Fyodor Chaliapin is the golden bass of Russia. In which operas did Chaliapin perform the main roles? “The Woman of Pskov” (Ivan the Terrible), “Life for the Tsar” (Ivan Susanin), “Mozart and Salieri” (Salieri) What kind of voice did Fedor Chaliapin have?

Fyodor Ivanovich Chaliapin was born on February 13, 1873 in Kazan, into the poor family of Ivan Yakovlevich Chaliapin, a peasant from the village of Syrtsovo, Vyatka province. Mother, Evdokia (Avdotya) Mikhailovna (nee Prozorova), comes from the village of Dudinskaya in the same province. Already in childhood, Fyodor had a beautiful voice (treble) and often sang along with his mother, “adjusting his voices.” From the age of nine he sang in church choirs, tried to learn to play the violin, read a lot, but was forced to work as an apprentice to a shoemaker, turner, carpenter, bookbinder, copyist. At the age of twelve he participated in the performances of a troupe touring in Kazan as an extra. An insatiable craving for theater led him to various acting troupes, with whom he wandered around the cities of the Volga region, the Caucasus, and Central Asia, working either as a loader or as a hookman at the pier, often going hungry and spending the night on benches.

"... Apparently, even in the modest role of a chorister, I managed to show my natural musicality and good vocal abilities. When one day one of the baritones of the troupe suddenly, on the eve of the performance, for some reason refused the role of Stolnik in Moniuszko’s opera “Pebble”, and replaced him There was no one in the troupe, then the entrepreneur Semyonov-Samarsky asked me if I would agree to sing this part. Despite my extreme shyness, I agreed: it was too tempting: the first serious role in my life, I quickly learned the part and performed.

Despite the sad incident in this performance (I sat past a chair on stage), Semyonov-Samarsky was still moved by both my singing and my conscientious desire to portray something similar to the Polish tycoon. He added five rubles to my salary and also began assigning me other roles. I still think superstitiously: it’s a good sign for a newcomer to sit past the chair in the first performance on stage in front of an audience. Throughout my subsequent career, however, I kept a vigilant eye on the chair and was afraid not only of sitting past, but also of sitting in another’s chair...

In this first season of mine, I also sang Fernando in Troubadour and Neizvestny in Askold’s Grave. Success finally strengthened my decision to devote myself to the theater."

Then the young singer moved to Tiflis, where he took free singing lessons from the famous singer D. Usatov, and performed in amateur and student concerts. In 1894, he sang in performances held in the St. Petersburg country garden "Arcadia", then at the Panaevsky Theater. On April 5, 1895, he made his debut as Mephistopheles in the opera Faust by Charles Gounod at the Mariinsky Theater.

In 1896, Chaliapin was invited by S. Mamontov to the Moscow Private Opera, where he took a leading position and fully revealed his talent, creating over the years of work in this theater a whole gallery of unforgettable images in Russian operas: Ivan the Terrible in “The Woman of Pskov” by N. Rimsky -Korsakov (1896); Dosifey in “Khovanshchina” by M. Mussorgsky (1897); Boris Godunov in the opera of the same name by M. Mussorgsky (1898) and others. “One more great artist has become,” V. Stasov wrote about the twenty-five-year-old Chaliapin.

Communication at the Mamontov theater with the best artists of Russia (V. Polenov, V. and A. Vasnetsov, I. Levitan, V. Serov, M. Vrubel, K. Korovin and others) gave the singer powerful incentives for creativity: their scenery and costumes helped in creating a convincing stage image. The singer prepared a number of opera roles in the theater with the then novice conductor and composer Sergei Rachmaninov. Creative friendship united the two great artists until the end of their lives. Rachmaninov dedicated several romances to the singer, including “Fate” (poems by A. Apukhtin), “You Knew Him” (poems by F. Tyutchev).

The singer's deeply national art delighted his contemporaries. “In Russian art, Chaliapin is an era like Pushkin,” wrote M. Gorky. Based on the best traditions of the national vocal school, Chaliapin opened a new era in the national musical theater. He managed to amazingly organically combine the two most important principles of operatic art - dramatic and musical - and subordinate his tragic gift, unique stage performance and deep musicality to a single artistic concept.

Since September 24, 1899, Chaliapin, the leading soloist of the Bolshoi and at the same time the Mariinsky theaters, has been touring abroad with triumphant success. In 1901, at La Scala in Milan, he sang the role of Mephistopheles in the opera of the same name by A. Boito with E. Caruso, conducted by A. Toscanini, with great success. The world fame of the Russian singer was confirmed by tours in Rome (1904), Monte Carlo (1905), Orange (France, 1905), Berlin (1907), New York (1908), Paris (1908), London (1913/14). The divine beauty of Chaliapin's voice captivated listeners from all countries. His high bass, delivered naturally, with a velvety, soft timbre, sounded full-blooded, powerful and possessed a rich palette of vocal intonations. The effect of artistic transformation amazed the listeners - it was not only the appearance, but also the deep inner content that was conveyed by the singer’s vocal speech. In creating capacious and scenically expressive images, the singer is helped by his extraordinary versatility: he is both a sculptor and an artist, writes poetry and prose. Such versatile talent of the great artist is reminiscent of the masters of the Renaissance - it is no coincidence that his contemporaries compared his opera heroes with Michelangelo's titans. Chaliapin's art crossed national boundaries and influenced the development of the world opera theater. Many Western conductors, artists and singers could repeat the words of the Italian conductor and composer D. Gavadzeni: “Chaliapin’s innovation in the field of dramatic truth of operatic art had a strong impact on the Italian theater... The dramatic art of the great Russian artist left a deep and lasting mark not only in the field of performance Russian operas by Italian singers, but in general, on the entire style of their vocal and stage interpretation, including the works of Verdi..."

“Chaliapin was attracted by the characters of strong people, seized by an idea and passion, experiencing a deep spiritual drama, as well as bright, sharply comedic images,” notes D.N. Lebedev. “With stunning truthfulness and strength, Chaliapin reveals the tragedy of the unfortunate father, distraught with grief, in “Rusalka” or the painful mental discord and remorse experienced by Boris Godunov.

Sympathy for human suffering reveals high humanism - an integral property of progressive Russian art, based on nationality, on purity and depth of feelings. In this nationality, which filled Chaliapin’s entire being and entire work, the power of his talent, the secret of his persuasiveness and understandability to everyone, even an inexperienced person, is rooted.”

Chaliapin is categorically against feigned, artificial emotionality: “All music always expresses feelings in one way or another, and where there are feelings, mechanical transmission leaves the impression of terrible monotony. A spectacular aria sounds cold and protocol if the intonation of the phrase is not developed in it, if the sound is not colored with the necessary shades of experience. Western music also needs this intonation... which I recognized as mandatory for the transmission of Russian music, although it has less psychological vibration than Russian.”

Chaliapin is characterized by bright, intense concert activity. Listeners were invariably delighted with his performances of the romances “The Miller”, “The Old Corporal”, “The Titular Councilor” by Dargomyzhsky, “The Seminarist”, “Trepak” by Mussorgsky, “Doubt” by Glinka, “The Prophet” by Rimsky-Korsakov, “The Nightingale” by Tchaikovsky, “The Double” Schubert, “I am not angry”, “In a dream I cried bitterly” by Schumann.

Here is what the remarkable Russian musicologist Academician B. Asafiev wrote about this side of the singer’s creative activity:

“Chaliapin sang truly chamber music, sometimes with such concentration, so deeply that it seemed that he had nothing in common with the theater and never resorted to the emphasis on accessories and the appearance of expression required by the stage. Perfect calm and restraint took possession of him. For example, I remember Schumann’s “In a Dream I Cried Bitterly” - one sound, a voice in silence, a modest, hidden emotion - but it’s as if the performer is not there, and this large, cheerful, clear person, generous with humor, affection, is not there. A lonely voice sounds - and everything is in the voice: all the depth and fullness of the human heart... The face is motionless, the eyes are extremely expressive, but in a special way, not like, say, Mephistopheles in the famous scene with the students or in the sarcastic serenade: there they burned angrily, mockingly, and here are the eyes of a man who felt the elements of grief, but understood that only in the severe discipline of the mind and heart - in the rhythm of all his manifestations - does a person gain power over both passions and suffering.”

