written in a sharp, offensive tone. Shalyapin seriously perceived the rupture of the relationship with bitter. "I lost best friend"I said the artist.

Living abroad, Shalyapin, like many of his compatriots, sought to keep connections with relatives and friends, conducted an extensive correspondence with them, was interested in anything that happened in the USSR. It is possible that he knew about life in the country sometimes more and better than his addresses who lived in a very limited and distorted information.

F.I.Shaliapin at K.A. Korovina in his Parisian workshop. 1930.

Divided from the Motherland for Shalyapin were especially expensive meetings with Russians - Korovin, Rakhmaninov and Anna Pavlova. Shalyapin was familiar with Toti Dal Monte, Maurice Ravey, Charlie Chaplin and Herbert Wells. In 1932, Fedor Ivanovich starred in the film "Don Quixote" at the suggestion of the German director Georg Pabsta. The film was popular with the public.

Shalyapin and Rachmaninov.

On the slope of the years, Shalyapin walked in Russia, gradually lost his cheerfulness and optimism, did not sing new opera parties, began to root often. In May 1937, after the tour in Japan and America, always energetic and tireless Chaliapin returned to Paris exhausted, very pale and with a strange lint of greenish colors on his forehead, about which he was sadly joking: "Another second, and I will be a real ride!". Messaria Zhonar's home doctor explained his state with ordinary fatigue and advised the singer to relax at the most popular resort in Rayhenhalla, near Vienna. However, the resort life was not palpable. Forwarding increasing weakness, in the fall, Shalyapin still gave a few concerts in London, and when he came home, Dr. Zhandron was alarmed not at the joke and invited the best French doctors to the concilium. The patient took blood to research. The next day the answer was ready. The wife of the singer Marya Vikentyevna reported: her husband has a Belokroviy - Leukemia and live him left four months, from the strength of five. The bone marrow transplant then did not yet do, drugs overwhelming the production of "malignant" leukocytes also did not exist. In order to somehow slow down the development of the disease, doctors recommended the only possible means - blood transfusion. The donor was the Frenchman on the surname Schien, and in Russian balls. Unaware of a terrible diagnosis of Shalyapin, this circumstance is extremely amused. He argued that after the course of the procedures, at the first speech, he climbs on stage as a dog. But about returning to the theater could not be speech. The patient was becoming worse: in March he was no longer rising from bed.

The news of the illness of the Great Artist leaked into the press. Journalists were on duty at the Shalyapinsky door, journalists were on duty, on all channels of French and English radio sounded in his performance the final aria of the dying Boris Godunova. A friend who visited Shalyapin in the last days was shocked by his courage: "What a great artist! Imagine, even on the edge of the grave, conscious that the end is close, he feels like on stage: death plays! ". April 12, 1938 before caring from the life of Shalyapin fell into oblivion and persistently demanded: "Let me water! The throat is completely dry. We need to drink water. After all, the audience is waiting. We must sing. The public can not be deceived! They paid ... ". Many years later, Dr. Zhanron confessed: "Never for my long life I did not see a more wonderful death. "

After the death of Fedor Ivanovich, no notorious "Shalyapin Millions" did not turn out. The daughter of the great Russian singer Dramatic actress Irina Fedorovna wrote in his memoirs: "The father was always afraid of poverty - he saw too much poverty and grief in his children's and youthful years. He often said with bitterness: "My mother died from hunger." Yes, the Father, of course, had money earned by the Great Labor. But he knew how to spend them - widely, to help people, for public needs. "

By the end of his life, Shalyapin remained a Russian citizen, did not accept foreign citizenship and dreamed of being buried in his homeland. 46 years after his death, his desire was fulfilled: the dust of the singer was transported to Moscow and on October 29, 1984 he was buried at the Novodevichy cemetery.

In 1991, he returned the title of "People's Artist of the Republic".

About the relationship of Fedor Shalyapin and Iola Tornagi was removed tV Broadcast From the cycle "More than love."

In 1992, the documentary film "Great Shalyapin" was filmed about Fedor Shalyapin.

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Text prepared Tatyana Khalin

Used materials:

Kotlyarov Yu., Garmash V. Chronicle of Life and Creativity F.Sasalyapina.
F.I. Shalyapin. "Mask and soul. My forty years on theater "(autobiography)
Fedor Ivanovich Shalyapin. Album-catalog from the funds of the GCTM. A.A. Bakhrushina
Materials site www.shalyapin-museum.org.
Igor Pound to the 140th anniversary of the birth of F.I.Shaliapina

The winner of the title of the First People's Artist - Fyodor Shalyapin. The singer and the actor was endowed with a high bass that glorified him on the global opera stage, and as high as a high growth attached to the artist.

Fyodor Ivanovich was born in Kazan at the end of the winter of 1873. His father Ivan Yakovlevich served as written what was unusual for the peasant the occupation. The mother of the singer was a housewife. According to the father's line, Shalyapin is a descendant of the ancient Vyatka kind.

Youth

In ornament, young Fedor possessed a beautiful conceant, which allowed him to sing in the church choir, so the boy got his main knowledge in the musical literacy. In addition to learning music, the father gave his son to the students to the shoemaker.
Fedor received primary education in a private school. Where to continue training in the parish school, finishing it at twelve years and typing the highest score at the end of training.
Parish school boy replaces craft, going out in 1885 to the city of Arsk. This period of life is boring for a young guy, whose voice begins to break, so he is deprived of the opportunity to sing, working as a writer.

The beginning of the way

For the start of the career of a young singer, a listened representation of the Opera House of Kazan, which was visited by Shalyapin. At the age of sixteen, a young man, already possessing bass, fails listening in the theater and comes with a statistian in the troupe V. B. Serebryakov.
In the spring of 1890, Shalyapin goes on the stage with the Messenk Party. Opera "Eugene Onegin" begins a career of a young singer. The next few months, the young performer works by Horist of the Target Affrise.
Talented self-taught moves to Ufa. New work in the choir gives Fedor confidence. However, the incidents of the incident like falling on the stage by the chair will forever teach the artist to follow the details involved in the speech. Seventeen-year-old Shalyapin begins to receive opera parties, manifesting himself during the replacement of the sick artist.
A year later, the young singer is adjacent to the wandering troupe of the Theater of the Malorussia, which is managed by G. I. Dergach. Having done many travels with the country around the country, ultimately, Shalyapin arrives in Tbilisi (previously Tiflis). It is in Tiflis, living the year in the New City, Fyodor Shalyapin performs the first bass parties. In addition to working in the theater, the artist is engaged in vocals with the former tenor of the Bolshoi Theater, who noticed a promising singer.

Creative career

After Tbilisi, Shalyapin moves to Moscow, and then to St. Petersburg. At twenty-one, Fyodor enters the service to the Imperial Theater. Browser service in such official Theater, Shalyapina, and thanks to the occasion, successfully changed to work at the Sava Mamontov theater.

During operation in this theater, Shalyapin fully reveals its potential, having received complete freedom of action from a well-known benefactor. It was there that the great singer quail a lot of Russian opera bass parties, leaving some so far as standards for execution.

For four seasons of work in the Mammoth Opera, to twenty-six years, the artist receives recognition and fame. In the autobiography, Shalyapin will call years spent at the Mamontov Theater - the most important in their career.

After four successful seasons, Shalyapin again begins to work in the capital theaters. He continues his career as a soloist of the Mariinsky Theater, as well as speaking at the Bolshoi Theater of Moscow. Tours on such well-known scenes bring an artist performance in the Metropolitan Operary of New York. This period, the famous bass spends surrounded by the country's creative elite. One of the closest friends of Shalyapin - Maxim Gorky.

The artist turned his speeches into shares of donations of funds for the needs of workers, who had the respect of the authorities. After the revolution, Shalyapin becomes the first folk artist of the republic and is appointed by the head of the Marinka. After working as a short term, at the age of forty nine years, Shalyapin, together with his family, emigrates abroad. Subsequently, the singer was deprived of the title of folk artist.

In addition to mine sing Career Fyodor Chaliapin was engaged in painting, sculpture and fulfilled several roles in the cinema: Don Quixote, as well as Ivan the Terrible.

Personal

With his first wife, Shalyapin met in young years, she became ballerina Iola Tornagi. In the first marriage, six children were born, one of which died at a four years of age.

The second wife of the artist became Maria Petzold, during both meetings they were legally married, which was no obstacle to the joint living and the birth of three daughters.

The middle of the thirties is marked by the last tour, perfect famous artist. After going on the countries of the Far East, Shalyapin gives more fifty concerts. After returning to Paris, where the singer lived, he felt ailment and contacting the doctors learned about the fatal disease of the blood.

Having lived another year, at the age of sixties, Fyodor Shalyapin died in the spring of 1938 in his Parisian apartment. After forty-six years, Shalyapin's dust was reburied at the Novodevichy Cemetery of the capital of Russia.

