Music

“We need to perform more Russian music”

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Yana Ivanilova

Soprano Yana Ivanilova of modern vocalists has perhaps the most extensive repertoire: she is subject to all styles and eras. At the artist’s concerts you can hear works that no one performs anymore.

IN FAN interview the singer told about the project “Music of the Russian manor” and about undeservedly forgotten works of domestic composers.

– Why are there among the beautiful works that are rarely performed, and those that are “played to the holes”?

– Fashion is also in music. The more you listen to the classics, the more you like it.

From the very beginning, it was interesting for me to find new, unknown works, and old ones, written long ago, but for some reason forgotten. It is especially thrilling when you discover and show people these forgotten treasures, musical historical evidence. My friends and I have been doing these “excavations” for many years.

But all these painstaking research, alas, very rarely fit into modern concert life. In most cases, concert organizations put the financial component of the event at the forefront – the task is to lure the audience into the hall. It is believed that little-known authors do not attract the public. And classical music cannot exist in market conditions – it is not commerce, it is spiritual and cultural education. Extremely important thing for society.

– But do you still manage to promote your unique programs?

– The Moscow Philharmonic has a season ticket “Chamber Operas in the Chamber Hall” and a season ticket “Northern Parnassus”. Cultural ties between Russia and Europe in the second half of the XVIII-XIX centuries, in which the ensemble “Baroque Soloists” and I perform real gems, works that rarely sound, or sounded centuries ago, or never performed in Russia. Wonderful forgotten music! All this is based on the enthusiasm, ideas, inspiration and great research work of our artistic director, a wonderful modest man – Andrei Spiridonov. In addition, he himself adapts operas to the chamber ensemble, and this is a huge work! And in the hall – a small number of spectators.

It is a pity that a tremendous amount of work has been done, and the work sounds, as a rule, only once on stage. They sang – and forgot… We have three new operas every season and almost all of them sound once.

It is monstrous that such amazing programs, spreading not only musical but also historical horizons, are not in demand, their public does not know, because the media does not write about them, there is no advertising.

Russian opera, before being realized in Glinka’s beautiful works, began its development at least half a century earlier. Evstignei Fomin’s beautiful opera based on the poems of Ivan Krylov, a fable writer with the catchy title “Americans”, was written in the 80s of the 18th century. She is full of humor, passion and adventure, and easy to listen to. We managed the impossible – we did it twice!

We have an opera in our repertoire – vaudeville based on the texts of Alexander Sergeyevich Griboyedov and Peter Andreevich Vyazemsky “Who is a brother, who is a sister, or Deception for deception.” The music was written by Alexei Nikolaevich Verstovsky, who at best is known to the public only for one opera “Askold’s Tomb” «

The listed names of the authors are a separate story – fascinating, associated with the best minds of our country: Vyazemsky – a statesman, Griboyedov diplomat, playwright. And they, it turns out, wrote lyrics for merry vaudeville!

Yana Ivanilova: “Everyone has a divine voice with which the soul sings”

– Last season in the same season ticket (Music of the Russian manor) there was a program “Coronation of Tavrida, Potemkin and Catherine”. The music was presented in the context of a topic that is now in the focus of public interest – the history of Crimea’s accession to Russia. Potemkin’s attempt to establish a Music Academy in the south of Russia. By the way, this issue has not lost its relevance today. Nobody offered to hold this program in the regions, to show in the Crimea?

– No, we presented this program only once (in January 2021) again in the chamber hall of the Moscow Philharmonic and it did not go anywhere else. And so far no one has suggested that we repeat it.

But we were in the Crimea on another occasion – we participated in the Chersonese festival with a bright, comic opera by the composer of the 18th century Fomin “Miller – a sorcerer, deceiver and matchmaker.”

We have now applied for a grant to be able to record little-known Russian operas and works related to Russian history. And there is even an idea to offer the Moscow authorities to use this CD as a musical business card of the capital.

On the history of St. Petersburg, shown through music, we also make interesting programs, and began this work in 1995 with the soloist ensemble “Orfarion”, artistic director Oleg Khudyakov, with whom they recorded a disc at the Parisian firm “Opus 111” “Music of St. Petersburg court ». And this program was a great success. There were works by Princess Kurakina, Teplov, Kozlovsky, Dubyansky, his hit “Moan Blue Dove”.

– Are there any problems with finding notes?

– There are many ancient scores in various libraries of St. Petersburg and Moscow, many of them in the Museum of Music, stored in manuscripts. And how unfortunate that Alyabiev’s wonderful operas and vaudeville were not published! And this is first-class music with wonderful drama!

How good it would be to join forces and present the national heritage to the listeners! We are talking not only about the musical texts of the 18th and 19th centuries, but also the scores of composers of the 20th century, for example, the wonderful romances and plays of Nikolai Golovanov. Believe me, there is a huge amount of wonderful music lying dead on the archive shelves. Something needs to be done about this!

– Is one thematic subscription to multimillion-dollar Moscow miserable?

– How good it would be to create a vaudeville theater, where you can stage Russian baroque operas and vaudeville on a regular basis, and hold historical concerts. Vaudeville is a very democratic genre. This is a kind of Russian musical of the 19th century.

And a little more about Alyabiev: Oleg Khudyakov managed to get the score of his opera “Moonlight” and we performed it for the first time in public in Moscow and Nizhny Novgorod. It was a world premiere. And for the general public, Alyabiev is only the author of the romance “Nightingale”, although this romance was not written in the way it is now performed «

Russian early baroque at first seems too simple music, uncomplicated. When I first met her, it seemed very banal. So everything is funny and naive. And then, when you immerse yourself in it, you are imbued with its touching sincerity and poeticism, where every note comes from the heart. Intimacy and lack of hypocrisy can be seen in this music, even with secular courtesy.

We need to perform more Russian music, more often perform romances by Glinka, Tchaikovsky, Rachmaninoff, Taneyev, Metner and other geniuses of our culture, showing people wonderful, unique in world culture images of Russian musical and poetic lyrics! The chamber vocal music genre needs to be supported.

– Do you think that due to sanctions and the situation in Ukraine, “import substitution” will occur not only in the economy, but inevitably in culture?

“Let’s see.” I hope that the festival program in Russia this summer will be interesting, that a festival will take place in Yelabuga, which is made by a great pianist, great musician Boris Berezovsky. I look forward to the festival in Uglich. I really hope to take part in the concerts of the favorite St. Petersburg festival “Palaces of St. Petersburg” under the direction of Maria Safaryants.

Interviewed by Irina Stolyarova, RIA FAN

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