OSIP PETROV

"The artist, this may be one of the founders of Russian opera. Only by such singers as it is our Opera House could take a high place with dignity is to compete with the Italian opera. So defined VV Stasov place Osip Petrov in the development of national art. Yes, the share of the singer dropped a truly historic mission - he was at the origins of the domestic musical theater, along with Glinka laid its foundation.

At the historic premiere of Ivan Susanin "in 1836 Osip Petrov played the lead role, which is prepared under the direction of the Mikhail Ivanovich Glinka. And since then, an outstanding artist reigned supreme at the national opera.

Place Petrova in the history of Russian opera, the great Russian composer Mussorgsky defined as follows: "Petrov - titanium, which bore the Homeric his shoulders nearly everything that was created in dramatic music - start with 30-s . . . How many bequeathed, as many unforgettable and profound art taught by dear grandfather. "

Osip Petrov was born on November 15, 1807 in the city Yelisavetgrad. Lonka (as he was called at that time) Petrov grew up a street boy without a father. Mother, market vendor, hard-earned pennies. In seven years lonka entered the church choir, which is clearly distinguished by its clear, very beautiful soprano, eventually turned into a powerful bass.

In the fourteen years in the fate of the boy′s change has happened: the brother of the mother took to her lonka, in order to accustom him to the case. Konstantin Petrov Savich was heavy on hand; boy′s uncle had to pay for bread, hard work, often at night. Also my uncle looked at his musical passion as something unnecessary, to self-indulgence. Helped the case: in a house located on Postoj regimental bandmaster. Drawing attention to the boy′s musical ability, he became his first mentor.

Constantine Savvich forbade these lessons, he severely beat his nephew, when caught him on the exercise on the instrument. But the stubborn lonka not give up.

Soon after his uncle left for two years on business, leaving behind a nephew. Osip distinguished kindness - a clear obstacle to trade. Constantine Savich had to return on time, without giving the final ruin himself unlucky merchant, and Osip expelled from the "cause" and from home.

"The scandal broke out with his uncle at precisely the time when the troupe toured Elisavetgrad Zhurachovsky - writes ML Lvov.

Photo — «Osip Petrov»

- According to one version, Zhurachovsky overheard as masterfully Petrov played the guitar, and invited him into the troupe. Another version says that Petrov on someone′s patronage came to the scene extras. Keen eye of an experienced entrepreneur saw innate theatrical Petrova, immediately felt on the stage freely. Then Petrov allegedly stayed in the troupe.

In 1826 Petrov made his debut on stage in a play Elisavetgrad A. Shakhovsky "Cossack-poet. " He said in her text, and sang songs. The success was great, not only because they played on the stage "your lonka, but mainly because that Petrov was born exactly on the scene. "

To 1830 continued provincial stage of creative activity Petrova. He spoke in Nikolaev, Kharkov, Odessa, Kursk, Poltava and other cities. The talent of the young singer has attracted increasing attention of students and professionals.

In the summer of 1830 in the Kursk Petrov, drew the attention of MS Lebedev, director of the St. Petersburg opera. Advantages of a young artist is certain - the voice of the game, a spectacular appearance. So, ahead of the capital. "In a way, - talked Petrov - we stopped for a few days in Moscow, found the MS Shchepkina, with whom I already know . . . He praised the commitment at a very difficult feat, yet reassured, saying that he had noticed in me a great ability to be an artist. As I was encouraged to hear these words from such a great artist! They have given me so much courage and strength that I did not know what words to express his gratitude for his kindness to a visiting unknown man. In addition, he took me to the Bolshoi Theater, in the envelope, Ms. Sontag. I came to a complete delight from her singing, until then I never heard anything like it and not even realize to what perfection can reach a human voice. "

In St. Petersburg, Petrov continued to improve his talent. He started his he in the capital with the party Sarastro in Magic Flute "by Mozart, and this debut has caused a favorable response. In the newspaper "The Northern Bee" can be read: "The current time in the opera" The Magic Flute "was the first time on our stage, Mr. Petrov, a young artist, promised us a good singer-actor. "

"So, in a young Russian opera singer, came from the people - Petrov and enriched its treasures of folk song - writes ML Lvov. - At the time of the opera singer demanded such high sounds, which were unavailable to vote, without special training.

Photo — «Osip Petrov»

The difficulty lay in the fact that the formation of high-pitched sound required a new technique, other than the formation of sounds, this familiar voice. Naturally, Petrov for two months to master this difficult technique failed, and the critic was right when he noted in his singing debut at the "abrupt transition onogo in the top notes. " That is the skill of the smooth transition of ownership and very high sounds Petrov persistently studied at Kavos in subsequent years.

Then came the magnificent interpretation of the major bass parts in operas by Rossini, Megyulya, Bellini, Auber, Weber, Meyerbeer and other composers.