The press loved to calculate the artist's fees, supporting the myth of Chaliapin's fabulous wealth and greed. So what if this myth is refuted by posters and programs of many charity concerts, and by the singer’s famous performances in Kyiv, Kharkov and Petrograd in front of huge working audiences? Idle rumors, newspaper rumors and gossip more than once forced the artist to take up his pen, refute sensations and speculation, and clarify the facts of his own biography. Useless!

During the First World War, Chaliapin's tours stopped. The singer opened two hospitals for wounded soldiers at his own expense, but did not advertise his “good deeds.” Lawyer M.F. Wolkenstein, who managed the singer’s financial affairs for many years, recalled: “If only they knew how much Chaliapin’s money passed through my hands to help those who needed it!”

After the October Revolution of 1917, Fyodor Ivanovich was involved in the creative reconstruction of the former imperial theaters, was an elected member of the directors of the Bolshoi and Mariinsky theaters, and directed the artistic part of the latter in 1918. In the same year, he was the first artist to be awarded the title of People's Artist of the Republic. The singer sought to get away from politics; in the book of his memoirs he wrote: “If I was anything in life, it was only an actor and singer; I was completely devoted to my calling. But least of all I was a politician.”

Outwardly, it might seem that Chaliapin’s life was prosperous and creatively rich. He is invited to perform at official concerts, he performs a lot for the general public, he is awarded honorary titles, asked to lead the work of various kinds of artistic juries and theater councils. But then there are sharp calls to “socialize Chaliapin”, “put his talent at the service of the people”, and doubts are often expressed about the singer’s “class loyalty”. Someone demands the mandatory involvement of his family in performing labor duties, someone makes direct threats to the former artist of the imperial theaters... “I saw more and more clearly that no one needed what I could do, that there was no point in my work.” , - the artist admitted.

Of course, Chaliapin could protect himself from the arbitrariness of zealous functionaries by making a personal request to Lunacharsky, Peters, Dzerzhinsky, and Zinoviev. But being in constant dependence on the orders of even such high-ranking officials in the administrative-party hierarchy is humiliating for an artist. Moreover, they often did not guarantee complete social security and certainly did not instill confidence in the future.

In the spring of 1922, Chaliapin did not return from his foreign tour, although for some time he continued to consider his non-return temporary. The home environment played a significant role in what happened. Caring for children and the fear of leaving them without a livelihood forced Fyodor Ivanovich to agree to endless tours. The eldest daughter Irina remained to live in Moscow with her husband and mother, Pola Ignatievna Tornagi-Chalyapina. Other children from the first marriage - Lydia, Boris, Fedor, Tatiana - and children from the second marriage - Marina, Marfa, Dassia and the children of Maria Valentinovna (second wife), Edward and Stella, lived with them in Paris. Chaliapin was especially proud of his son Boris, who, according to N. Benois, achieved “great success as a landscape and portrait painter.” Fyodor Ivanovich willingly posed for his son; The portraits and sketches of his father made by Boris “are priceless monuments to the great artist...”.

In foreign lands, the singer enjoyed constant success, touring almost all countries of the world - England, America, Canada, China, Japan, and the Hawaiian Islands. Since 1930, Chaliapin performed in the Russian Opera troupe, whose performances were famous for their high level of production culture. The operas “Rusalka”, “Boris Godunov”, “Prince Igor” had particular success in Paris. In 1935, Chaliapin was elected a member of the Royal Academy of Music (together with A. Toscanini) and was awarded an academician's diploma. Chaliapin's repertoire included about 70 parties. In the operas of Russian composers, he created unsurpassed in strength and life-truth images of the Miller (“Rusalka”), Ivan Susanin (“Ivan Susanin”), Boris Godunov and Varlaam (“Boris Godunov”), Ivan the Terrible (“The Woman of Pskov”) and many others . Among the best roles in Western European opera are Mephistopheles (Faust and Mephistopheles), Don Basilio (The Barber of Seville), Leporello (Don Giovanni), Don Quixote (Don Quixote). Chaliapin was equally great in chamber vocal performance. Here he introduced an element of theatricality and created a kind of “theater of romance.” His repertoire included up to four hundred songs, romances and works of chamber and vocal music of other genres. The masterpieces of performing arts included “The Flea”, “The Forgotten”, “Trepak” by Mussorgsky, “Night View” by Glinka, “The Prophet” by Rimsky-Korsakov, “Two Grenadiers” by R. Schumann, “The Double” by F. Schubert, as well as Russian folk songs “Farewell, joy”, “They don’t tell Masha to go beyond the river”, “Because of the island to the river”.

In the 20-30s he made about three hundred recordings. “I love gramophone recordings...” admitted Fyodor Ivanovich. “I am excited and creatively excited by the idea that the microphone symbolizes not a specific audience, but millions of listeners.” The singer was very picky about recordings; among his favorites was the recording of Massenet’s “Elegy,” Russian folk songs, which he included in his concert programs throughout his entire creative life. According to Asafiev’s recollection, “the wide, powerful, inescapable breath of the great singer saturated the melody, and it was heard that there was no limit to the fields and steppes of our Motherland.”

On August 24, 1927, the Council of People's Commissars adopted a resolution depriving Chaliapin of the title of People's Artist. Gorky did not believe in the possibility of removing the title of People’s Artist from Chaliapin, about which rumors began to spread already in the spring of 1927: “The title of People’s Artist given to you by the Council of People’s Commissars can only be annulled by the Council of People’s Commissars, which he did not do, and, of course, not will do." However, in reality everything happened differently, not at all as Gorky expected...

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

Childhood and youth

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

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

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

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

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

As before, Chaliapin remains a talented self-taught person who, after several comically disastrous debuts, gains stage confidence. The young singer is invited to a traveling theater from Little Russia under the direction of G.I. Derkach, with whom he makes a number of first trips around the country. The journey ultimately leads Chaliapin to Tiflis (now Tbilisi).

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

Music

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

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

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

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

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

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

Personal life

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

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

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

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

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

Death

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

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

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

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

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

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

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

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

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

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

Arias

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

Shalyapin, Fedor Ivanovich

Famous Russian singer-bass. Genus. in 1873, the son of a peasant in the Vyatka province. As a child, Sh. was a singer. In 1890 he entered the choir of the Semenov-Samarsky troupe in Ufa. Quite by accident, Sh. had to transform from a chorister into a soloist, replacing a sick artist in Moniuszko’s opera “Pebble.” This debut brought forward 17-year-old Sh., who was occasionally assigned small opera roles, for example, Fernando in Il Trovatore. The following year, Sh. performed as the Unknown in Verstovsky's Askold's Grave. He was offered a place in the Ufa zemstvo, but the Little Russian troupe of Dergach came to Ufa, and Sh joined it. Traveling with it brought him to Tiflis, where he was able to seriously practice his voice for the first time, thanks to the singer Usatov, who was able to appreciate the talent of his student. Sh. lived in Tiflis for a whole year, performing the first bass parts in the opera. In 1893 he moved to Moscow, and in 1894 to St. Petersburg, where he sang at Arcadia and the Panaevsky Theater, in Zazulin’s troupe. In 1895 he entered the stage of the Mariinsky Theater in St. Petersburg. and sang the roles of Mephistopheles (Faust) and Ruslan with success. Sh.’s varied talent was also expressed in the comic opera “The Secret Marriage” by Cimarosa, but still did not receive due appreciation. S.I. Mamontov, the first to notice Sh.’s extraordinary talent, invited him to his private opera in Moscow. From that time (1896) Sh.'s brilliant work began. In "Prince Igor" by Borodin, "The Pskov Woman" by Rimsky-Korsakov, "Rusalka" by Dargomyzhsky, "A Life for the Tsar" by Glinka and in many other operas, Sh.'s talent showed itself extremely strongly.

He was highly acclaimed in Milan, where he performed at La Scala in the title role of Boito's Mephistopheles. Then Sh. moved to the stage of the Imperial Russian Opera in Moscow, where he enjoyed enormous success. Sh.'s tours in St. Petersburg on the Mariinsky stage constitute a kind of event in the St. Petersburg musical world.