Shalyapin, Fyodor Ivanovich

Famous Russian singer-bass. Rod. In 1873, the son of the peasant Vyatka province. As a child, Sh. Was singing. In 1890, he entered the Ufa to the Choir of Semenov-Samara troupe. It is quite by chance that S. had to transform from Horist into a soloist, replacing the sick artist in the opera Montusko. This debut put forward 17-year-old S., who occasionally charged small opera parties, such as Fernando in Troubadour. The following year, Sh. spoke in the party of the unknown in the "Askold Togil" of the Versta. He was proposed a place in the Ufa Zemstvo, but the Malorosiysk troupe Dergach arrived in Ufa, to which Sh. The wanders led him to Tiflis, where he was first seriously hit by his voice, thanks to the singer Usatov, who managed to appreciate his student. S. lived in Tiflis for a whole year, fulfilling the first bass parties in the opera. In 1893, he moved to Moscow, and in 1894 - to St. Petersburg, where he sang in Arcadia and the Panayev theater, in Zazulin's troupe. In 1895, he entered the stage of the Mariinsky Theater in St. Petersburg. And sang with the success of the Mephistopel party (Faust) and Ruslana. Diverse giving sh. Expressed and in comic Opera "Secret marriage" of chimaroza, but still not received due assessment. S. I. Mammoth, the first noticing in Sh. The giving out of a series of outgoing, invited him to his private opera in Moscow. From this time (1896), the brilliant activity of Sch. In the "Prince Igor" Borodina, Pskovtyanka, Roman Corsakov, "Ruslik" Dargomyzhsky, "Life for the king" Glinka and in many other operas talent Sh. Showed extremely strongly. He was highly appreciated in Milan, where he performed at the "La Scala" theater in the title role of "Mephistofel" Boyto. Then Sh. Switched to the scene of the Imperial Russian Opera in Moscow, where he enjoys enormous success. Tours Sh. In St. Petersburg, on the Mariinskaya scene, make a kind of events in the St. Petersburg musical world.

(Brockauz)

Shalyapin, Fyodor Ivanovich

Famous opera singer (high bass), genus. February 1, 1873 in Kazan, where his father (the peasant of the Vyatka lips.) Was a scribe in the land. As a child, Sh. Did not have the opportunity to systematically learn and their general, as well as musical education, is obliged mainly to itself. 17 years old, who svewing earlier in the bishop chore, entered Ufa to the leaf of the troupe, where the parties-solo began to give him soon (unknown in the "Askold grave"); Then as a singer and partly a dancer from the Malorosiysk troupe of the Derkach Volga region, the Custinian region and the Caucasus, and 1892 came to Tiflis. Here Sh. For about a year she studied singing at his time in his time singer Usatov, who attached it to Tiflis Troupe. 1894 S. Pelu is already in St. Petersburg., First in the summer theater "Aquarium", then in the Panayevsky Theater and from 1895 on the Mariinsky stage, where he rarely acted and did not pay attention. Focality Sh. Begins with 1896, when S. moved to the Moscow private opera S. I. Mamontov, who paid a penalty for him to the imperial scene. Here is the mighty and peculiar talent sh. For the first time, had the opportunity to independently go on a wide path of self-improvement. Beautiful and flexible voice, rare artistic flair, thoughtful study and distinctive interpretation of the executable, striking drama talent due to the excellent diction, - all this gave the opportunity to create - especially in the field of Russian music - a number of bright and original opera images, among which are issued Grozny ("Pskovtyanka"), Salieri ("Mozart and Salieri"), Godunov ("Boris Godunov") Melnik ("Mermaid"), Mephistophele ("Faust") and others. From 1896 S. sings on imp. Moscow scene, touring also in St. Petersburg. and provinces. Over the years, he had to play mostly in the parties created by him earlier (from the new epimka in the "enemy strength", demon, etc.). Sh. Often sings in concerts. Abroad, he acted only in Milan 1901 (10 times in the "Mephistopel" Boyto) and 1904. See Y. Engel "Russian Opera and Sh." ("Russian statements" 1899).

Shalyapin, Fyodor Ivanovich

Art. Operas (bass canthate), chamber singer and director. Nar. art. Republic (1918). Rod. in poor family scribe of the Zemstvo council. After graduating from two-year mountains. Ascent, from ten years was a student of a shoemaker, a joiner, a twist, worked as a turner, a loader, a scribe. He possessed a beautiful conceant and from nine years sang in church choirs (including in the Church of Regent I. Shcherbinin), where MUZ was taught. Literacy and the game on the violin. In 1886, for the first time he participated in the choir of boys in the opera "Prophet" in the play by the opera troupe in the Kazan. In early 1890 worked as a statistically in the dram. Troupe in Kazan, then he did a chorist to the Ufa Antron. S. Semenova-Samara (Rus. Comic Opera and Operetta). Dec 18 The same year, replacing the sick art., for the first time, successfully performed in the Party of So-Stick ("Pebble"). From 1891 Choriste Ukr. Favimova-Derkcha's Tweepes, Dec. 1891 - Dan. 1892-Bakin. Franz. Operettes (Antr. D. Lassal), in Fevr. 1892 Soloist touring opera troupe R. Klyuchareva (sang in the Batum and Tiflis). With Saint. 1892 OK. We have been engaged in vocals for free with D. Usatov in Tiflis, where he performed in amateur concerts. Professional debut on the opera scene took place 28 Saint. 1893 in the Ramfis party to Tiflis, Opere (Anth. V. Lyubimova and V. Forkatti). In the summer of 1894 sang in T-Retber. Garden "Arkady" (Antr. M. Lenta). In the season 1894/95 - in St. Petersburg. Panayevsky T-re (opera partnership). 5 Apr. 1895 made his debut in the Mephistopel party ("Faust") in St. Petersburg. Mariinsky T-re. OK. The years took the lessons of scenes. Mastery of the famous tragic M. Dalcsky. In May - Aug 1896 performed in N. Novgorod as part of Mosk. Opera troupe S. Mamontov (Antr K. Winter). With Saint. 1896 to 1899 soloist Mosk. private rus. Opera (with a great success made his debut in the party of Susanin - "Life for the king"). In June - July 1897 in Dieppe (France) under the hands. Singers and teacher Berramy prepared a party of Oolofer. Working in T-RE S. Mamontova played a huge rhe creative formation and the development of the singer. Here he met prominent representatives of Rus. Art. Intelligentsia: Composers N. Roman-Korsakov, A. Glazunov, A. Lyadov, artists K. Korovin, M. Vrubel, V. Serovy, sculptor M. Antocolsky, Critics V. Stasov, Drum. art. Fedotova, O. and M. Sadovsky, historian V. Klyuchevsky and others. Under the hands. S. Rakhmaninova Sh. Prepared the opera parties. Special meaning In his life there was a long-lasting deep friendship with M. Gorky. 24 Saint. 1899 The singer made his debut in the Mephistopel party ("Faust") on the MCC scene. Big T-ra. By signing the contract, managing Moscow. Office imp. T-Kov V. Velyakovsky noted in the diary: "Shalyapin singer is not a big and not Mariinsky Theater, and the singer - the world ... I'm scary to feel the genius, and not Basa." From that time to 1922 Sh. The soloist of the two largest rus. Opera T-Mark. In 1910, he received the title "The Soloist of His Majesty" in 1914 sang in MCC. Opera S. Zimin and St. Petersburg. Antron A. Aksarin. In 1918 arts. Hands, in 1919 a member of the Mariinsky and Bolshoi directory. Repeatedly participated in performances for workers, redarmeys, schoolchildren. 17 Apr. 1922 for the last time he performed in Russia (on the stage of Petrogr. Gatoba), after which he left for a foreign tour and remained in emigration (24 Aug. 1927 by the decision of the SNK RSFSR was deprived of the title "Nar. Art. Republic").

Tours in many cities: Kiev (1897, 1902, 1903, 1906, 1909, 1915), Kharkov (1897, 1905), St. Petersburg (Gastriol Mosk. Private Russian Operas, 1898, 1899, t-R Garden "Arkady", 1901; New Summer T-R "Olympia", 1904, 1905, 1906; Great Hall Cons., 1909), Kazan (1899), Odessa (1899, 1902), Nikolaev (1899), Kislovodsk (1899, 1904), Tiflis (1900), Baku (1900), Moscow (Summer T-R Garden Hermitage ", 1901; Summer T-R" Aquarium ", 1906). Riga (Latv. NC Opera, 1920, 1931). Since 1901, with a triumphal success, he spoke on opera scenes of the world: in Milan (TR "La Scala", 1901, 1904, 1908, 1909, 1912, 1931, 1933, debuted in the Mephistopel party in Opera "Mephistofel" A. Boyto ), Rome (TR "Kostanci", 1904), Monte Carlo (T-R "Casino, annually from 1905 to 1913), Orange (France, 1905), Berlin (" Royal T-R", 1907; here was awarded him. The Order of the Crown of IV degree), New York (T-R" Metropolitan-Opera "; End of 1907 - Nach. 1908, 1921, 1921-26), Philadelphia (1907, 1923), Paris ("Russian seasons" S. Dyagileva, 1908, 1909, 1913; T-R "Goethe Lirik", 1911; "Grand Opera", 1912, 1924, 1925; "Theater Champs Elysees", 1931; "Opera Comic" , 1931, 1932, 1935), Buenos Aires (T-R "Colon", 1908, 1930), Brussels (T-R "De La Monna", 1910), London ("Rus. Seasons" S. Dyagileva, 1913 , 1914; TR "Covent Garden", 1926; T-R "Lisomeum", 1931), Chicago (1923-25), Washington (1925), Montreal (1926), Boston (1926), San Francisco (1926) 1927), Barcelona (1929, 1933), Bucharest (1930), Chisinau (1930), Prague (1930, 1934), Montevideo (1930), Rio de Janeiro (1930), Stockholm (1931), Copenhagen (1931) , Bratislava (Slovak Nats. T-R, 1934), Sofia (1934). The last speech on the opera scene took place in Jan. 1937 in the party Don Quixote to Paris. T-Reta "Opera Comic".

