The Man of the Theater from the Environment of P.I. Tchaikovsky: K.N. De‐Lazari

This paper is dedicated to a creative personality from P.I. Tchaikovsky’s friendly circle, Konstantin Nikolaevich De-Lazari (stage name Konstantinov). Throughout the composer’s life, this artist of almost all theatrical genres (from drama and opera to vaudeville and operetta) maintained friendly relations with Pyotr Ilyich himself, then with his brothers and father. Serving alternately in the troupes of the opera (Bolshoi Theater, Moscow) and drama theaters (Alexandrinsky Theater, St. Petersburg), he did not lose touch with either the musical or dramatic environment and was considered “his own man” behind the scenes of the theaters of both capitals. He was a friend of Pyotr Ilyich’s friends: N.G. Rubinstein, G.A. Laroche; patronized talented actresses who played prominent roles in the destinies of M.I. Tchaikovsky (M.G. Savina) and A.I. Tchaikovsky (A.Ya. Glama-Meshcherskaya). K.N. De-Lazari left several memoir texts; their exact number and significance for the biography of P.I. Tchaikovsky has not yet received a scientific assessment. These texts and their interpretation will help to expand our understanding of the composer’s circle of friends and the synthetism of perception of musical and dramatic theater, characteristic of P.I. Tchaikovsky, his natural artistry, in a broad sense.

Sergei Prokofiev. Relatives

Обнародованные несколько лет тому назад сведения об арестах близких родственников Прокофьева и о полученных ими тюремных сроках открыли много нового в биографии и личности композитора. Так, стало очевидно, что он был прекрасно осведомлен о массовых репрессиях и жестокой политической цензуре в СССР, когда принимал решение вернуться на родину. Композитор должен был разработать особые авторские стратегии, маневрировать между факторами художественными и требованиями конъюнктуры. Представленные в статье письма шире знакомят с родными композитора; так, они проливают свет на жизнь в первые годы революции семьи Катениных, выводят на сцену действия одну из родственниц Прокофьевых, жившую в Германии, - Марию Рейн. В ряду самых пронзительных документов прокофьевского эпистолярия - письмо тетушки, Екатерины Григорьевны Раевской, которая сообщает об аресте дочери. Обогащают прокофьевское подполье записки композитора из Франции в финансовый отдел Большого театра и ГАТОБ (ныне Мариинский театр) с напоминаниями о необходимости отправить деньги его родственникам в СССР. Композитор в течение многих лет материально поддерживал три семьи своих репрессированных или попавших в жестокую нужду родных. Публикуемая здесь записка - только одна из очень большого количества таких напоминаний. The information about the arrests and jail sentences of Prokofiev's close relatives has been promulgated some years ago, and it revealed many new things about the composer's biography and personality. That is, it became clear, that he was fully aware of mass repressions and harsh political censorship in the USSR at the time he was deciding to return to the motherland. The composer had to shape his own personal strategy to maneuver between artistic values and the circumstances demand. The letters presented in the article introduce in greater detail the composer's relatives. So, they shed light upon the life of the Katenins family during the Revolution first years; they bring into view one relative living in Germany-Maria Rein. One of the most vibrant items of Prokofiev's correspondence is the letter from his aunt, Ekaterina Grigorievna Raevsky, who reported about her daughter being arrested. Prokofiev's quiet correspondence is enriched by his notes from France to the Bolshoi Theater finance department and to the State Academic Theatre of Opera and Ballet (St. Petersburg), reminding them to send money to his relatives in the USSR. For many years Prokofiev supported three families of relatives, who were purged or in need. The note published here is just one of many such reminders.

“Moscow” Letters by Giacomo Puccini to the Director Vladimir Alekseyev: First Publication

В статье впервые публикуется переписка Джакомо Пуччини и оперного режиссера Владимира Алексеева, ставшего одним из первых популяризаторов творчества композитора в России. Указанные письма впервые вводятся в научный оборот и таким образом дополняют корпус переведенного ранее эпистолярного наследия. В письмах, относящихся к 1913–1917 годам, затрагиваются разные аспекты творчества Пуччини, в том числе связанные с российской музыкальной культурой: постановка оперы «Девушка с Запада» в Москве, отклики на творчество Скрябина, Рахманинова и Стравинского, ситуация с постановкой опер Пуччини в Большом театре. Сканированные копии писем предоставлены для работы Российским национальным музеем музыки. С разрешения Музея в статье приводится фотокопия одного из писем Пуччини. This article is the first publication of the correspondence between composer Giacomo Puccini and opera director Vladimir Alekseyev, who became one of the first popularizers of Puccini’s work in Russia. It is the first time that these letters are introduced into scientific circulation and thus supplement the corpus of the previously translated letters of the composer. Letters from 1913 to 1917 touch upon various aspects of Puccini’s work, including those related to Russian musical culture, such as production of the opera La fanciulla del West in Moscow, responses to the works of Scriabin, Rachmaninov and Stravinsky, the situation with staging of Puccini’s operas at the Bolshoi Theater. Scanned copies of the letters are made available for work by the Russian National Museum of Music. With the permission of the museum, the article presents a photocopy of one of Puccini’s letters.

Children's labor colonies - the forerunner of Soviet pedagogy (Shatsky S.T.)