"Actually, my office has been very fortunate - he wrote Petrov - but I had to work very much because I played in the drama and opera, and no matter what the opera was given, I have always been busy . . . Although I rejoiced in his success in his chosen field, but are seldom satisfied with myself after the performance. Sometimes, the slightest failure in stage I was tormented and sleepless nights, and on another day will come, happened at a rehearsal - so ashamed to look at Kavos. The image of my life was very modest. Dating I had a little bit . . . For the most part I was sitting at home, singing scales every day, learned of the role and went to the theater. "

Petrov and later was a first-class performer Western opera repertoire. Characteristically, he regularly participated in performances of Italian opera. Together with their foreign counterparts, he sang in operas by Bellini, Rossini, Donizetti and here showed their tremendous artistic possibilities, acting, sense of style.

His accomplishments in foreign repertoire evoked sincere admiration of contemporaries. It should lead the line from the novel Lazhechnikov "Basurman, where it comes to opera, Meyerbeer:" Do you remember Petrova in "Robert the Devil," and how could I forget, I saw him in this role only once, and so far, when I think about it, I pursued the sounds, though feedback from Hell: "Yes, the patron. And this view, the charm of which your soul has no power to free themselves, and this saffron face twisted fury of passion. And the forest of hair, from which, it seems, is ready to crawl out a whole nest of snakes . . . "

But what he wrote, AN Serov: "Admire, with which the soul performs its Petrov aria in the first act, in the scene with Robert.

Photo — «Osip Petrov»

Good sense of paternal love of difference of opinion with the nature of hellish native, so natural to give this heart pouring without leaving the role - is a difficult matter. Petrov here and throughout the role completely conquered this difficulty. "

Serov emphasized in the game Russian actor that a favorable contrast to Petrova from other famous performers of this role - the ability to find humanity in the soul of the villain and to emphasize its destructive force of evil. Serov claimed that Peters in the role of Bertram and surpassed Ferzinga, and Tamburini, and Formeza, and Levasseur.

For the creative achievements of the singer followed closely composer Glinka. He appealed to rich shades of sound Petrov′s voice, which combines the power of thick bass-baritone with the mobility of light. "This voice was like the sound of a huge low prostrate cast of silver bells, - wrote Lviv. - At the high notes, he shone as the lightning flashed in the thick darkness of the night sky. " Bearing in mind the creative possibilities Petrova, Glinka, and wrote his Susanin.

November 27, 1836 - a landmark date of the first performance of Glinka′s "Life for the Tsar. It was the finest hour Petrova - he brilliantly revealed the character of a Russian patriot.

There are only two reviews of enthusiastic critics:

"In the role of Susanin Petrov cheered his full height of his immense talent. He created an everlasting type, and every sound, every word Petrova in the role Susanin will move to a distant posterity. "

"dramatic, deep and sincere feeling that can reach incredible pathetic, simplicity and honesty, fervor - that once nominated Petrova and Sparrow in the first place among our performers and made the Russian public to walk in crowds at the presentation of" Life on the king. "

Total Petrov sang Susanin two hundred ninety three times! This role has opened a new and most significant stage in his career. The way it pave the great composers - Glinka, Mussorgsky. As the author himself, he was equally were subject to both tragic and comic roles. Its top, followed by Susanin - Farlaf to "Ruslan and Ludmilla," Miller in "The Mermaid", Leporello in "The Stone Guest, Barlaam in Boris Godunov. "

On the performance of the Party Farlaf Q. Cui composer wrote: "What can I say about Mr.

Photo — «Osip Petrov»

Petrov? How to express the surprise tribute to his extraordinary talent? How do I transfer all the subtlety and typical games; loyalty to the finest shades of expression: highly intelligent singing? We will only say that among the many roles, such talent and originality created by Petrov, the role Farlaf - one of the best. "

And VV Stasov justly considered response Petrov Farlaf role model, which should be equal to all the performers of this role.

May 4, 1856 Petrov, first performed the role of Miller in the "Mermaid" Dargomyzhsky. Criticism both considered it a game: "One can say that Mr. Petrov creation of this role became purely certainly right to the title of artist. Mimicry his skillful recitation, unusually clear pronunciation . . . mimetic art brought him to such a degree of perfection that, in the third act, when one of his appearance, he had not heard a single word, according to a person on the convulsive movement of his hand it is clear that the poor miller mad. "

Even after twelve years, you can read this tip: "The Role of Miller is one of three incomparable types that Petrov, in three Russian operas, and perhaps his artistic creativity has not reached the upper limits of Miller. In all the various provisions of the Miller, in which he reveals greed, groveling before him, the joy at the sight of money, despair, insanity, Petrov is great. "

To this we must add that the singer was great and inimitable master of chamber-vocal performance. His contemporaries have left us ample evidence of the surprisingly soulful interpretations of songs Petrov Glinka, Dargomyzhsky, Mussorgsky. Along with the brilliant creators of music Osip safely be called the founder of Russian vocal art as on the opera stage and on the concert stage.

The final and extraordinary intensity and brilliance of the actor is off to the 70 th year, when Peter has created a series of vocal and theatrical masterpieces, among them - Leporello ( "The Stone Guest), Ivan the Terrible (The Maid of Pskov), Barlaam ( ; Boris Godunov "), etc.

Until the end of his days Petrov did not leave the stage. In figurative expression Mussorgsky, he was "on his deathbed, the role of their patrol rounds. "

Singer Died March 12, 1878.