He possessed flexible, smooth in all registers with the voice of a soft timbre and an extensive range that allowed the Span. Also bariton batch, rich in a timbular palette, flawless intonation, a bright reincarnation gift. Careful work on each party, constant improvement and updating the interpretation of the role, the desire to comprehend the character in his psychological and historical accuracy (make-up, as a talented draftsman, created himself) - All this contributed to the birth of one-piece vocal scenes. Images. S., according to Art Ballet F. Lopukhov, "... I had a huge impact on the development of choreographic art of the 20th century, actually becoming a teacher of the truth in the music theater, a teacher of the stage gesture, poses, the feeling of music in every movement ..." (Fedor Ivanovich Shalyapin. T. 3: Articles and statements. Appendices. - M., 1979. P. 224). K. Stanislavsky, evaluating singers, wrote: "Shalyapin does not count. It stands on top, especially from all." According to him, Sh., Like no other, in his work, glorified three types of art: vocal, musical and scenic. "He was Shchepkin, created a Russian school, which we consider ourselves successors. The Shalyapin appeared. He is the same Shchepkin, the legislator in the opera" *. "Someone said about Shalyapin," wrote Vl. Nemirovich-Danchenko, "when God created it, he was in a particularly good mood, creating a joy of everything" **.

Opera repertoire of the singer included extremely different in the nature of the 67 batch (heroic-epic, tragedy, household, romantic, satirical), of which 36 are in Rus operations. composers.

1st isp. Parties: Salieri ("Mozart and Salieri"), Ilya (Ilya Muromets), Biron ("Ice House"), Galeofa Anafezza (Angelo; 2nd.). The priest ("Pier during the Plague"), Dobrynn Nikitich ("Dobryny Nikitich"), Khan Asvaba ("Old Eagle" R. Gunsburg; January 31, 1909, Monte Carlo), Don Quixote ("Don Quixote"; 6 ( 19) Feb. 1910, Monte Carlo, T-R "Casino"); In Moscow - Ivan the Terrible ("Pskovtyanka", 3rd Ed.), Dliphea (Khovanshchina), an old Jew ("Samson N Dalila"); in St. Petersburg - Aleko ("Alya" S. Rakhmaninova), Miraca ("Tales of Hoffman"), Philip II ("Don Carlos"); In the big T-re - Boris Godunova ("Boris Godunov"), Ivan the Terrible ("Pskovtyanka", 3rd Ed.), Dliphea (Hvenshchina), Philip II ("Don Carlos"); In the Mariinsky T-re-deifemy ("Hovanshchina"), Ivan the Terrible ("Pskovtyanka"), Boris Godunova ("Boris Godunov"), Don Quixote (Don Quixote); in Tiflis and N. Novgorod - Lotario (Mignon), Gudala (demon "A. Rubinstein); in N. Novgorod - the old Jew ("Samson and Dalila"); in Tiflis - Tomsk ("Peak Lady"); in Baku - Peter ("Natalka Poltavka"); to rus. Scene - Torah ("Santa Lucia"), collen ("Bohemia"), Don Quixote (Don Quixote); In Paris Boris Godunova (Boris Godunov, May 19, 1908, T-R "Grand Opera", Troupe S. Dyagilev). Vladimir Galitsky ("Prince Igor", 9 (22) May 1909. T-R "Shatle"), Ivan the Terrible ("Pskovtyanka", 3rd Ed., 13 (26) May 1909, T-R "Shatle", N. Cherepnin), Dosfesty (Hovanshchina, May 23 (June 5), 1913, theater of the Champs Elysees, P / U E. Cooper); In Monte Carlo - Melnik ("Mermaid" A. Dargomyzhsky, March 25 (7 Apr.) 1909, P / U L. SEEN), Demon ("demon" A. Rubinstein, to Ital. Yaz., 11 (24) March 1906, p / at L. Samen); In London - Boris Godunova ("Boris Godunov", June 24, 1913, T-R "Drury Lane", Konchak and Vladimir Galitsky ("Prince Igor", May 26, 1914, Ivan), Ivan the Terrible ("Pskovtyanka", 3 -I ed., June 25 (July 8) 1913, T-R "Drury Lane", p / at E. Cooper); in Brussels - Don Quixote ("Don Quixote", 1 (14) of May 1910, P "De La Monna"); in Milan - Boris Godunova ("Boris Godunov" 14 Jan. 1909, Tp "La Scala"). The best parties: Melnik ("Mermaid" A. Dargomyzhsky), Susanin ("Life for Tsar "M. Glinka;" Shalyapinsky Susanin is a reflection of the whole era, it is a virtuoso and mysterious embodiment folk wisdom, that wisdom that in heavy years Tests saved Russia from death. Everything in this appearance is perfect, everyone will be born somehow by itself and everything is concluded in the circle of "complete harmonious perfection". "E. Stark), Boris Godunov (" Whole, excellent creation, which can serve as a model of artistic finishes ... It is a top Artists available to the Opera Contractor and Shalyapin It owns them quite. "N. Kashkin), Ivan Grozny (" Pskovtyanka "; N. Rimsky-Korsakov called the singer in this party" inimitable "), Erozhka (according to one of the singer's contemporaries," A miracle, affordable only in a brilliantly gifted artist "), demon (" demon "A. Rubinstein;" Shalyapin for the first time after many years created, finally, something not only is a grand, but also a highly new, worthy of its best former creatures. "Yu. Engel), Oloferne ("On the courage of the plan and by the subtleties of the artistic performance, Oolfern occupies a special place in the midst of all other scenic creations of Chaliapin ...". E. Stark), Galitsky, Dosfey, Farlaff, Varlaam, Aleko ("Aleco" with Rachmaninova ), Varya Guest, Salieri, to Oncha, Mephistofel ("Faust"; Swede. Art. A. Tsrann said during the performance of S. Mamontov: "There is no such artist and in Europe! This is something unprecedented! I didn't have to see such a similar Mephistofel"), Mehistofel ("Mephistophel"; A. Mazini wrote on the fresh trail impressions from . Singer of the party: "This evening was a real triumph for the Russian artist ..."). Don Basilio ("Seville Basilber" J. Rossini; "Basilio at Shalyapin - a highly artistic embodiment of laughter, given with that laughing, scope and carelessness, which are distinguished by laughter of southern peoples." E. Stark), Philip II, Lepogello ("Don Juan" ), Don Quixote ("Look at his photo in Don Kiheot - and you will see in these eyes detached from reality, in this exhausted figure of a lightweight wrestler with mills, a beggar knight, as much inspired, how much and funny. This is an artistic portrait. And look Hundreds of photographs of the glorious singers Aid, Radams, Dalil, Germanov, Raulley, Margita, Snow Maiden, Onegin, etc., etc. - and only the Gallery of Omnichy will be held in front of you. (Vl. Nemirovich-Danchenko). Dr. Party: Unknown (" Askoldova grave "). Old woman wanderer, Onegin, Gremin, Vyazminsky, Head (" May Night "), Panas (" Night Before Christmas "), Berrtram (" Robert Devil "), Nylicanta, Cardinal (" Zhidovka "), Valentine (Faust), tonny, tsuniga. Partners: A. M. Davydov, T. Dal Monte, D. de Luka, N. Ermolenko-Yuzhina, I. Ershov, E. Zbrueva, E. Kaorazo, V. Kastorsky, V. Kuza, L. Lipkovskaya, F. Litvin, E. Mavin, V. Petrov, T. Ruffo, N. Salina, T. Skipova, D. Smirnov, L. Sobinov, R. Storkio, M. Cherkasskaya, V. Eberle, L. Yakovlev. Sang p / at W. Avranek, I. Altani, T. Bichema, F. Blumefeld, V. Green, M. Ippolitova-Ivanova, E. Cooper, G. Malera, E. Director, A. Nikisha, A. Pazovsky, S. Rakhmaninova, T. Serafina, V. Suka, A. Tuscanini, I. Torffy, N. Cherepnina, E. Esposito.