(Brockhaus)

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

(Brockhaus)

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

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

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

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

1st isp. roles: Salieri ("Mozart and Salieri"), Ilya ("Ilya Muromets"), Biron ("The Ice House"), Anafesta Galeofa ("Angelo"; 2nd ed.). The priest ("Feast during the plague"), Dobryn Nikitich ("Dobrynya Nikitich"), Khan Asvab ("The Old Eagle" by R. Gunsburg; January 31, 1909, Monte Carlo), Don Quixote ("Don Quixote"; 6( 19) February 1910, Monte Carlo, "Casino" district); in Moscow - Ivan the Terrible ("The Pskov Woman", 3rd ed.), Dositheus ("Khovanshchina"), The Old Jew ("Samson and Delilah"); in St. Petersburg - Aleko ("Alley" by S. Rachmaninov), Miracle ("The Tales of Hoffmann"), Philip II ("Don Carlos"); in the Bolshoi Theater - Boris Godunov ("Boris Godunov"), Ivan the Terrible ("The Pskov Woman", 3rd ed.), Dosifey ("Khovanshchina"), Philip II ("Don Carlos"); in the Mariinsky Theater - Dosifey ("Khovanshchina"), Ivan the Terrible ("Pskovian Woman"), Boris Godunov ("Boris Godunov"), Don Quixote ("Don Quixote"); in Tiflis and N. Novgorod - Lothario ("Minion"), Gudala ("Demon" by A. Rubinstein); in N. Novgorod - the Old Jew (“Samson and Delilah”); in Tiflis - Tomsky ("The Queen of Spades"); in Baku - Petra ("Natalka Poltavka"); in Russian stage - Tore ("Embankment of Santa Lucia"), Collena ("La Boheme"), Don Quixote ("Don Quixote"); in Paris by Boris Godunov ("Boris Godunov", May 19, 1908, Grand Opera Theater, S. Diaghilev's troupe). Vladimir Galitsky ("Prince Igor", May 9 (22), 1909, Chatelet Theater), Ivan the Terrible ("Pskovian Woman", 3rd ed., May 13 (26), 1909, Chatelet Theater, staged by N. Cherepnin), Dosifeya (“Khovanshchina”, May 23 (June 5), 1913, Theater of the Champs Elysees, staged by E. Cooper); in Monte Carlo - Miller ("Rusalka" by A. Dargomyzhsky, March 25 (April 7), 1909, p/u L. Jehen), Demon ("Demon" by A. Rubinstein, in Italian, 11 (24) March 1906, p/u L. Jehen); in London - Boris Godunov ("Boris Godunov", June 24, 1913, Drury Lane, Konchak and Vladimir Galitsky ("Prince Igor", May 26, 1914, ibid.), Ivan the Terrible ("Pskovian Woman", 3 1st ed., June 25 (July 8), 1913, t-r "Drury Lane", p/u E. Cooper); in Brussels - Don Quixote ("Don Quixote", May 1 (14), 1910, t- r "De la Monnaie"); in Milan - Boris Godunov ("Boris Godunov" January 14, 1909, La Scala Theater). The best roles: Melnik ("Rusalka" by A. Dargomyzhsky), Susanin ("Life for Tsar" M. Glinka; "Chaliapin's Susanin is a reflection of an entire era, this is a masterly and mysterious embodiment of folk wisdom, the wisdom that in difficult years of trials saved Rus' from destruction. Everything in this appearance is beautiful, everything will be born somehow by itself. everything is contained in the circle of “complete harmonic perfection.” E. Starck), Boris Godunov (“A complete, excellent creation that can serve as an example of artistic completeness. .. This is the height of art accessible to an opera performer, and Chaliapin fully masters it." N. Kashkin), Ivan the Terrible ("The Woman of Pskov"; N. Rimsky-Korsakov called the singer in this role "inimitable"), Eremka (according to one from the singer’s contemporaries, “a miracle accessible only to a brilliantly gifted artist”), Demon (“Demon” by A. Rubinstein; “For the first time after many years, Chaliapin finally created something not only grandiose, but also highly new, worthy of his best previous creatures." Y. Engel), Holofernes ("By the boldness of the plan and the subtlety of its artistic execution, Holofernes occupies a special place among all other stage creations of Chaliapin...." E. Stark), Galitsky, Dositheus, Farlaf, Varlaam, Aleko ( “Aleko” from Rachmaninov), Varangian Guest, Salieri, Konchak, Mephistopheles (“Faust”; Swedish artist A. Zorn said during the performance to S. Mamontov: “There is no such artist in Europe! This is something unprecedented! Something like this I have never seen Mephistopheles"), Mephistopheles ("Mephistopheles"; A. Masini wrote based on fresh impressions from the Spanish. singer of the part: “This evening was a real triumph for the Russian artist...”). Don Basilio ("The Barber of Seville" by G. Rossini; "Chaliapin's Basilio is a highly artistic embodiment of laughter, given with the breadth, scope and carefreeness that distinguish the laughter of the southern peoples." E. Starck), Philip II, Leporello ("Don Giovanni" ), Don Quixote (“Look at his photograph in Don Quixote - and you will see in these eyes detached from reality, in this emaciated figure, an inspired fighter against the mills, a beggar knight, as inspired as he is funny. This is an artistic portrait. And look hundreds of photographs of the glorious singers Hades, Radameses, Dalilas, Germans, Rauls, Margaritas, Snow Maidens, Onegins, etc., etc. - and only a gallery of mummers will pass in front of you." (Vl. Nemirovich-Danchenko). Other parts: Unknown (" Askold's grave"). The old wanderer, Onegin, Gremin, Vyazminsky, Head ("May Night"), Panas ("The Night Before Christmas"), Bertram ("Robert the Devil"), Nilakanta, Cardinal ("The Jew"), Valentin ("Faust"), Tonno, Zuniga. Partners: A. M. Davydov, T. Dal Monte, D. de Luca, N. Ermolenko-Yuzhina, I. Ershov, E. Zbrueva, E. Caruso, V. Kastorsky , V. Kuza, L. Lipkovskaya, F. Litvin, E. Mravina, V. Petrov, T. Ruffo, N. Salina, T. Skipa, D. Smirnov, L. Sobinov, R. Storchio, M. Cherkasskaya, V . Eberle, L. Yakovlev. Sang under the direction of U. Avranek, I. Altani, T. Beecham, F. Blumenfeld, V. Zeleny, M. Ippolitov-Ivanov, E. Cooper, G. Mahler, E. Napravnik, A. Nikish, A. Pazovsky, S. Rachmaninov, T. Serafina, V. Suka, A. Toscanini, I. Truffi, N. Cherepnina, E. Esposito.