В статье раскрыт опыт создания первых трудовых колоний-поселений для детей в России начала прошлого века; описаны педагогические эксперименты С.Т. Шацкого и других педагогов. Автор обосновывает точку зрения о том, что советская педагогика зародилась как «исправительно-трудовая педагогика» и сохраняет ее следы в современном образовании, а также опровергает версию о ее преемственности с идеей трудовой школы Н.К. Крупской. Ша́цкий Станисла́в Теофи́лович (1878—1934) — российский и советский педагог - экспериментатор, автор трудов по вопросам воспитания. Разносторонний и талантливый, он долго ищет свое призвание, успешно учится в Московской консерватории по классу вокала и даже приглашается в оперную группу Большого театра. В 1893 году Шацкий поступает в Московский университет, где с мехмата переводится на медицинский факультет, затем переходит в Тимирязевскую сельхозакадемию, но и ее не заканчивает. К этому времени он уже решает стать педагогом, вдохновляется опытом школы Л.Н. Толстого в Ясной Поляне, где учащиеся много внимания уделяли сельскому труду. В 1906 году Шацкий при поддержке архитектора и просветителя А.У. Зеленко открыл в Москве клуб для детей. Средства на строительство дал обладатель самого большого состояния России начала XX века предприниматель Н.А. Вто́ров, прозванный «русским Морганом». После закрытия клуба полицией, Зеленко уезжает в США, а Шацкий продолжает педагогические эксперименты в создаваемых им новых трудовых коммунах. С 1932 по 1934 г. Шацкий - директор Московской консерватории и Центральной педагогической лаборатории. The article reveals the experience of creating the first labor colonies-settlements for children in Russia at the beginning of the last century, it describes the pedagogical experiments of ST Shatsky and other teachers. The author substantiates the point of view that Soviet pedagogy originated as a "correctional-labor education" and retains its traces in modern education, and also refutes the version about its continuity with the idea of the labor school of N.K. Krupskaya. Shatsky Stanislav Teofilovich (1878—1934) — Russian and Soviet teacher-experimenter, the author of works on education. Versatile and talented, he has been searching for his mission for a long time, successfully studies at the Moscow Conservatory in the vocal class and is even invited to the opera group of the Bolshoi Theater. In 1893, Shatsky entered Moscow University, where he transferred from the Faculty of Mechanics and Mathematics to the Faculty of Medicine, then transferred to the Timiryazev Agricultural Academy, but did not finish it either. By this time, he had already decided to become a teacher, inspired by the experience of L.N. Tolstoy's school in Yasnaya Polyana, where students paid much attention to rural work. In 1906, Shatsky, with the support of the architect and educator A.U. Zelenko, opened a club for children in Moscow. The funds for the construction were given by the owner of the largest fortune in Russia at the beginning of the 20-th century, entrepreneur N.A. Vtorov, nicknamed "Russian Morgan". After the club was closed by the police, Zelenko left for the United States, and Shatsky continued his pedagogical experiments in the new labor communes that he created. From 1932 to 1934 Shatsky was a director of the Moscow Conservatory and the Central Pedagogical Laboratory.

GUO SHUZHEN IS ONE OF THE FIRST CHINESE PERFORMERS OF TATIANA IN THE OPERA "EUGENE ONEGIN" BY P. I. TCHAIKOVSKY

The article presents a portrait of the famous Chinese soprano singer Guo Shuzhen, who was one of the first performers of the role of Tatiana in China. It reconstructs in chronological order the stages in the creative path of Guo Shuzhen, who turned 2021 in 94. She began her ascent to the opera Olympus at the Central Conservatory of Beijing, where she was a student of Professor Sheng Xiang, the "Chinese Caruso", and completed her studies at the Moscow Conservatory, which she graduated with honours. In the class of Professor E. K. Katulskaya, а former soloist of the Bolshoi Theater, the singer joined Russian culture and Russian music and mastered the classical opera repertoire. The part of Tatiana seems to have been inherited by her teacher as E. K. Katulskaya sang this part at the Bolshoi Theater. In 1962 Guo Shuzhen took part in the production of the opera "Eugene Onegin" by P. I. Tchaikovsky at the Beijing Tian Qiao Theater and helped in the translation of the opera's libretto into Chinese. To date, Guo Shuzhen is a Professor of Vocal Music and Opera Department at the Central Conservatory of Beijing.

The peculiarities of interpretation of female images of W. Shakespeare play “The Winter’s Tale” in the eponymous ballet by Christopher Wheeldon

The subject of this research the interpretation of female images of W. Shakespeare's “The Winter's tale” by C. Wheeldon in the context of its ideological-imagery identity to the literary source. An attempt is made to determine the expressive means and choreographic elements used by ballet master in staging female roles, as well as their contextual juxtaposition to the primary source. The application of comprehensive approach is substantiated by versatility of the problem on interpretation of W. Shakespeare’s play on the ballet stage. The theoretical framework of this article is comprised of the principles of critical and semantic analysis of choreographic lexis developed by the historians and theoreticians of ballet art (Dobrovolskaya, Krasovskaya, Slonimsky, Lopukhov, Surits). In the course of histotiohraphical analysis, the author considered the English-language peer reviews to the world premiere of the ballet (citations from the articles are presented in the author's translation), as well as video materials from the archives of London Royal Opera House and Moscow Bolshoi Theater. The author also applied the method of overt observation based on the personal work experience with Wheeldon as a performer in Bolshoi Theater), accompanied by the analysis of rehearsals for March – April of 2019 from the author's archive. The conducted detailed semantic analysis of the composition and choreographic lexis of female images of Shakespeare's play “The Winter's Tale”, interpreted by Wheeldon in the eponymous ballet, appeared to be the key instrument in development of the articulated scientific problem. The research results contain substantial groundwork in the aspect of determination of the classical and innovative artistic elements of the dance language developed and applied by C. Wheeldon. This allows concluding that leaning conceptually on Shakespeare's text, the choreographer adapts the interpretation of female images to a certain extent, using the expressive potential of the stylized ballet art. At the same time, the key expressive means in staging female roles becomes the individualized plasticity interpretations of the heroines.

STARS OF THE BOLSHOI THEATER

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