Sh. Was an unsurpassed chamber singer. From 1897, he was talked to N. Novgorod, Kazan, Samara, Voronezh, Ryazan, Smolensk, Orel, Tambov, Rostov-N / d, Ekaterinoslava, Astrakhan, Pskov, Kharkov, Odessa, Kiev, Yalta, Kislovodsk, Vilna, Riga, Reele ( now Tallinn), Tiflis, Baku, Warsaw, Paris (from 1907; here plowed by A. Nikisha and N. Rimsky-Korsakov), Berlin (1910; p / y with Kusvitsky; 1924, 1937), London (annually with 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, actively spoke before the workers, was especially famous for Span. Rus. nar. songs "Dubinushka". Gave many charitable concerts in favor of various organizations. The last concert of the singer took place on June 23, 1937 in Eastbourne (United Kingdom). The extensive repertoire of the singer (CV 100) included Aria from the opera who did not fulfill on the stage, rus. and Western Europe. composers (M. Glinka, A. Dargomyzhsky, M. Mussorgsky, C. Kyui. A. Rubinstein, N. Rimsky-Korsakova, P. Tchaikovsky, A. Arensky, S. Rakhmaninova, L. Beethoven, F. Schubert, R. Shuman, E. Grieg), Ensembly, Rus. and Ukrainian nar. songs. Sh. Often accompanied with Rachmaninov. The singer devoted his works by N. Amani (Borodino, Ballad. Op. 10), M. Antev (Romances. Op. 18), a, arena ("Wolves", Ballad. Op. 58), I. Ahron (" Ghost ", or. 30, 1910), M. Bagrinovsky (" Ballad "), Yu. Blahman (" Kurgan ", Ballad. Op. 26 No. 1, 1896;" At the ordinary gate ", comic song. Op. 26 № 3), A. Buchner ("Darkness and Fog", "by the sea"), S. Vasilenko ("Vir", Poem. Op. 6 No. 1; "Widow", Poem. Op. 6 No. 2), R. Gliere ("Blacksmiths". Op. 22), E. Granssall ("How scared on this night", 1914), A. Grechaninov ("at the crossroads." Muz. Picture. Op. 21, 1901), I. Dobrovain ( "What are you going about, wind night". Op. 7 No. 7; "Fantasy". Op. 7 No. 5), J. Iber ("Duke's song", "Dulcieter's song", "Dong Song Don Quixote", "farewell Don Quixote's song "From the movie" Don Quixote "), E. Kashperova (Albatross, 1912), F. Keneman (" How the king was walking on the war. "Op. 7 No. 6)" King Aladin ". Cit. 10 number 2; "Blacksmith". Cit. 8 No. 2; "Three roads", Duma. Cit. 7 No. 5; "Sovereigns and Duma is an indestructible swarm." Cit. 8 No. 1), Kozakov ("Svyatogor"), N. Kolesnikov ("Dubinushka", Nar. Song; "Eh, employees, God's people", song. Op. 75), V. Korganov ("At the Morthadow of the Holy , 1909), N. Kochetov ("Song of Harold and Yaroslavn". Op. 19; "I'm a man." Op. 21 № 1; "I'm a slave of labor." Op. 21 № 2; "Armenian". Op. 21 № 3), S. Kuvytsky ("Ballad", for double bass), C. Kyui ("Babian", Rus. Song), I. Kyunnap ("after the battle"), J. Massne ("If you wanted to tell me "), A. Panayev (" Attention the horrors of war "," Ganna "), S. Paniev (" Song without flaw about siroto yes about Tirana "," Fatma ", East Romance), V. Parchment (" Help "), A. Petrov ("Do not believe"), from Rachmaninov ("in the soul of each of us." Cip. 34 No. 2, 1912; "Resurrection of Lazari". Op. 34 No. 6, 1912; "Observant". Ophan 34 No. 11, 1912; "Fate". Op. 21 № 1, 1900; "You knew him." Op. 34 № 9, 1912), P. Renchitsky ("Alien Mount", Ballad. Op. 4 No. 2), M. Rukkunov ("Husar", Song), N. Rimsky-Korsakov ("Arioso Tsar Ivan (Plugby) from the opera" Pskovtyanka ", III d., 2nd to.), Yu. Sakhnovsky (" Oh, stogs, stogs! ". Cit. 8 No. 1; "He walks around me." Cit. 8 No. 2; "Blacksmith"; "To the Motherland", "Oh, the honor of whether it is young to be a liner." Op. 5 No. 2); Ya. Sibelius - M. Fewish ("Sad Waltz". From music to Drama A. Yernefeld "Death". Obr. For bass and f - but M. Fewansky. Op. 44), A. Simon ("Nightmare", Drum . Sketch. Op. 62; "Oh, how much you own". cit. 62), M. Elephants ("Oh, you sun, the sun is red." Op. 10 No. 1; "Forgive word", prison song. Op. 12 № 1), O. Stukhenko ("Prisoner". Op. 45), A. Taskin ("Prayer Chords", "I want fun"), K. Tideman ("Oh, Volga-Mother's Cuba", Song; " Eagle "," Song of the Kuznez "), I. Truffy, V. Gateveld (" On Stacks of War ". MUZ. Picture in 1 d.), V. Turin (" In Prison "), A. Chernyavsky (" Under the Defasy Ryabinushka ", song; "W.well "), A. Black (" Clea ", Song), N. Shipovich (" by the sea ". Op. 2 No. 3), V. Erenberg (" Wedding ", a comic opera in 1 d. according to the same story A. Chekhov. Op. 5), M. Languages \u200b\u200b("Easy to the intercession of the pit of a deep", "Star", "Forest is noise and buzzing", "Lonely grave", "destroyed the temple").

He was recorded on the record stamps (187, total 471 record): in Moscow ("Grammophone", Dec. 1901, 1902, 1907, 1910), Paris ("Gramophone", 1908; "Nis Master" s Voice ", 1927, 1930 -34), St. Petersburg ("Gramophone", 1907, 1911, 1912, 1914), Milan ("Gramophone", 1912), London ("Grammone", 1913; "His Master" s voice ", 1926-27, 1929, 1931), Hase (suburb of London, "His Master" s Voice ", 1921-26), Camden (USA, Victor, 1924, 1927), Tokyo (" Victor ", 1936).

Sh. He was also directed by the director. Put the operas: "Don Quixote" (1910, MCC. Big t-p; 1919, Petrogr. Marinsky-r), "Khovanshchina" (1911, St. Petersburg. Mariinsky T-R; 1912, Big T-R), "Pskovtyanka" (1912, T-R "La Scala"), "Seville Barber" (1913, Big T -R), "Eminthe Power" (1915, Petrogr. Nar. House), "Don Carlos" (1917, Petrogr. Nar. House). The singers employed in these productions I. Ershov, A. M. Labinsky, I. Tartakov, V. Sharonov highly evaluated the children-STI W. as director. In 1923 he set the opera "Boris Godunov" to Rus, Yaz. in Chicago.

The films "Tsar Ivan Vasilyevich Grozny" ("Daughter Pskov", on the drama L. Maya "Pskovtyanka", director A. Ivanov-Guy, 1915, Russia) and "Don Quixote" (director of Pabst, Muses. J. Iber, 1932, France.

Sh. Was a versatile dotted person - he was fond of painting, graphics, sculpture, possessed literary talent.

The image of the singer captured the artists I. Repin, V. Serov, L. Pasternak, B. Kustodiev, K. Korovin, I. Brodsky, A. Golovin et al., Sculptors P. Trubetskaya and S. Konenkov.

Sh. Was buried to Paris. Cemetery Batinol. Oct 29. 1984 ART ART. It was reburied to MCC. Novodevichy Cemetery, in 1986 a monument to the sculptor A. Yeletsky and architect Yu Voznesensky was established on the grave.

In the USSR issued stamps With the image W.: in 1965 - Portrait of a singer of V. Serov (to the 100th anniversary of the birth of Hood.), as well as an envelope with a portrait of S. in photograph 1910. In the NRB in Nicaragua, postage stamps were released with the image of the singer. In St. 1988 In Moscow, the Museum of F. I. Shalyapin was opened.

Cit. and letters: Pages from my life (autobiography F. I. Shalyapin) // Chronicle. 1917. No. 1-12 (partially); Fully: F. I. Shalyapin. T. 1. - M., 1957, 3rd ed. - 1976 (Red. Sost., Comment. E. A. Grosheva); Flowers of my homeland // Petersburg. newspaper. 1908. May 10; Same // Shipping (N. Novgorod). 1908. May 12; 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 KN. // F. I. Shalyapin. T. 1. - M., 1957, 3rd ed. - 1976; Salapin feodor. SPIEWAK NA SCENIE OPEROWEI // Muzyka. t. 9. 1934; Rus. per. A. Gozenpud: Singer on the opera scene // owls. music. 1953. No. 4; The same // F. I. Shalyapin. T. 1. -M., 1957, 3rd ed. - 1976; About A. M. Gorky (instead of the necrologist). - Paris, 1936; The same // f. I. Shalyapin. T. 1. -M., 1957, 3rd ed. -1976; Finding in art // Binoculars (Petrograd). 1917. Oct., No. 1; The same // F. I. Shalyapin. T. 1. - M., 1957, 3rd ed. - 1976; Fine and majestic // Zarya (Harbin). 1935. March; The same // f. I. Shalyapin. T. 1. -M., 1957, 3rd ed. - 1976; Correspondence 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 F. I. Shalyapin with V. V. Stasov // F. I. Shalyapin. T. 1. - M., 1957, 3rd ed.

1976; Pages from my life; Autobiography Fedor Ivanovich Shalyapin; Press and me; The first concert; Memories of bitter; Christmas Eve in Colombos; About A. M. Gorky // F. Shalyapin. Pages from my life // Employed, article, comment. Y. Kotlyarov. - L:, 1990.