Sh. was an unsurpassed chamber singer. Since 1897, he concentrated in Nizhny Novgorod, Kazan, Samara, Voronezh, Ryazan, Smolensk, Orel, Tambov, Rostov-n/D, Ekaterinoslav, Astrakhan, Pskov, Kharkov, Odessa, Kiev, Yalta, Kislovodsk, Vilno, Riga, Revel ( now Tallinn), Tiflis, Baku, Warsaw, Paris (since 1907; sang here under the direction of A. Nikisch and N. Rimsky-Korsakov), Berlin (1910; under the direction of S. Koussevitzky; 1924, 1937), London (every year since 1921 to 1925), Montreal (1921, 1924), Boston (1921, 1923), Chicago (1922, 1923), Philadelphia (1922), Stockholm (1922), Gothenburg (1922), Edinburgh (1922), New York ( from 1922), Los Angeles (1923, 1935), San Francisco (1923), Dresden (1925), Leipzig, Munich, Cologne, Prague (1937), Budapest, Hamburg, Brussels, Amsterdam, Antwerp, Tokyo (1936) , Osaka, Harbin, Beijing, Shanghai (1936), Vienna (1937), Bucharest (1937), Glasgow (1937), Zurich (1937), Geneva (1937). In the period 1905-07 he actively spoke to workers, and Spanish became especially famous. rus. adv. songs "Dubinushka". He gave many charity concerts in favor of various organizations. The singer's last concert took place on June 23, 1937 in Eastbourne (Great Britain). The singer’s extensive repertoire (over 100 works) included arias from operas he had never performed on stage, Russian romances. and Western European composers (M. Glinka, A. Dargomyzhsky, M. Mussorgsky, Ts. Cui. A. Rubinstein, N. Rimsky-Korsakov, P. Tchaikovsky, A. Arensky, S. Rachmaninov, L. Beethoven, F. Schubert, R. Schumann, E. Grieg), ensembles, Russian. and Ukrainian adv. songs. Sh. was often accompanied by S. Rachmaninov. N. Amani ("Borodino", ballad. Op. 10), M. Antsev (Romances. Op. 18), A. Arensky ("Wolves", ballad. Op. 58), I. Achron (" Ghost", op. 30, 1910), M. Bagrinovsky ("Ballad"), Y. Bleichman ("Barrow", ballad. Op. 26 No. 1, 1896; "At the Order Gate", comic song. Op. 26 No. 3), A. Buchner ("Darkness and Fog", "By the Sea"), S. Vasilenko ("Vir", poem. Op. 6 No. 1; "Widow", poem. Op. 6 No. 2), R. Glier ("The Blacksmiths". Op. 22), E. Granlln ("How Scary This Night", 1914), A. Grechaninov ("At the Crossroads". Musical picture. Op. 21, 1901), I. Dobrovein ( "What are you howling about, night wind." Op. 7 No. 7; Op. 7 No. 5), J. Iber ("Song of the Duke", "Song of Dulcinea", "Dying Song of Don Quixote", "Farewell" song of Don Quixote" from the film "Don Quixote", E. Kashperova ("Albatross", 1912), F. Keneman ("How the King went to war." Op. 7 No. 6) "King Aladdin". Op. 10 No. 2; "Blacksmith". Op. 8 No. 2; "Three roads", Duma. Op. 7 No. 5; “A countless swarm of feelings and thoughts.” Op. 8 No. 1), Kozakov ("Svyatogor"), N. Kolesnikov ("Dubinushka", folk song; "Oh, workers, God's people", song. Op. 75), V. Korganov ("At the gates of the holy monastery" , 1909), N. Kochetov ("Song about Harold and Yaroslavna". Op. 19; "I am a man." Op. 21 No. 1; "I am a slave of labor." Op. 21 No. 2; "Armenian". Op. 21 No. 3), S. Koussevitzky ("Ballad", for double bass), C. Cui ("Baben", Russian song), I. Kunnap ("After the Battle"), J. Massenet ("If you wanted to tell me "), A. Panaev ("Hearing the horrors of war", "Hanna"), S. Paniev ("Song without a flaw about an orphan and about a tyrant", "Fatma", oriental romance), V. Parchment ("Help"), A. Petrov (“Don’t Believe”), S. Rachmaninov (“In the soul of each of us.” Op. 34 No. 2, 1912; “The Raising of Lazarus.” Op. 34 No. 6, 1912; “The Betrothed.” Op. 34 No. 11, 1912; “Fate”. Op. 21 No. 1, 1900; “You knew him”. M. Rechkunov ("Guslyar", song), N. Rimsky-Korsakov ("Arioso of Tsar Ivan (inserted) from the opera "The Pskov Woman", III d., 2 k.), Y. Sakhnovsky ("Oh, haystacks, haystacks! ". Op. 8 No. 1; "Death walks around me." Op. 8 No. 2; "Blacksmith"; “To the Motherland”, “Oh, what an honor it is for a fine fellow to spin flax.” Op. 5 No. 2); J. Sibelius - M. Fiveysky ("Sad Waltz". From the music to A. Jernefeld's drama "Death". Arrangement for bass and piano by M. Fiveysky. Op. 44), A. Simon ("Nightmare", drum . sketch. Op. 62; “Oh, how powerful you are.” 12 No. 1), O. Stukovenko ("Prisoner". Op. 45), A. Taskin ("Prayer chords", "I want fun"), K. Tideman ("Oh, Mother Volga", song; " Eagle", "Song of the Blacksmith"), I. Truffi, V. Harteveld ("On the Haystacks of War". Musical picture in 1 d.), V. Turin ("In Prison"), A. Chernyavsky ("Under the Fragrant Rowan ", song; "U well"), A. Cherny ("Kruchina", song), N. Shipovich ("By the Sea". Op. 2 No. 3), V. Erenberg ("Wedding", comic opera in 1 act. Based on the story of the same name by A. Chekhov. Op. 5), M. Yazykov ("A deep hole dug with a spade", "Star", "The forest is noisy and humming", "Lonely grave", "Destroyed temple").

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

Sh. was also involved in directing. Staged the operas: “Don Quixote” (1910, Moscow Bolshoy T-r; 1919, Petrograd. Mariinsky T-r), “Khovanshchina” (1911, St. Petersburg. Mariinsky T-r; 1912, Bolshoi T-r), “Pskovianka” (1912, "La Scala" theater), "The Barber of Seville" (1913, Big Theater), "The Power of the Enemy" (1915, Petrogr. People's House), "Don Carlos" (1917, Petr. People's House). house). The singers I. Ershov, A. M. Labinsky, I. Tartakov, and V. Sharonov involved in these productions highly appreciated Sh.’s work as a director. In 1923 he staged the opera "Boris Godunov" in Russian and languages. in Chicago.

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

Sh. was a multi-talented person - he was fond of painting, graphics, sculpture, and had literary talent.

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

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

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

Op. and letters: Pages from my life (Autobiography of F.I. Chaliapin) // Chronicle. 1917. No. 1-12 (partially); in full: F.I. Shalyapin. T. 1. - M., 1957, 3rd ed. - 1976 (Ed.-comp., commentary by E. A. Grosheva); Flowers of my Motherland//Petersburg. newspaper. 1908. May 10; The same//Ship Walker (N. Novgorod). 1908. May 12; Same. Les fleurs de mon Pays // Matin (Paris). 1908. 19 May; The same // F. I. Shalyapin. T 1. - M., 1957, 3rd ed. - 1976; Mask and soul. - Paris, 1932; Fragments of the book. // F. I. Shalyapin. T. 1. - M., 1957, 3rd ed. - 1976; Salapin Feodor. Spiewak na scenie operowei // Muzyka. t. 9. 1934; rus. lane A. Gozenpuda: Singer on the opera stage // Sov. music. 1953. No. 4; The same // F. I. Shalyapin. T. 1. -M., 1957, 3rd ed. - 1976; About A. M. Gorky (instead of an obituary). - Paris, 1936; The same//F. I. Chaliapin. T. 1. -M., 1957, 3rd ed. -1976; Searches in art//Binoculars (Petrograd). 1917. Oct., No. 1; The same // F. I. Shalyapin. T. 1. - M., 1957, 3rd ed. - 1976; Beautiful and majestic // Zarya (Harbin). 1935. March; The same//F. I. Chaliapin. T. 1. -M., 1957, 3rd ed. - 1976; Correspondence between F. I. Chaliapin and A. M. Gorky // Gorky Readings: 1949-1952. - M., 1954; The same//F. I. Chaliapin. T. 1. -M., 1957, 3rd ed. - 1976; Correspondence between F. I. Shalyapin and V. V. Stasov // F. I. Shalyapin. T. 1. - M., 1957, 3rd ed.