Lit.: Chaliapina Celebration in Italy // RMG. 1901. No. 12. P. 378-381; Andreyev L. About Shalyapin // Courier. 1902. № 56; Penyaev I. The first steps of F. I. Shalyapin on the artistic field. - M., 1903; Bunin I. Incident with F. I. Shalyapin // Voice of Moscow. 1910. No. 235; His own. About Shalyapin / / Illustrative Russia (Paris). 1938. No. 19; His own. About Fedore Shalyapin // Don. 1957. No. 10; Sivkov P. F. I. Shalyapin: Life and artistic activity. - St. Petersburg., 1908; Lipaev I. F. I. Shalyapin: Singer-artist. - St. Petersburg., 1914; Sokolov N. Trip F. I. Shalyapin in Africa. - M., 1914; Stark E. Shalyapin. - PG, 1915; His own. F. I. Shalyapin: (to the twenty-fiveth anniversary of artistic activity) // Apollo. 1915. No. 10; Asafyev B. (Glebov I.). About song and song // Life of art. 1918. № 37; His own. Gesture gesture // Theater. 1923. No. 8; His own. Shalyapin // owls. music. Sat 4 - m.; L., 1945; His own. Fedor Shalyapin // MUZ. a life. 1983. No. 13; Kratygin V. Mussorgsky and Shalyapin. - PG, 1922; Nemirovich-Danchenko V.I. ** from the past. - M.: Academia, 1936. P. 247; Zalkind G. Pictures F. I. Shalyapin // Theater, Almanac. Kn. 3 (5). - M., 1946; Nikulin L. The last role of Chaliapina. (Essay) // Spark. 1945. № 39; His own. Letters of Chaliapina to the bitter // Red Armyman. 1945. No. 15/16. From 21-22; His own. Fedor Shalyapin. -M., 1954; His own. Ivan Bunin about Fedore Shalyapin // Don. 1957. No. 10; Incenitsky A. Orpheus in hell / / banner. 1948. No. 7. Since 39-4; Dmitry N. N. Nice Pages // Sparkle. 1948. No. 30; Seezhitsky G. Singing actor or playing singer? // Theatre. 1948. No. 6; Kunin I. Exhibition "Russian Opera House and F. I. Shalyapin" // owls. music. 1948. No. 8; Left S. Shalyapin (pages from the book "Eyes and Ears of Singe") // owls. music. 1948. No. 10; His own. Shalyapin on concert pop // ibid. 1950. No. 2; His own. Notes opera singer. - 2nd ed. - M., 1962. P. 711; His own. Conversation with salabin // owls. music. 1966. No. 7; His own. Fedor Shalyapin, Muses. a life. 1970. № 3; Yankovsky M. Shalyapin and Russian Opera Culture. - l.; M., 1947; His own. F. I. Shalyapin. - m.; L., 1951. - 2nd ed. - L., 1972; His own. The pride of Russian art // MUZ. a life. 1973. No. 2; Mamontov V. S. **** Memories of Russian artists. - M., 1950. P. 31; Stasov V.V. Articles about Shalyapin. - M., 1952; Hubov G. Gorky and Shalyapin: The sketch first and second // owls. music. 1952. № 4, 5; Stanislavsky K. C * Camp. op. In 8 tons. - M., 1954-1961. T. 6. P. 215; Eisenstadt O. Shalyapin drawings // Theater. 1955. No. 12; Kyprikov M. F. Memories of the actor. F. I. Shalyapin and L. V. Sobinov // Siberian lights. 1956. № 5. from 162-175; Witting B. About Shalyapin. Memories // owls. Report. 1957. No. 4; Prestiani Yves. About Fedor Shalyapin // Friendship of Peoples. 1957. No. 2; Rosenfeld S. Tale of Shalyapin. - M, 1957; Also. - L., 1966; Belkin A. F. I. Shalyapin on Tambovschina // Tamb. truth. 1957. December 7; Nelidova-Fivea L. Ten meetings with Shalyapin in America // New Siberia. 1957. KN. 36; E E is. From the memories of Shalyapin // owls. music. 1959. No. 1; Lyubimov L. Last years Shalyapin // in the same place 1957. No. 7; Skip T. Yes, I remember Shalyapin // Lit. newspaper. 1957. 3. 1 Aug; F. I. Shalyapin / Red. Sost. E. A. Grosheva. T. 1-2. - M., 1957-58; Dolinsky M., Cheats S. Little-known Shalyapin portraits // Change. 1958. No. 9; Them. The forgotten role of Chaliapin // Theater. a life. 1958. No. 8; Them. We need a museum F. I. Shalyapin // Ibid. 1960. No. 19; Them. "I was born for music in Tiflis" // Lit. Georgia. 1962. number 10; Them. Shalyapin in Georgia // MUZ. a life. 1962. No. 11; Them. Two letters of Shalyapin // MUZ. a life. 1963. No. 17; Them. The story of one find // Theater. a life. 1963. № 21; Zorin B. Shalyapin drawings // Change. 1958. No. 17; Buchkin P. Gorky and Shalyapin // MUZ. a life. 1959. No. 5; Lebedinsky L. Scene "Clock with Chorans" performed by Shalyapin // owls. music. 1959. No. 3; His own. Shalyapin sings Dargomyzhsky // ibid. 1964. No. 6; EGO. Shalyapin sings the song "Farewell, joy" // ibid. 1968. No. 4; His own. "Dubinushka" performed by Shalyapin // MUZ. a life. 1973. No. 2; Granovsky B. Letter F. I. Shalyapin on Boris Godunov // owls. music. 1959. No. 3; Obolensky P. Memorial meetings with Rachmaninov and F. Shalyapin // Sov. Culture.

1960. Oct 1; His own. Gift rack, mighty // Spark. 1963. No. 7; Sochiev D. five years with Shalyapin // owls. Culture. 1960. 7 Jan.; Celesky L. Shalyapin in Pskov // MUZ. a life. 1960. No. 4; Kobtsev N. Shalyapin in Harbin // Don. 1960. No. 5; A. Sh.On the grave of Shalyapin // owls. music. I960. Number 10; Andronikov I. Veterans of the Revolution on Shalyapin // Muses. a life. 1960. No. 11; His own. What is stored on Graftio Street? New about Chaliapin // Lit. newspaper. 1964. № 26; His own. Full collection Overactions of Shalyapin // Culture and Life. 1968. No. 3; Volkov-Lannit L. Shalyapin in front of the mouthpiece // MUZ. a life. 1961. № 21; His own. Poems Shalyapin. To the biography of the singer // Science and Life. 1981. No. 5; Carpenters B. Shalyapin at rehearsals // MUZ. a life. 1961. № 3; Less Al. Thousand photographs of Chaliapin // owls. music. 1962. No. 5; His own. Stories about Shalyapin / / Mus. a life. 1971. № 22; Topbas N. Non-famous Horseshoe. From the memories of Shalyapin // Theater. a life.

1962. No. 3; Chilikin V. Last interview // ibid. 1962. No. 3; Yudin S. Shalyapin in Partyholiferne and Salieri // owls. music. 1962. No. 9; Paskin A. Shalyapin and Russian artists. - l.; M., 1963; Anufriev V. Faust. By the 25th anniversary of the death of F. I. Shalyapin // Theater. 1963. No. 4; Vinogradov-Mammoth N. in the October night. (Chapter dedicated to F. Shalyapin, from the "Book of Meetings") // Week. 1963. No. 6; Huseynova A. Dazzly bright. By the 90th anniversary of the birth of F. I. Shalyapin // Lit. Azerbaijan. 1963. No. 2; Doroshevich Vlas. Shalyapin in "Mephistophele" / / Sov. Print. 1963. No. 3; Kaplan E. In work on "Aleko" // owls. music. 1963. No. 2; Shalyapin I. Russia Son // Lit. Russia.

1963. 15 Feb.; Yokes S. Comet named Fedor // owls. music. 1963. No. 2; Stepanova S. Shalyapin among the Red Army // Theater. a life. 1963. No. 11; Kollar V. "Shalyapinskaya School" // MUZ. a life. 1963. No. 3; His own. 187 days from the life of Shalyapin. - Gorky, 1967; His own. In Sorov Stories about Shalyapin // Gorky. working. 1978. June 17; His own. F. I. Shalyapin on the Volga. - Gorky, 1982; Volkov V. Five Shalyapin images // MUZ. a life. 1963. No. 3; Rostotaev A. From the archive of Shalyapin // Muses. a life. 1964. № 12; Artamonov I. "What is a slander." (On the stay of F. I. Shalyapin in the Milane Theater "La Scala") // Moscow. truth. 1964. 27 Saint; Zharov M. Life and role. (From the memories of F. I. Shalyapin) // ibid. 1964. May 31; New pages about Shalyapin. (According to Leningrad Archives) // Moscow. 1964. No. 6. P. 160-176; Olga L. Caste from Graftio Street // Young Guard. 1964. No. 7; Argo (Goldenberg A. M.). The last concert. From the book of memories // owls. Estrades and circus. 1964. No. 10; Bibik A. Two concerts // Theater. a life. 1965. No. 6; Strauss Y. Shalyapin in Harbin // MUZ. a life. 1965. № 14; Shalyapin draws ... // Ibid. 1965. № 22; Perepelkin Yu. History big friendship // Theatre. a life. 1965. No. 8; Museum, which is not in reference books // MUZ. a life. 1966. № 23. C 25; Verbicky A. Shalyapin Case // Theater. a life. 1967. No. 6; Pichugin P. Shalyapin is a living, unstable // owls. music. 1968. No. 7; Pokrovsky B. Reading Shalyapin // ibid. 1968. No. 11. 1969. No. 1; Demidova R. - Shalyapin in Tiflis // MUZ. a life. 1968. No. 8; Labinsky A. M. "Seville Berber" (with the participation of F. I. Shalyapin; 1913) // ibid. 1968. No. 8; Museum F. I. Shalyapin // Museums and architectural monuments of the Gorky region. - Gorky, 1968. P. 89-90; Nikiforov N. Shalyapinsky Runs // Nikiforov N. The search continues. Collector stories. - Voronezh, 1968. From 29-32; Peshkovsky Ya. The last days of Shalyapin // Theater. a life. 1968. No. 24; Speranskaya M. Unforgettable // Change. 1968. No. 11; Shalyapin I. From the family album. 95th anniversary F. I. Shalyapin // Sparkle. 1968. No. 9; Her. Rare photo // Theatre. a life. 1978. No. 21; Shalyapin I., Lviv N. Standard evening // Ibid. 1968. No. 46; Zlotnikova I. List pages of time // Theater. a life. 1968. № 21; Isaeva V. I., Shataginova L. M. Rare photos of Chaliapin // owls. archives. 1968. No. 4; The history of one photo (A. M. Gorky and F. and Shalyapin) // Gorky readings: to the 100th anniversary of the writer's birthday. - M., 1968; Jugs S. Shalyapin in Kronstadt // Theater. a life. 1968. No. 3; Rubinstein L. Shalyapin and Tukai // Friendship of Peoples. 1969. No. 9; Tanyuk L. Shalyapin and Staritsky // ibid. 1969. No. 2; Samoilenko N. How to Kononyi Shalyapin // Don. 1969. No. 1; Shcherbak A. I. Musi on the thorn. Dilogy about young Shalyapin and his contemporaries. - Kiev, 1969 (on Ukrainian Yaz.); Kokan V. The last tours of Shalyapin // Theater. 1969. No. 3; Lavrentiev M. 187 days with Fedor Shalyapin // Tourist. 1970. № 7; Kazakov V. Chisinau applauds Shalyapin // Codres (Chisinau). 1970. № 7; Solntsev N. Bravo, Bogatyr! // Theatre. a life. Number 10; Belov A. Unusual autograph // Theater. a life. 1970. № 24; Hydalemaker V. Strochi to the portrait // Sparkle. 1970. No. 50; Capovain K. A. Shalyapin. Meetings and joint life // Konstantin Korovin remembers. - M, 1971; Kogan, reflecting on Shalyapin // owls. music. 1971. No. 7; Kabalevskaya O. The first meetings of Shalyapin with the creativity of Mussorgsky // Questions of the theory and aesthetics of music. Vol. 10. - L., 1971. P. 165- 198; Groseva E. Shalyapin in Bulgaria // owls. music.

1971. № 12; Her. The path to the beauty is true // owls. Culture. 1973. 13 Feb.; Her. Brilliant musician / / owls. music. 1973. No. 2; Engel Yu. D. *** Eyes of the contemporary: Selected articles about Russian music. 1898-1918. - M., 1971. P. 127; B. Shalyapin sings Demon // Theater. 1972. No. 2; Bakumenko V. Tragik opera scene // Theatre. a life. 1972. No. 8; EGO. The roles of salyapin // ibid. 1973. No. 24; Lebedinskiy L. Five essays on Shalyapinsky reading of a tank text // Mastery of musical execution. Vol. 1. - M., 1972. P. 57-127; Shalyapin on vacation. (Recorded E. Aesin) // MUZ. a life.

1972. № 17; Lviv N. from memories. (To the 100th anniversary of the birth of F. I. Shalyapin) // Theater. a life. 1973. № 3; Vasilyev S. at the Ratuchinian dacha // Ibid. 1973. № 3; Rummel I. Triumph in Pskov // owls. music. 1973. No. 2; Three documents. From an interview in 1936 // Theater. a life. 1973. No. 3. P. 24-25; Shalyapin-artist // MUZ. a life. 1973. No. 2. C. 25, Cup F. Shalyapin Masks // Theater. 1973. № 3; From the archive of Shalyapin // ibid. 1973. № 3; Mil A. Museum in an apartment // Theater. a life. 1973. No. 14; DPANKOV V. Nature Talent Shalyapin. - L., 1973; Dmitrievsky V. Great Artist. - L., 1973; His own. Shalyapin and bitter. - M., 1981; Pakhomov N. Shalyapin draws // Lit. Russia. 1974. 4 Jan.; Volkov S. Meyerhold and Shalyapin // MUZ. a life. 1974. No. 18; Gozenpud A. A. Russian Opera House on turn XIX-XX centuries and F. I. Shalyapin. 1890-1904. - L., 1974; Almedingen B. A. Golovin and Shalyapin. Night under the roof of the Mariinsky Theater. - 2 ed. - L., 1975; Glibko-Dolinsky in the homeland of the father // Theater. a life. 1976. No. 5; Fedor Ivanovich Shalyapin / Red.-Sost. E. A. Grosheva. T. 1-3. - M., 1976-1979; Dmitrievsky V., Katerinina E. Shalyapin in St. Petersburg-Petrograd. - L., 1976; Kotlyp G. Studying acoustic means of expressing emotions in singing F. I. Shalyapin // Abstracts of the Fifth Scientific Conference on the development of a singing musical hearing, perception and musical and creative abilities of children and young people. - M., 1977. P. 586-589; Litinskaya E. Unusual sense of joy // MUZ. a life. 1978. No. 15; Zavadskaya N. Music and Painting // MUZ. a life. 1978. No. 12; Popov A. "The role has never succeeded at me immediately" // Theater, life. 1979. No. 14; Kotlypov Yu F. I. Shalyapin and Bulgarian opera-performing culture / / Russian-Bulgarian theater connections: Sat. Articles. - L., 1979. Since 130-144; The Gorsky G. Songs, Calls to Life // Daugava. 1979. No. 12; Dpuden S. Listening Shalyapin // Neva. 1980. No. 4; Babenko V. Shalyapin is joking // ibid. 1980. No. 8; Goltzman S. in the footsteps of one photo // Komsomolets of the Tataria (Kazan). 1980. 31 dec.; Emelyanov T. Semi-Radiation // Sparkle. 1988. No. 48. P. 14-17; Krylova L. Gorky listens F. Shalyapin // Lenin shift (bitter). 1981. 12Sent.; Tolstova N. Sang Chaliapin here // Izvestia. 1981. November 11; Belyakov B. Shalyapin, Zimina Theater, 1916 // Lenin shift (bitter). 1982. 7, 9 and 12 dec.; Vitting E. Meetings with F. I. Shalyapin // Neman (Minsk). 1982. No. 5; Boniantko A. "Small Alexis" (letter F. I. Shalyapin composer and accompanist A. V. Taskina) / / Neva (L.). 1982. No. 7; Tomina V. Shalyapin in Buenos Aires // owls. ballet. 1983. No. 6; KotlyaPov Y. "Got the theater" // Theater. 1983. No. 6; Simonov R. Shalyapin in the memoirs of the largest Soviet theater director Ruben Simonov // Culture and Life. 1983. No. 8; Perezin V. Climbing. Documentary narration about young Shalyapin / / Moscow. 1983. No. 9. C 3-117; No. 10. P. 6-101; His own. New about Shalyapin: Articles and Interviews // Theater. 1983. No. 6; EGO. Benefit. Fragments of the biographical story of F, Shalyapin // Kuban. 1983. No. 8. P. 3-46; Konchalovskaya N. Spring in Trubnikovsky // owls. Culture. 1983. 6 Saint.; Sokolovsky A. Great life in art // owls. music. 1983. No. 9; Fedor Shalyapin // MUZ. a life. 1983. No. 13. P. 15-16; Samsonova P. Shalyapin is dedicated // Ibid. 1983. No. 14; GPinkevich H. H. Shalyapinsky lines // G. Grinevich H. H. Rows, letters, fate. - Alma-Ata, 1983. P. 94-98; Elizarova M. N. They were in Kazan. - Kazan, 1983. P. 76-84; Beyul O. Shalyapin. (Mini memoirs) // Neva. 1983. No. 10. Lapchinsky. Three musical sketch. (Shalyapin visiting S. M. Budenny) // Lifting. 1983. No. 11; Ardov V. Etude to portraits. - M., 1983. P. 144-153; Zarubin V. Great Pride Our // Theater, Life. 1983. No. 3; Usanov P. How young we were // owls. Culture. 1983. 29 Oct.; Malinovskaya G. N. next to Chaliapin // ibid. 1983. 24 Dec.; Khrennikov T. Shalyapin Son of Russia. (By the 110th anniversary of the birth) // Spark. 1983. No. 9; Yanin V. Nice anniversary // Melody. 1984. No. 1; Semenov Y. Pink Rain "Column" // Izvestia. 1984. 17 Feb; Korshunov G. F. Shalyapin in life and on stage. Chapters from the book "Shalyapin abroad" // Don. 1984. No. 6; Ivanov M. About Shalyapin // Shalyapin F. I. Mask and Soul. - M. 1989. Since 19-48; Posnin V. Sounds a familiar voice // ibid. 1984. 27 Oct.; Iisa E. The pride of the Russian Earth // ibid. 1984. 27 Oct.; Let's bow the great singer // Spark. 1984. No. 46. P. 30; Ceremony at the Novodevichy Cemetery // owls. Culture. 1984. 30 Oct.; Philippov B. How I escaped Shalyapin // Ibid. 1984. 30 Oct.; Ivanov V. Autograph Shalyapin // MUZ. a life. 1984. No. 17; Examples E. With the land of the native combination ... // WORKER. 1984. No. 12; Chronicle of life and creativity F. I. Shalyapin. In 2 books / Sost. Yu. Kotlyarov, V. Garmash. - L., 1984; Dar of collector. (Unknown portrait of Shalyapin handed a gift Soviet Union Japanese collector) // Izvestia. 1985. 3 Jan.; Preobrazhensky K. Details of the rare find / / sov. Culture. 1985. 12 Jan.; His own. The portrait of the Shalyapin will be transferred to Moscow // there. 1985. May 16; Gogobheridze c. Handed a museum // ibid. 1985. June 4; Burakovskaya M. Shalyapin Album // ibid. 1985. July 13; PAZGONS S. DAR collector // owls. Culture. 1985. July 18; Tucinskaya A. Knight art // Aurora. 1985. No. 9; Medvedenko A. Argentina applauded Shalyapin // Change. 1985. 24 Aug; Resurrection M. In memory of Shalyapin. Have you ever been to this museum? // Eve. Leningrad. 1985. 27 Aug; Paclin N. He silent Russian art // Week. 1986. No. 45 (1389); Dmitrievskaya E. R., Dmitrievsky V.I. Shalyapin in Moscow. - M., 1986; F. I. Shalyapin / Sost. R. Sargsyan. - M., 1986; Goltzman S. V. F. I. Shalyapin in Kazan. - Kazan, 1986; Kuleshov M. Autograph Shalyapin // Leninsky Banner. 1986. November 12; Svistunova O. Moscow address of Shalyapin // Eve. Moscow. 1987. November 28; Shalnev A. for the Shalyapin Museum // Izvestia. 1988. September 3; Sokolov V. and recalled the wide Slavic soul ... // owls. Culture. 1989. May 27. Pp. 2; Iron A. When the first plates of F. I. Shalyapin were recorded // Iron A. Our friend is recorded. Scrapbook collector. - Kiev., 1989. Since 92-98; Sedov A. Rare Chaliapin plates // owls. Culture. 1989. October 2; Peschotte J. Ce Géant, F. Chaliapine. - Paris, 1968; Gouury J. F. Chaliapine. Paris, 1970 (with discography); CSMA V. SALIAPIN IN ROMANIA // "Muzica". 1973. number 2.