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

Lit.: The triumph of Chaliapin in Italy // RMG. 1901. No. 12. P. 378-381; Andreev L. About Chaliapin // Courier. 1902. No. 56; Penyaev I. The first steps of F.I. Chaliapin in the artistic field. - M., 1903; Bunin I. Incident with F. I. Chaliapin // Voice of Moscow. 1910. No. 235; His own. About Chaliapin/ / Illustrative Russia (Paris). 1938. No. 19; His own. About Fyodor Chaliapin // 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. F. I. Chaliapin's trip to Africa. - M., 1914; Stark E. Chaliapin. - Pg, 1915; His own. F. I. Chaliapin: (To the twenty-fifth anniversary of artistic activity) // Apollo. 1915. No. 10; Asafiev B. (Glebov I.). About song and songfulness // Life of Art. 1918. No. 37; His own. Sculptor of gesture // Theater. 1923. No. 8; His own. Chaliapin // Sov. music. Sat. 4 - M.; L., 1945; His own. Fyodor Chaliapin // Music. life. 1983. No. 13; Karatygin V. Mussorgsky and Chaliapin. - Pg, 1922; Nemirovich-Danchenko V.I. ** From the past. - M.: Academia, 1936. P. 247; Zalkind G. Drawings by F.I. Chaliapin//Theater, almanac. Book 3(5). - M., 1946; Nikulin L. The last role of Chaliapin. (Essay) // Ogonyok. 1945. No. 39; His own. Letters from Chaliapin to Gorky // Red Army Soldier. 1945. No. 15/16. From 21-22; His own. Fyodor Chaliapin. -M., 1954; His own. Ivan Bunin about Fyodor Chaliapin // Don. 1957. No. 10; Bezymensky A. Orpheus in Hell/ / Banner. 1948. No. 7. P. 39-44; Dmitriev N. Glorious pages // Ogonyok. 1948. No. 30; Kryzhitsky G. Singing actor or acting singer? // Theater. 1948. No. 6; Kunin I. Exhibition "Russian Opera House and F. I. Chaliapin" // Sov. music. 1948. No. 8; Levik S. Chaliapin (Pages from the book “Through the Eyes and Ears of a Singer”) // Sov. music. 1948. No. 10; His own. Chaliapin on the concert stage // Ibid. 1950. No. 2; His own. Notes of an opera singer. - 2nd ed. - M., 1962. P. 711; His own. Conversation with Chaliapin // Sov. music. 1966. No. 7; His own. Fyodor Chaliapin, Music. life. 1970. No. 3; Yankovsky M. Chaliapin 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 // Music. life. 1973. No. 2; Mamontov V.S. **** Memories of Russian artists. - M., 1950. P. 31; Stasov V.V. Articles about Chaliapin. - M., 1952; Khubov G. Gorky and Chaliapin: Essays first and second // Sov. music. 1952. No. 4, 5; Stanislavsky K. S* Collection. Op. in 8 volumes - M., 1954-1961. T. 6. P. 215; Aizenstadt O. Drawings by Chaliapin // Theater. 1955. No. 12; Kirikov M.F. Memoirs of an actor. F. I. Shalyapin and L. V. Sobinov // Siberian Lights. 1956. No. 5. P 162-175; Witting B. About Chaliapin. Memories // Sov. Fatherland. 1957. No. 4; Perestiani Iv. About Fyodor Chaliapin // Friendship of Peoples. 1957. No. 2; Rosenfeld S. The Tale of Chaliapin. - M, 1957; Same. - L., 1966; Belkin A. F. I. Shalyapin in the Tambov region // Tamb. Truth. 1957. Dec 7; Nelidova-Fiveyskaya L. Ten meetings with Chaliapin in America // New Siberia. 1957. Book. 36; Ezhe. From memories of Chaliapin // Sov. music. 1959. No. 1; Lyubimov L. The last years of Chaliapin // Ibid. 1957. No. 7; Skipa T. Yes, I remember Chaliapin // Lit. newspaper. 1957. 3. 1 Aug; F. I. Shalyapin / Ed.-comp. E. A. Grosheva. T. 1-2. - M., 1957-58; Dolinsky M., Chertok S. Little-known portraits of Chaliapin // Smena. 1958. No. 9; Theirs. The forgotten role of Chaliapin // Theater. life. 1958. No. 8; Theirs. We need a museum of F.I. Chaliapin // Ibid. 1960. No. 19; Theirs. “For music I was born in Tiflis” // Lit. Georgia. 1962. No. 10; Theirs. Chaliapin in Georgia // Music. life. 1962. No. 11; Theirs. Two letters from Chaliapin // Music. life. 1963. No. 17; Theirs. The story of one find // Theater. life. 1963. No. 21; Zorin B. Drawings by Chaliapin // Smena. 1958. No. 17; Buchkin P. Gorky and Chaliapin // Music. life. 1959. No. 5; Lebedinsky L. Scene “Clock with chimes” performed by Chaliapin // Sov. music. 1959. No. 3; His own. Chaliapin sings Dargomyzhsky // Ibid. 1964. No. 6; Him. Chaliapin sings the song “Farewell, Joy” // Ibid. 1968. No. 4; His own. "Dubinushka" performed by Chaliapin // Music. life. 1973. No. 2; Granovsky B. Letter from F.I. Chaliapin about “Boris Godunov” // Sov. music. 1959. No. 3; Obolensky P. Memorable meetings with S. Rachmaninov and F. Chaliapin // Sov. culture.

1960. 1 Oct.; His own. A rare, powerful gift // Ogonyok. 1963. No. 7; Sochinev D. Five years with Chaliapin // Sov. culture. 1960. January 7; Chereisky L. Chaliapin in Pskov // Music. life. 1960. No. 4; Kobtsev N. Shalyapin in Harbin // Don. 1960. No. 5; A. Sh. At the grave of Chaliapin // Sov. music. I960. No. 10; Andronikov I. Veterans of the revolution about Chaliapin // Music. life. 1960. No. 11; His own. What is stored on Graftio Street? New about Chaliapin // Lit. newspaper. 1964. No. 26; His own. Complete works of Chaliapin // Culture and life. 1968. No. 3; Volkov-Lannit L. Chaliapin in front of a megaphone // Music. life. 1961. No. 21; His own. Poems by Chaliapin. To the biography of the singer // Science and life. 1981. No. 5; Plotnikov B. Chaliapin at rehearsal // Music. life. 1961. No. 3; Less Al. A thousand photographs of Chaliapin // Sov. music. 1962. No. 5; His own. Stories about Chaliapin // Music. life. 1971. No. 22; Turbas N. Unbroken horseshoe. From memories of Chaliapin // Theater. life.

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

1963. February 15; Yurok S. Comet named Fedor // Sov. music. 1963. No. 2; Stepanova S. Chaliapin among the Red Army soldiers // Theater. life. 1963. No. 11; Kollar V. "Chaliapin School" // Music. life. 1963. No. 3; His own. 187 days from the life of Chaliapin. - Gorky, 1967; His own. In Sormovo. Stories about Chaliapin // Gorkov. worker. 1978. June 17; His own. F.I. Chaliapin on the Volga. - Gorky, 1982; Volkov V. Five images of Chaliapin // Music. life. 1963. No. 3; Ratotaev A. From the Chaliapin archive // ​​Music. life. 1964. No. 12; Artamonov I. “What is slander.” (About F.I. Chaliapin’s stay at the La Scala theater in Milan) // Moscow. Truth. 1964. 27 Sep; Zharov M. Life and role. (From memories of F.I. Chaliapin) // Ibid. 1964. May 31; New pages about Chaliapin. (Based on materials from Leningrad archives) // Moscow. 1964. No. 6. P. 160-176; Olgina L. Treasure from Graftio Street // Young Guard. 1964. No. 7; Argo (Goldenberg A.M.). Last concert. From the book of memories // Sov. stage and circus. 1964. No. 10; Bibik A. Two concerts // Theatre. life. 1965. No. 6; Strauss Yu. Chaliapin in Harbin // Music. life. 1965. No. 14; Chaliapin draws... // Ibid. 1965. No. 22; Perepelkin Yu. The story of great friendship // Theater. life. 1965. No. 8; Museum that is not in reference books // Muz. life. 1966. No. 23. P. 25; Verbitsky A. The case of Chaliapin // Theater. life. 1967. No. 6; Pichugin P. Chaliapin - alive, ageless // Sov. music. 1968. No. 7; Pokrovsky B. Reading Chaliapin // Ibid. 1968. No. 11. 1969. No. 1; Demidova R. - Chaliapin in Tiflis // Music. life. 1968. No. 8; Labinsky A. M. “The Barber of Seville” (with the participation of F. I. Chaliapin; 1913) // Ibid. 1968. No. 8; Museum of F.I. Shalyapin // Museums and architectural monuments of the Gorky region. - Gorky, 1968. P. 89-90; Nikiforov N. Chaliapin ring // Nikiforov N. The search continues. Collector's stories. - Voronezh, 1968. pp. 29-32; Peshkovsky Ya. The last days of Chaliapin // Theater. life. 1968. No. 24; Speranskaya M. Unforgettable // Smena. 1968. No. 11; Shalyapina I. From a family album. 95th anniversary of F.I. Shalyapin // Ogonyok. 1968. No. 9; Hers. Rare photo // Theater. life. 1978. No. 21; Shalyapina I., Lvov N. Evenings of old // Ibid. 1968. No. 46; Zlotnikova I. Leafing through the pages of time // Theater. life. 1968. No. 21; Isaeva V.I., Shalaginova L.M. Rare photographs of Shalyapin // Sov. archives. 1968. No. 4; The history of one photograph (A.M. Gorky and F.I. Chaliapin) // Gorky readings: To the 100th anniversary of the writer’s birth. - M., 1968; Kuvshinov S. Shalyapin in Kronstadt//Theatre. life. 1968. No. 3; Rubinstein L. Chaliapin and Tukay // Friendship of Peoples. 1969. No. 9; Tanyuk L. Shalyapin and Staritsky // Ibid. 1969. No. 2; Samoilenko N. How Chaliapin was buried // Don. 1969. No. 1; Shcherbak A.I. Muses on thorns. A dilogy about the young Chaliapin and his contemporaries. - Kyiv, 1969 (in Ukrainian); Kokane V. Chaliapin’s last tour // Theater. 1969. No. 3; Lavrentyev M. 187 days with Fyodor Chaliapin // Tourist. 1970. No. 7; Kazakov V. Chisinau applauds Chaliapin // Codri (Chisinau). 1970. No. 7; Solntsev N. Bravo, hero! // Theater. life. No. 10; Belov A. Unusual autograph // Theater. life. 1970. No. 24; Gitelmacher V. Touches to the portrait // Ogonyok. 1970. No. 50; Korovin K. A. Shalyapin. Meetings and life together // Konstantin Korovin remembers. - M, 1971; Kogan G. Thinking about Chaliapin // Sov. music. 1971. No. 7; Kabalevskaya O. Chaliapin’s first meetings with the work of Mussorgsky // Questions of the theory and aesthetics of music. Vol. 10. - L., 1971. S. 165-198; Grosheva E. Chaliapin in Bulgaria // Sov. music.