Shalyapin, Fyodor Ivanovich

(r. 1873) - an outstanding opera and concert singer, high bass. IN early childhood up to the 90s. 19th century S. lived in severe material and living conditions; Systematic education did not receive and as a rare nugget, almost independently formed into an exclusively distinctive artistic personality. The popularity of S. begins with 1896, when he from the Mariinsky scene goes to the private entrepreneurs of the Moscow patronage of S. Mamontov, immediately estimated the wealth of transshipment of S. and creating a favorable art atmosphere around him, in which Matthew Sch. Here artists of the Polenov, Serov, Vrubel, Vasnetsov, Korovin et al. At the same period, the historian Klyuchevsky and the composer Rakhmaninov helped S. to reveal the role of Godunov and the Dunisphey in the brilliant works of the Mussorgsky "Boris Godunov" and "Hovhanshchina". Possessing bright dramatic tanking combined with exceptional vocal data and an exciting temperament, the Shalyapin managed to create a number of unforgettable in his artistic activity - according to strength and deep truthfulness - images: Melnik ("Mermaid" Dargomyzhsky), Mephistople ("Faust" Guno and Mephistofel "Boyto), Ivan the Terrible (" Pskovtyanka "Roman Korsakov) and others. High technical skills, the full possession of voice resources at Sh. Always subordinated to the musical and dramatic tasks of the executable role. Revealing one or another artistic image, Shalyapin is never fond of the outwardly spectacular side of his stage incarnation, trying to reveal it ideological content, seeking the utmost clarity of his musical and dramatic expressiveness. As an artist Sh. It is a rare pattern of the largest master in which the musician and a dramatic actor are organically merged. Bright and brave innovative activities Sh. Stopped a routine marsh of an old opera scene with her who was taverged by the false puffos of magnificent butt phones, with its traditional installations on the "beautiful sound" with full almost ignoring musical and dramatic expressiveness, etc. Sch. Managed to raise musical The dramatic skill of the opera actor to a huge height and thus significantly promoted the rehabilitation of the opera. This is undoubtedly a huge positive role of Sh. In the history of musical and dramatic acts. However, School Sh. Did not create, remaining largely isolated talent in Russian pre-revolutionary musical and dramatic art. It is not by chance that the directorial experiences Sh. ("Handelshchina" in St. Petersburg, "Don Carlos" in Moscow) did not have independent significance.

In the conditions of pre-revolutionary Russia, all the creative activities of S. can be characterized as a single phenomenon. Sh. Came out of the Lumen-proletarian environment. Passing the heavy path of the novice fans-singer and actor in the atmosphere of vagrancy and bohemia, Sh. Thanks to its exceptional artistic data, "from above" was seen, and the "caring" attention of the Russian bourgeois patronage was accepted. This led to the dual character of the rebar-anarchic and at the same time the limited-mesh and egoistic nature of S. as a person. Sh. Essentially, was always alien to the social and political life and struggle and was very easy to influence the effects of the situation in which he fell. All the path of mature sh. - From friendship with bitter and revolutionary "sympathy" to the crankshake of the royal hymn, from artistic activity in the young Soviet republic (for which he was awarded the Soviet government to the title of people's artist) to an open connection with the White Guard organizations abroad - visual Confirms this conclusion.

In Ov last book, published in 1932 abroad ("Soul and Mask"), Sh. With cynical frankness exposed a complete ideological, insignificance and the unprincipledness of his "social" activity, finally having a terrain reaction camp. In 1928, the Soviet government deprived Sh. The title of the People's Artist and forbade him entry into the USSR.

Shal ipIN, Fedor Ivanovich

Rod. 1873, mind. 1938. Singer (bass). He performed on the scene of the Moscow Private Russian Opera (1896-1899), the Bolshoi Theater, the Mariinsky Theater. Best Parties: Boris ("Boris Godunov"), Mephistofel ("Faust"), Mephistofel ("Mephistofel"), Melnik ("Mermaid"), Ivan Grozny ("Pskovtyanka"), Susanin ("Ivan Susanin"). Wonderful performer of Russian folk songs, romances ("along in St. Petersburg", "Dubinushka", etc.). People's Artist of the Republic (1918). In 1922, emigrated.

Large biographical encyclopedia. 2009. -, Russian singer (bass), People's Artist of the Republic (1918). Born in the family of a small stationery employee. He worked as a student of a shoemaker, Tokary, correspondence. At the same time sang in the bishop choir. With ... ... Wikipedia Wikipedia Read more

Russian Opera and Chamber Singer (High Bass).
First People's Artist of the Republic (1918-1927, the title was returned in 1991).

Son of the peasant of the Vyatka province Ivan Yakovlevich Shalyapin (1837-1901), a representative of the ancient Vyatka family of Shalyapin (Shelepina). Shalyapin's mother - a peasant of the village of Dudintsy Kumonsky parish (Kumonsky district of the Kirov region), Evdokia Mikhailovna (in the Maidesty of Prozorova).
As a child, Fyodor was singing. The boy was given to the training of the shoemaker to Sapozhnikov N.A. Thin, then V.A. Andreev. I received primary education in a private school Vedernikova, then in the fourth parish school in Kazan, later in the sixth primary school.

The beginning of his artistic career Shatapin himself considered 1889, when he entered the dramatic troupe V.B. Serebryakova, initially for the post of statist.

On March 29, 1890, the first solo speech was held - the Serezkiy party in Opere "Evgeny Onegin", in the formulation of the Kazan Society of Fans of Stage Art. All May and beginning of June 1890, he is the Chorisist of Tweet Affriz V.B. Serebryakova. In September 1890, arrives from Kazan to Ufa and begins to work in the choir of the leafy troupe under the leadership of S.Ya. Semenova-Samara.
Completely accidentally, it was necessary to transform the soloist from Horist, replacing the "pebbles" opera in the Opera Montusko in the role of the sick artist.
This debut put forward a 17-year-old guy who occasionally charged small opera parties, such as Ferrando in Trubadur. Next year, he spoke in the party of an unknown in the "Askold Togil" of the Versta. He was suggested a place in the Ufa region, but the Malorosiysk troupe of Derkach arrived in Ufa, to which Shalyapin joined. The wanders led him to Tiflis, where he first managed to seriously engage in his voice, thanks to the singer D.A. Usatov. The mustes not only approved the voice of Shalyapin, but due to the lack of the last material resources, he began to give him the lessons of singing for free and generally accepted a big part in him. He also arranged Shalyapin to the Tiflis Opera Ludwigov-Forkatti and Lyubimov. Shalyapin lived in Tiflis for a whole year, fulfilling in the opera the first bass parties.

In 1893, he moved to Moscow, and in 1894 - in St. Petersburg, where he sang in Arkady in the opera troupe of the Lental, and in the winter of 1894-1895. - In the opera partnership in the Panayevsky Theater, in Zazulin troupe. The wonderful voice of the novice artist and in particular the expressive musical declamation in connection with the truthful game they paid attention to critics and public.
In 1895, he was adopted by the Directorate of St. Petersburg Imperial Theaters to the Opera Truppe: he entered the stage of the Mariinsky Theater and sang a party of Mephistople (Faust) and Ruslan ("Ruslan and Lyudmila"). A variety of grade Shalyapin was expressed in the comic opera "Secret Marriage" D. Chimaroza, but still not received due rating. They report that in the season 1895-1896 he "appeared rather rarely and more than few party suitable for him." Famous patron S.I. Mammoth, who kept the Opera House in Moscow at that time, first noticing in Chaliapin to giving out of a series of outgoing, persuaded him to go to his private troupe. Here in 1896-1899, Shalyapin developed in an artistic sense and turned his stage talent, performing in a number of responsible roles. Thanks to his subtle understanding of Russian music in general and the newest, in particular, it is completely individually, but at the same time deeply truthfully created a number of significant images of the domestic opera classics:
Ivan the Terrible in Pskovtyanka N.A. Roman Corsakov; Varangi guest in his Sadko; Salieri in his "Mozart and Salieri"; Melnik in "RUSALKA" A.S. Dargomyzhsky; Ivan Susanin in "life for the king" M.I. Glinka; Boris Godunov in the Opera Opera M.P. Mussorgsky, Duty in his Khovanchin and in many other Operators.
At the same time, he worked a lot over roles in foreign operations; So, for example, the role of Mephistofel in Fausta Guno in his transfer was strikingly bright, strong and peculiar lighting. Over the years, Shalyapin acquired loud fame.

Shalyapin was a soloist of the Russian private opera created by S.I. Mammoth, within four seasons - from 1896 to 1899. In the autobiographical book "Mask and Soul", Shalyapin characterizes these years of creative life as the most important: "Mamontov I got the repertoire who gave me the opportunity to develop all the main features of my artistic nature, of my temperament."

Since 1899, he is back in service in the Imperial Russian Opera in Moscow (Bolshoy Theater), where he enjoyed enormous success. He was highly appreciated in Milan, where he performed at the "La Scala" theater in the capital role of Mephistofel A. Boyto (1901, 10 views). Chaliapin touring in St. Petersburg on the Mariinsky scene was a kind of event in the St. Petersburg musical world.
In the revolution of 1905, the fees were sacrificed from their speeches by workers. His performances with folk songs ("Dubinushka" and others) sometimes turned into political demonstrations.
From 1914 he performs in private opera entreprepacy S.I. Zimin (Moscow), A.R. Aksarin (Petrograd).
In 1915, a debut was held in the cinema, the main role (King Ivan Grozny) in the historic kinoframe "Tsar Ivan Vasilyevich Grozny" (on the drama of Lion Maya "Pskovtyanka").

In 1917, in the formulation of the opera J. Verdi "Don Carlos" in Moscow, it acts not only as a soloist (Philip Part), but also as a director. The next director's experience is the Opera "Mermaid" A.S. Dargomyzhsky.

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

Long absence of Chaliapina caused suspicion and negative attitude to Soviet Russia; So, in 1926 V.V. Mayakovsky wrote in "Letter to Gorky":
Or live you
How Salpin lives,
Inflatable applause of Ogolapan?
Return
Now
Such an artist
Back
On Russian Rubliki -
I am first crypt:
- Radi back,
People's Artist of the Republic!

In 1927, fees from one of the concerts of Shalyapin sacrificed to the children of emigrants, which was presented on May 31, 1927 in the magazine "All-Russian" by a certain employee of All-Computer S. Simon as supported by White Guards. Details about this story describes in the autobiography of Shalyapin "Mask and Soul". On August 24, 1927, by Decree of SNK RSFSR, he was devoid of the title of people's artist and the right to return to the USSR; It was justified by the fact that he did not want to "return to Russia and serve that people whose title of artist was assigned to him" or, according to other sources, the fact that he allegedly sacrificed money to monarchist emigrants.

At the end of the summer of 1932, he performs the main role in the movie "Don Quixote" of the Austrian film director of Georg Pabsta on the name of the name of Servantes called the same name. The film was removed immediately in two languages \u200b\u200b- English and French, with two accomplices of actors, music for the film wrote Jacques Iber. Fattime filming of the movie took place near the city of Nice.
In 1935-1936, the singer goes to his last tour to the Far East, giving 57 concerts in Manchuria, China and Japan. During the tour of his accompanist was Georges de Hommeration. In the spring of 1937 he found leukemia, and on April 12, 1938, he died in Paris on his wife's hands. Batignol was buried at the Paris Cemetery. In 1984, his son Fyodor Shalyapin Jr. made the rebelief of his darling in Moscow at the Novodevichy Cemetery.

On June 10, 1991, 53 after the death of Fedor Shalyapin, the Council of Ministers of the RSFSR adopted Resolution No. 317: "Cancel Resolution of the Soviet Union of the RSFSR of August 24, 1927" Only F. I. Shalyapin "People's Artist" as unreasonable. "

Shalyapin was married twice, and from both marriages he was born 9 children (one died at an early age from appendicitis).
With his first wife, Fedor Shalyapin met in Nizhny Novgorod, and they married in 1898 in the Church of the village of Gagino. It was a young Italian ballerina Iola Tornagi (Iola Ignatiev Lezley (in the Tornagi scene), died in 1965 at the age of 92), born in the city of Monza (not far from Milan). In total, Shalyapin in this marriage was born six children: Igor (died at the age of 4), Boris, Fedor, Tatiana, Irina, Lydia. Fedor and Tatiana were twins. Iola Tornagi lived for a long time in Russia and only in the late 1950s, at the invitation of the son of Fedor, moved to Rome.
Already having a family, Fedor Ivanovich Shalyapin comes closer to Maria Valentinova Petzold (neborn Elukhen, in the first marriage - Petzold, 1882-1964), who had two of his children from the first marriage. They are born three daughters: Martha (1910-2003), Marina (1912-2009) and Dasia (1921-1977). Shalyapina Marina's daughter (Marina Fedorovna Shalyapin-Freddie), lived longer than all his children and died on the 98th year of life.
In fact, Chaliapina appeared the second family. The first marriage was not terminated, and the second was not registered and was considered invalid. It turned out that Shalyapin in the old capital there was one family, and in the new one: one family did not go to St. Petersburg, and the other to Moscow. Officially, Maria Valentinovna Marriage with Shalyapin was decorated in 1927 in Paris.

prizes and awards

1902 - the Bukhara Order of the Golden Star Star III.
1907 - Golden Cross of Prussian Eagle.
1910 - the title of Solist His Majesty (Russia).
1912 - the rank of soloist of His Majesty Italian King.
1913 - the rank of soloist of His Majesty of the English king.
1914 - English Order for special merits in the field of art.
1914 - Russian Order of Stanislav III degree.
1925 - Commander of the Order of the Honorary Legion (France).

Fedor Fedorovich Shalyapin was not someone else as the son of the famous Russian Opera Bass Shalyapin. He possessed a great acting talent, which was recognized both in Europe and in the United States. A list of films in which he starred is quite large, because he was engaged in this from 1926 to 1991.

Shatapin Fedor Fedorovich: Biography

He was born on October 6, 1905 and lived until September 17, 1992. Moscow became the hometown of Shalyapin. The first spouse of his father is the Italian prima-ballerina Iola Tornagi - became the mother of Fedor's twins and Tatiana. By the way, in this marriage they had four more children.

Son Fedor received a magnificent education in Moscow and could speak three languages. A little later, after the Bolshevik revolution (in 1924), he left his family and moved to his father to Paris. It is known that Boris, his native brother, became an artist and well-known.

Soon, however, Fedor Fedorovich Shalyapin was tired of being in the shade of his father and left France in Hollywood, where he began the acting career. Then they filmed a silent movie. His career began successfully, he was lucky, because then he spoke with a noticeable accent.

Acting profession

However, the main roles did not get him. The time of the onset of sound cinema did not bring Fedor special fame. Nevertheless, Fedor Fedorovich Shalyapin played the role of dying Cashkin in the movie "The Commander Kaskol" (1943). The public remembered him very well and recognized.

After the end of the war, he goes to Rome to continue his actor career there. For twenty years, from 1950 to 1970, he played a large number of strong and characteristic roles.

Mother

For many years he will not see native motherBut 1960, during it will move towards him to Rome. Of all the values, it will bring only father's photo albums.

In 1984, he will achieve his father's dust to be transported from Paris to Moscow and is reburied at Novodevichy Cemetery.

Fedor Fedorovich Shalyapin: Films

What is surprising, the success of the younger Shalyapin came when he was already in old age. It all started with the movie "Rose Name", with the lead role, where Fedor fulfilled the role of Jorge Burgos.

Then there was another bright role in the film "Power of the Moon" (in 1987), where he played the old Italian, grandfather of the heroine, which was played by the popular American, then there were other films - "Cathedral" (1989), Stanley and Iris "(1990).

He played the last role in the "Middle Circle" (1991), this picture talks about life in the Soviet Union in the days of Stalin's dictatorship.

Fyodor Fedorovich Shalyapin died at 86 years old (in 1992 in September) in his house in Rome.

Father

Touching the theme of the Son, I want to distract a little and on Father F. I. Shalyapin (1873, Kazan - 1938, Paris) - an unusually talented man who, except the vocal gift, had other talents - artist, graphics, sculptor and even Removed in the movies.

His parents were ordinary peasants. As a child, Shalyapin Fedor (his biography contains these accurate facts) was singing. His artistic career began with admission to the troupe V. B. Serebryakov. Then there were wanders and the development of talent. One day, fate cast it to Tiflis, where he began to seriously play his voice, and all thanks to the singer Dmitry Usatov, who Shalyapin could not pay for the lessons of singing, and he did with him for free.

Search for success

In 1893, he moved to Moscow, and through the year - to St. Petersburg. Criticism and the audience were stunned by his stunning voice. He began to fulfill the party from the stage of the Mariinsky Theater.

Then the famous Moscow patron S. I. Mammoth persuades him to go to him in Opera (1896-1899). Mammoths allowed the singer in his theater literally everything that wanted - complete freedom of creativity. Since 1899, Shalyapin is already on the scene of the Bolshoi Theater.

In 1918, Chaliapin became the artistic director of the Mariinsky Theater and received a "folk artist", and then, in 1922, he left to work in America. The then the leadership of the country was concerned about his long lack. Once he sacrificed money to children of emigrants, however, it was counted for the support of the White Guards, and Shalyapin deprived the title of "People's" in 1927. Only in 1991, after fifty years after the death of the singer, this order was regarded as unreasonable and the title was returned.

Personal life

Shalyapin was married twice. With the first wife of Iola Tornagi, he met in Nizhny Novgorod (more precisely - in the village of Gagino), and they married in 1898. She gave him six children - Igor, Boris, Fedor, Tatiana, Irina and Lidia.

Then Shalyapin borrowed the second family with Maria Valentin Petzold, who had two children from the first marriage. The singer she gave birth to three more girls: Martarp, Marina and Dassion. He lived in two families. One was in Moscow, the other - in Petrograd.

Officially, the marriage of Shalyapin with Maria Valentinovna was decorated in 1927 in Paris.

Many honorable awards awarded Shalyapin, however, since 1922 he acted and lived exclusively abroad.