1971. No. 12; Hers. The path to beauty is the truth // Sov. culture. 1973. February 13; Hers. Brilliant musician/ /Sov. music. 1973. No. 2; Engel Yu. D. *** Through the eyes of a contemporary: Selected articles about Russian music. 1898-1918. - M., 1971. P. 127; Strakhov B. Chaliapin sings the Demon // Theater. 1972. No. 2; Bakumenko V. Tragedian of the opera stage // Theater. life. 1972. No. 8; Him. Roles of Chaliapin // Ibid. 1973. No. 24; Lebedinsky L. Five essays on Chaliapin’s reading of musical text // Mastery of musical performance. Vol. 1. - M., 1972. S. 57-127; Chaliapin on vacation. (Recorded by E. Alesin) // Music. life.

1972. No. 17; Lvov N. From memories. (To the 100th anniversary of the birth of F.I. Chaliapin) // Theater. life. 1973. No. 3; Vasiliev S. At the Ratukhinskaya dacha // Ibid. 1973. No. 3; Rummel I. Triumph in Pskov // Sov. music. 1973. No. 2; Three documents. From an interview in 1936 // Theater. life. 1973. No. 3. P. 24-25; Chaliapin the artist // Music. life. 1973. No. 2. P. 25, Cup F. Masks of Chaliapin // Theater. 1973. No. 3; From Chaliapin’s archive // ​​Ibid. 1973. No. 3; Mil A. Museum in an apartment // Theater. life. 1973. No. 14; Drankov V. The nature of Chaliapin's talent. - L., 1973; Dmitrievsky V. Great artist. - L., 1973; His own. Chaliapin and Gorky. - M., 1981; Pakhomov N. Chaliapin draws // Lit. Russia. 1974. January 4; Volkov S. Meyerhold and Chaliapin // Music. life. 1974. No. 18; Gozenpud A. A. Russian Opera Theater at the turn of the 19th-20th centuries and F. I. Chaliapin. 1890-1904. - L., 1974; Almedingen B. A. Golovin and Chaliapin. Night under the roof of the Mariinsky Theater. - 2nd ed. - L., 1975; Glibko-Dolinskaya G. In my father’s homeland // Theater. life. 1976. No. 5; Fyodor Ivanovich Chaliapin / Ed.-comp. E. A. Grosheva. T. 1-3. - M., 1976-1979; Dmitrievsky V., Katerinina E. Chaliapin in St. Petersburg-Petrograd. - L., 1976; Kotlyar G. Study of acoustic means of expressing emotions in the singing of F. I. Shalyapin // Abstracts of the fifth scientific conference on the development of singing musical ear, perception and musical-creative abilities of children and youth. - M., 1977. S. 586-589; Litinskaya E. An extraordinary feeling of joy // Music. life. 1978. No. 15; Zavadskaya N. Music and painting // Music. life. 1978. No. 12; Popov A. “The role never worked out for me right away” // Theater, life. 1979. No. 14; Kotlyarov Yu F.I. Shalyapin and the Bulgarian opera-performing culture/ / Russian-Bulgarian theatrical relations: Collection. articles. - L., 1979. pp. 130-144; Gorsky G. Songs calling to life // Daugava. 1979. No. 12; Drayden S. Listening to Chaliapin // Neva. 1980. No. 4; Babenko V. Chaliapin jokes // Ibid. 1980. No. 8; Goltsman S. In the footsteps of one photograph // Komsomolets of Tatarstan (Kazan). 1980. 31 Dec; Emelyanov T. Semi-rehabilitation // Ogonyok. 1988. No. 48. P. 14-17; Krylova L. Gorky listens to F. Chaliapin // Lenin's shift (Gorky). 1981. 12 Sep.; Tolstova N. Chaliapin sang here // Izvestia. 1981. November 11; Belyakov B. Shalyapin, Zimin Theater, 1916 // Lenin's shift (Gorky). 1982. December 7, 9 and 12; Witting E. Meetings with F.I. Chaliapin // Neman (Minsk). 1982. No. 5; Bonitenko A. “Little Alexis” (Letter from F. I. Chaliapin to composer and accompanist A. V. Taskin) // Neva (L.). 1982. No. 7; Tomina V. Chaliapin in Buenos Aires // Sov. ballet. 1983. No. 6; Kotlyarov Yu. “We are dreaming of a 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; Petelin V. Climbing. Documentary story about the young Chaliapin // Moscow. 1983. No. 9. S 3-117; No. 10. P. 6-101; His own. New about Chaliapin: Articles and interviews // Theater. 1983. No. 6; Him. Benefit. Fragments of a biographical story about F. Chaliapin // Kuban. 1983. No. 8. P. 3-46; Konchalovskaya N. Spring in Trubnikovsky // Sov. culture. 1983. 6 Sep.; Sokolovsky A. Great life in art // Sov. music. 1983. No. 9; Fyodor Chaliapin // Music. life. 1983. No. 13. P. 15-16; Samsonov is dedicated to P. Chaliapin // Ibid. 1983. No. 14; Grinkevich N. N. Shalyapin’s lines // Grinkevich N. N. Lines, letters, destinies. - 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 G. Three musical sketches. (Chaliapin visiting S. M. Budyonny) // Podem. 1983. No. 11; Ardov V. Sketches for portraits. - M., 1983. S. 144-153; Zarubin V. Our great pride // Theater, life. 1983. No. 3; Usanov P. How young we were // Sov. culture. 1983. Oct 29; Malinovskaya G.N. Next to Chaliapin // Ibid. 1983. 24 Dec; Khrennikov T. Shalyapin son of Russia. (To the 110th anniversary of his birth) // Ogonyok. 1983. No. 9; Yanin V. Glorious anniversary // Melodiya. 1984. No. 1; Semenov Yu. Pink rain "Column" // Izvestia. 1984. 17 Feb; Korshunov G. F. Shalyapin in life and on stage. Chapters from the book “Chaliapin Abroad” // Don. 1984. No. 6; Ivanov M. About Chaliapin // Chaliapin F. I. Mask and soul. - M. 1989. From 19-48; Poznin V. A familiar voice sounds // Ibid. 1984. Oct 27; Izyumov E. The pride of the Russian land // Ibid. 1984. Oct 27; Let us bow to the great singer // Ogonyok. 1984. No. 46. P. 30; Ceremony at Novodevichy Cemetery // Sov. culture. 1984. Oct 30; Filippov B. How I saw off Chaliapin // Ibid. 1984. Oct 30; Ivanov V. Chaliapin’s autograph // Music. life. 1984. No. 17; Obraztsova E. Unite with your native land... // Rabotnitsa. 1984. No. 12; Chronicle of the life and work of F. I. Chaliapin. In 2 books / Comp. Yu. Kotlyarov, V. Garmash. - L., 1984; Gift from a collector. (An unknown portrait of Chaliapin was donated to the Soviet Union by a Japanese collector) // Izvestia. 1985. January 3; Preobrazhensky K. Details of a rare find // Sov. culture. 1985. January 12; His own. The portrait of Chaliapin will be transferred to Moscow // Ibid. 1985. 16th of May; Gogoberidze Gr. Presented to the museum // Ibid. 1985. June 4; Burakovskaya M. Chaliapin’s album // Ibid. 1985. July 13; Razgonov S. Gift of a collector // Sov. culture. 1985. July 18; Tuchinskaya A. Knight of Art // Aurora. 1985. No. 9; Medvedenko A. Argentina applauded Chaliapin // Smena. 1985. 24 Aug; Voskresenskaya M. In memory of Chaliapin. Have you been to this museum? // Evening Leningrad. 1985. 27 Aug; Paklin N. He glorified Russian art // Week. 1986. No. 45 (1389); Dmitrievskaya E. R., Dmitrievsky V. I. Shalyapin in Moscow. - M., 1986; F. I. Shalyapin / Comp. R. Sargsyan. - M., 1986; Goltsman S.V.F.I. Shalyapin in Kazan. - Kazan, 1986; Kuleshov M. Chaliapin’s autograph // Lenin’s Banner. 1986. November 12; Svistunova O. Moscow address of Chaliapin // Evening. Moscow. 1987. November 28; Shalnev A. For the Chaliapin Museum // Izvestia. 1988. September 3; Sokolov V. And the broad Slavic soul responded... // Sov. culture. 1989. May 27. S. 2; Zhelezny A. When the first records of F.I. Chaliapin were recorded // Zhelezny A. Our friend is the gramophone record. Notes from a collector. - Kyiv., 1989. P. 92-98; Sedov A. Rare records of Chaliapin // Sov. culture. 1989. October 2; Peschotte J. Ce géant, F. Chaliapine. - Paris, 1968; Goury J. F. Chaliapine. Paris, 1970 (with discography); Cosma V. Saliapin in Romania // "Muzica". 1973. No. 2.

(Brockhaus)

(b. 1873) - an outstanding opera and concert singer, high bass. In early childhood until the 90s. In the 19th century, Sh. lived in difficult material and living conditions; He did not receive a systematic education and, like a rare nugget, almost independently formed into an exceptionally original artistic individuality. Sh.'s popularity began in 1896, when he moved from the Mariinsky stage to the private enterprise of the Moscow philanthropist S. Mamontov, who immediately appreciated the wealth of Sh.'s talent and created around him a favorable artistic atmosphere in which Sh.'s talent matured. Here the artists Polenov, Serov, Vrubel, Vasnetsov, Korovin and others had a significant influence on the development of Sh.’s artistic taste. During the same period, the historian Klyuchevsky and the composer Rachmaninov helped Sh. reveal the roles of Godunov and Dositheus in Mussorgsky’s brilliant works “Boris Godunov” and “Khovanshchina.” Possessing a bright dramatic talent, combined with exceptional vocal abilities and With an exciting temperament, Chaliapin managed to create in his artistic activity a number of unforgettable images - in terms of strength and deep truthfulness: the miller ("Rusalka" by Dargomyzhsky), Mephistopheles ("Faust" by Gounod and "Mephistopheles" Boito), Ivan the Terrible ("Pskovite" by Rimsky- Korsakov) and others. Sh.’s high technical skill and full possession of vocal resources is always subordinated to the musical and dramatic tasks of the role he performs. Revealing this or that artistic image, Chaliapin never gets carried away by the outwardly spectacular side of its stage embodiment, trying to reveal its ideological content, achieving the utmost clarity of its musical and dramatic expressiveness. As an artist, Sh. is a rare example of a great master, in whom a musician and a dramatic actor are organically fused. Sh.'s bright and bold innovative activity stirred up the routine swamp of the old opera stage with its outdated false-classical pathos of magnificent prop productions, with its traditional guidelines for "beautiful sound" with a complete almost complete disregard for musical and dramatic expressiveness, etc. Sh. managed to raise the musical level. the dramatic skill of the opera actor to enormous heights and thereby significantly contributed to the improvement of opera. This is undoubtedly the huge positive role of Sh. in the history of musical and dramatic performance. However, Sh. did not create a school, remaining largely an isolated talent in Russian pre-revolutionary musical and dramatic art. It is no coincidence that Sh.'s directorial experiences ("Khovanshchina" in St. Petersburg, "Don Carlos" in Moscow) did not have independent significance.

In the conditions of pre-revolutionary Russia, all of Sh.’s creative activity can be characterized as an isolated phenomenon. Sh. came from a lumpen-proletarian environment. Going through the difficult path of an aspiring amateur singer and actor in an atmosphere of vagrancy and bohemia, Sh., thanks to his exceptional artistic abilities, was noticed “from above”, accepted and treated kindly by the “caring” attention of Russian bourgeois patronage. This determined the dual nature of Sh.’s rebellious-anarchist and at the same time limited-philistine and selfish nature as a person. Sh. was essentially always alien to socio-political life and struggle and very easily succumbed to the influences of the environment in which he found himself. The entire path of the mature Sh. - from friendship with Gorky and revolutionary "sympathies" to the kneeling performance of the Tsar's anthem, from artistic activity in the young Soviet Republic (for which he was awarded the title of People's Artist by the Soviet government) to open communication with White Guard organizations abroad - is clearly visible confirms this conclusion.

In his last book, published abroad in 1932 (“Soul and Mask”), Sh. with cynical frankness exposed the complete ideological, insignificance and unprincipledness of his “social” activities, finally sliding into the camp of complete reaction. In 1928, the Soviet government deprived Sh. of the title of People's Artist and banned him from entering the USSR.

Shal I pin, Fedor Ivanovich

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

Large biographical encyclopedia. 2009.

-, Russian singer (bass), People's Artist of the Republic (1918). Born into the family of a small office worker. He worked as a shoemaker's apprentice, a turner, and a copyist. At the same time he sang in the bishop's choir. WITH… …

His studies at the school ended in 1885. In the fall of the same year, he entered the vocational school in Arsk.

The beginning of a creative journey

In 1889, Chaliapin became a member of the drama troupe of V. B. Serebryakov. In the spring of 1890, the artist's first solo performance took place. Chaliapin performed the part of Zaretsky in P. I. Tchaikovsky’s opera, “Eugene Onegin”.

In the fall of the same year, Fyodor Ivanovich moved to Ufa and joined the choir of the operetta troupe of S. Ya. Semenov-Samarsky. In S. Monyushko’s opera “Pebble,” 17-year-old Chaliapin replaced the ill artist. This debut brought him fame in a narrow circle.

In 1893, Chaliapin became a member of G. I. Derkach’s troupe and moved to Tiflis. There he met the opera singer D. Usatov. On the advice of an older comrade, Chaliapin took his voice seriously. It was in Tiflis that Chaliapin performed his first bass parts.

In 1893, Chaliapin moved to Moscow. A year later he moved to St. Petersburg and joined the opera troupe of M. V. Lentovsky. In the winter of 1894-1895. joined the troupe of I.P. Zazulin.

In 1895, Chaliapin was invited to join the St. Petersburg opera troupe. On the stage of the Mariinsky Theater, Chaliapin performed in the roles of Mephistopheles and Ruslan.

Creative takeoff

Studying the short biography of Fyodor Ivanovich Chaliapin, you should know that in 1899 he first appeared on the stage of the Bolshoi Theater. In 1901, the artist performed the role of Mephistopheles at the La Scala theater in Milan. His performance was very popular with European viewers and critics.

During the revolution, the artist performed folk songs and donated his fees to the workers. In 1907-1908 His tour began in the United States of America and Argentina.

In 1915, Chaliapin made his film debut, playing the title role in the film “Tsar Ivan Vasilyevich the Terrible.”

In 1918, Chaliapin took charge of the former Mariinsky Theater. In the same year he was awarded the title of People's Artist of the Republic.

Abroad

In July 1922, Chaliapin went on tour to the USA. This fact in itself deeply worried the new government. And when in 1927 the artist donated his fee to the children of political emigrants, this was regarded as a betrayal of Soviet ideals.

Against this background, in 1927, Fyodor Ivanovich was deprived of the title of People's Artist and was forbidden to return to his homeland. All charges against the great artist were dropped only in 1991.

In 1932, the artist played the title role in the film “The Adventures of Don Quixote.”

last years of life

In 1937, F.I. Chaliapin was diagnosed with leukemia. The great artist passed away a year later, on April 12, 1938. In 1984, thanks to Baron E. A. von Falz-Fein, Chaliapin’s ashes were delivered to Russia.

The reburial ceremony of the outstanding singer took place on October 29, 1984, at the Novodevichy cemetery.

Other biography options

• There were many interesting and funny facts in the life of F.I. Chaliapin. In his youth, he auditioned for the same choir together with M. Gorky. The choir leaders “rejected” Chaliapin due to a mutation in his voice, preferring him to an arrogant competitor. Chaliapin retained his resentment for his much less talented competitor for the rest of his life.
• Having met M. Gorky, he told him this story. The surprised writer, laughing cheerfully, admitted that it was he who was a competitor in the choir, who was soon kicked out due to lack of a voice.
• The stage debut of young Chaliapin was quite original. At that time he was the main extra, and at the premiere of the play he performed in the silent role of the cardinal. The whole role consisted of a majestic procession across the stage. The cardinal's retinue was played by junior extras who were very worried. While rehearsing, Chaliapin ordered them to do everything on stage exactly as he did.
• Entering the stage, Fyodor Ivanovich became entangled in his robe and fell. Thinking that this was the way it should be, the retinue did the same. This “heap of small things” crawled across the stage, making the tragic scene incredibly funny. For this, the enraged director lowered Chaliapin down the stairs.

Fyodor Ivanovich Chaliapin is a great Russian chamber and opera singer who brilliantly combined unique vocal abilities with acting skills. He performed roles in high bass and as a soloist at the Bolshoi and Mariinsky theaters, as well as at the Metropolitan Opera. He directed the Mariinsky Theater, acted in films, and became the first People's Artist of the Republic.

Fyodor Ivanovich Chaliapin was born (1) February 13, 1873 in Kazan, in the family of the peasant Ivan Yakovlevich Chaliapin, a representative of the ancient Vyatka family of the Chaliapins. The singer's father, Ivan Yakovlevich Chaliapin, was a peasant originally from the Vyatka province. Mother, Evdokia Mikhailovna (maiden name Prozorova), was also a peasant from the Kumenskaya volost, where the village of Dudintsy was located at that time. In the village of Vozhgaly, in the Church of the Transfiguration of the Lord, Ivan and Evdokia got married at the very beginning of 1863. And only 10 years later their son Fyodor was born; later a boy and a girl appeared in the family.

Fyodor worked as a shoemaker's apprentice, a turner, and a copyist. At the same time he sang in the bishop's choir. From his youth he was interested in theater. From an early age, it became clear that the child had excellent hearing and voice; he often sang along with his mother in a beautiful treble.

The Chaliapins' neighbor, church regent Shcherbinin, hearing the boy's singing, brought him with him to the Church of St. Barbara, and they sang the all-night vigil and mass together. After this, at the age of nine, the boy began singing in the suburban church choir, as well as at village holidays, weddings, prayer services and funerals. For the first three months, Fedya sang for free, and then he was entitled to a salary of 1.5 rubles.

In 1890, Fedor became a chorister of the opera troupe in Ufa, and from 1891 he traveled around the cities of Russia with the Ukrainian operetta troupe. In 1892-1893 he studied with the opera singer D.A. Usatov in Tbilisi, where he began his professional stage activities. During the 1893-1894 season, Chaliapin performed the roles of Mephistopheles (Gounod's Faust), Melnik (Dargomyzhsky's The Mermaid) and many others.

In 1895 he was accepted into the troupe of the Mariinsky Theater and sang several roles.

In 1896, at the invitation of Mamontov, he entered the Moscow Private Russian Opera, where his talent was revealed. Of particular importance for Chaliapin were his studies and subsequent creative friendship with Rachmaninov.

Over the years of work at the theater, Chaliapin performed almost all the main roles of his repertoire: Susanin (“Ivan Susanin” by Glinka), Melnik (“Rusalka” by Dargomyzhsky), Boris Godunov, Varlaam and Dosifey (“Boris Godunov” and “Khovanshchina” by Mussorgsky), Ivan Grozny and Salieri (“The Woman of Pskov” and “Mozart and Salieri” by Rimsky-Korsakov), Holofernes (“Judith” by Serov), Nilakanta (“Lakmé” by Delibes), etc.

Chaliapin had great success during the tour of the Moscow Private Russian Opera in St. Petersburg in 1898. Since 1899, he sang at the Bolshoi and at the same time at the Mariinsky theater, as well as in provincial cities.

In 1901 he performed triumphantly in Italy (at the La Scala theater), after which his constant tours abroad began, which brought the singer world fame. Of particular importance was Chaliapin's participation in the Russian Seasons (1907-1909, 1913, Paris), as a promoter of Russian art and, above all, the work of Mussorgsky and Rimsky-Korsakov. Fyodor Ivanovich had a special friendship with Maxim Gorky.

The first wife of Fyodor Chaliapin was Iola Tornagi (1874 - 1965?). He, tall and bass-voiced, she, thin and small ballerina. He didn’t know a word of Italian, she didn’t understand Russian at all.

The young Italian ballerina was a real star in her homeland; already at the age of 18, Iola became the prima of the Venetian theater. Then came Milan and French Lyon. And then her troupe was invited to tour to Russia by Savva Mamontov. This is where Iola and Fyodor met. He liked her immediately, and the young man began to show all sorts of attention. The girl, on the contrary, remained cold towards Chaliapin for a long time.

One day during a tour, Iola fell ill, and Fyodor came to see her with a pot of chicken broth. Gradually they began to get closer, an affair began, and in 1898 the couple got married in a small village church.

The wedding was modest, and a year later the first-born Igor appeared. Iola left the stage for the sake of her family, and Chaliapin began touring even more in order to earn a decent living for his wife and child. Soon two girls were born into the family, but in 1903 grief occurred - the first-born Igor died of appendicitis. Fyodor Ivanovich could hardly survive this grief; they say that he even wanted to commit suicide.

In 1904, his wife gave Chaliapin another son, Borenko, and the following year they had twins, Tanya and Fedya.

Iola Tornaghi, the first wife of Fyodor Chaliapin, surrounded by children - Irina, Boris, Lydia, Fyodor and Tatiana. Reproduction. Photo: RIA Novosti / K. Kartashyan

But a friendly family and a happy fairy tale collapsed in one moment. In St. Petersburg, Chaliapin found a new love. Moreover, Maria Petzold (1882-1964) was not just a lover, she became the second wife and mother of Fyodor Ivanovich’s three daughters: Marfa (1910-2003), Marina (1912-2009, Miss Russia 1931, actress) and Dasia (1921 —1977). The singer was torn between Moscow and St. Petersburg, and tours, and two families, he flatly refused to leave his beloved Tornaghi and five children.

When Iola found out everything, she hid the truth from the children for a long time.

Konstantin Makovsky - Portrait of Iola Tornaghi

After the victory of the October Revolution of 1917, Chaliapin was appointed artistic director of the Mariinsky Theater, but in 1922, having gone abroad on tour, he did not return to the Soviet Union and remained to live in Paris. Chaliapin emigrated from the country with his second wife Maria Petzold and daughters. Only in 1927 in Prague did they officially register their marriage.

The Italian Iola Tornaghi remained in Moscow with her children and survived both the revolution and the war here. She returned to her homeland in Italy only a few years before her death, taking with her from Russia only a photo album with portraits of Chaliapin. Iola Tornaghi lived to be 91 years old.

Of all Chaliapin’s children, Marina was the last to die in 2009 (daughter of Fyodor Ivanovich and Maria Petzold).

Kustodiev Boris Mikhailovich. Portrait Portrait of M.V. Chalyapina. 1919

(Portrait of Maria Valentinovna Petzold)

In 1927, Chaliapin was deprived of USSR citizenship and his title was taken away. At the end of the summer of 1932, the actor starred in films, playing the main role in Georg Pabst's film "The Adventures of Don Quixote" based on the novel of the same name by Cervantes. The film was shot in two languages ​​- English and French, with two casts. In 1991, Fyodor Chaliapin was restored to his rank.

Profound interpreter of romances M.I. Glinka, A.S. Dargomyzhsky, M.P. Mussorgsky, N.A. Rimsky-Korsakov, P.I. Tchaikovsky, A.G. Rubinstein, Schumann, Schubert - he was also a soulful performer of Russian folk songs.

Chaliapin's multifaceted artistic talent was manifested in his talented sculptural, painting, and graphic works. He also had a literary gift.

K. A. Korovin. Portrait of Chaliapin. Oil. 1911

Drawings and portraits of Fyodor Chaliapin can be viewed

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