Municipal state educational institution
"Vvedenskaya main comprehensive school»
XII INTERNATIONAL
SCIENTIFIC AND EDUCATIONAL READINGS
"Christian Values in a Changing World: The Problem of Choice"
Regional open scientific and practical conference dedicated to the women of the Kursk region,
"RECOGNITIONED, LOVED, STORED BY THE KURSK LAND"
FORM OF WORK: composition
JOB TITLE:
Lydia Chernykh. Path to Glory"
Performed:
8th grade student
MKOU "Vvedenskaya OOSh"
Kaskova Alexandra
Supervisor:
Davydova Tatyana Vasilievna,
teacher of Russian language
with. Introduction
2016
Introduction ................................................ ................................................. .................3
Chapter 1. "Bell" ....................................................... ................................................4
Chapter 2 .................................................6
Chapter 3 ................................12
Conclusion................................................. ................................................. ...........thirteen
Bibliography............................................... .........................fourteen
Introduction
Do you love to sing? When I was very young, I often sang songs from cartoons and feature films. Having started to study at school, she tried to sing at any holiday. Feeling the microphone in my hand, I considered myself happiest person on the ground. I wanted to sing and sing and sing...
One day my grandmother asked:
Do you want to become an artist?
And she told me about her peer from a neighboring village, who, just like me, loved to sing since childhood. And she was, like me, from a simple large family. There is only one difference: that girl always dreamed of becoming an artist. For me, singing is just a hobby.
I eagerly blurted out my question:
Did her dream come true?
Yes, Grandma replied.
I really wanted to know how a girl from the Russian outback could become a famous artist. What challenges did she have to overcome? What has she achieved in life? My grandmother did not know all the details that interested me, but she advised me to turn to a person who would certainly be able to clarify at least something: to the head of the administration of the Timsky Village Council, Sergey Nikolayevich Chernykh. He knows Lida Chernykh well (that is the name of that very girl), once, many years ago, he lived next door to her.
Curiosity took over. I decided to interview Sergei Nikolaevich and try to understand why (or to whom) Lidia Alekseevna Chernykh became an Honored Artist of the RSFSR (1986), a People's Artist of Russia (1994).
Chapter 1 "Bell"
And here I am in the office of the head of administration S. N. Chernykh. Having learned about the purpose of my visit, I was surprised, but delighted: “I will help in any way I can. After all, I’m nine years younger, and so many years have passed ... I don’t remember much. ”
K. A .: Sergey Nikolaevich, what do you remember about Lidia Chernykh's parents?
S. N .: Father Alexei Mikhailovich was a shoemaker (he sewed boots, slippers, bags), played the harmonica. Mother Anna Maksimovna was a collective farmer, she sang well.
K. A .: How many children were there in the family and what was Lydia born in a row?
S.N.: There were five children in the family. At that time, such a number of children was not uncommon. Rather, it was a pattern. Lida was the fifth, her mother was even afraid to give birth to her: she was 44 years old. She said people would laugh.
K. A .: Tell me, did they guess in the village that the girl would become a famous singer?
S. N. Parents laughed at their daughter's dream of "becoming an artist". And the villagers, hearing her voice, said with some reverence: "Lida sang." At every rural holiday, her sonorous performance was always expected, for which they were nicknamed "The Bell".
K. A .: At what age did Lidia Alekseevna have to leave home? And how did it happen?
S.N.: Then life in the village was very difficult. After graduating from the 8th grade, her brother took her to Riga, where there is a school for working youth, participation in amateur art activities. There she accidentally met her first vocal teacher, the former prima donna of the Riga operetta E.P. Tomgorova. And then she studied at the conservatory in Moscow.
K. A .: And what songs were in her children's repertoire?
S.N.: Different. Many folk, songs by Lyudmila Zykina (it was her favorite singer)
K.A.: And now she also performs folk songs?
S.N.: Well, what are you! (Laughs) Her repertoire includes opera and chamber music, romances.
K. A .: Did her parents go to her performances?
S. N .: Father died early, when Lida was 15 years old. And my mother once was at the play, called her daughter "goddess"
K. A ..: Does she come to her native places where she spent her childhood?
S.N.: Yes, quite often. She also has relatives here. Cousin lives in village 1 Vygornoe.
K.A.: And when Lidia Alekseevna was last time?
S.N.: In 2014. Then she gave me her autographed CD. I invited her to my house to visit. My wife was then very afraid of this meeting: “Such a celebrity! How should I behave? But communication was very easy, as if with a loved one.
Here Sergei Nikolaevich interrupted our interview, referring to the large amount of work, but promised to provide more detailed and full information(notes from newspapers, magazines); and I sat, as if spellbound, it was so interesting to listen, as if I myself had lived these fragments of the life of my wonderful countrywoman. I realized that I could not help studying all the printed material about Lydia Chernykh. It is important!
Chapter 2
Admission to the Moscow State Conservatory Chernykh did not seem particularly difficult: immediately after the first round, despite a huge competition, she was accepted into the class of the famous professor, formerly a famous opera singer D. Ya. Pantofel - Nechetskaya. Thanks to her pedagogical skills, natural instinct for talent and subtle artistic taste, Lidia Chernykh's voice revealed itself in all colors, acquired a unique sound, filled with life, and her performance acquired meaningfulness and virtuosity.
The debut of the singer, a 4th year student, on the stage of the Musical Theater named after K. S. Stanislavsky and V. I. Nemirovich-Danchenko in the part of Tatyana from Tchaikovsky's opera "Eugene Onegin" not only attracted the attention of specialists - members of the artistic council were amazed by her very special talent , unconditional performing skills and bright stage appearance. She was invited to the trainee group, from there she was transferred to the main part of the theater. Lidia Alekseevna herself says: “The most important of my heroines - and this is forever - remains Tatyana. She carried me throughout my life. After all, for the first time on the theater stage, I appeared in this party. The apotheosis of Lydia Chernykh is Tatyana, who still remains the same loving, reverent, young ...
"A miracle from Russia" was called L. A. Chernykh by the music columnist of the French newspaper "Figaro", admiring her "unusually beautiful and strong voice." The German critic of the "Schwebitz Zeitung", noting her "noble timbre" and "freely flowing even sound" of the Russian singer's voice, could not resist an enthusiastic assessment: "This is a soprano of the highest - a gold standard!" Even the Italians, stingy with praises to foreign singers, did not avoid laudatory epithets, calling Lidia Chernykh's voice a "divine gift." Such a moment always lives in her memory: “I sang Kupava. The opera was performed in concert. Together with me, then still a young singer, Irina Arkhipova, Tamara Sinyavskaya, Yuri Mazurok, Alexander Vedernikov participated in the performance ... Vladimir Fedoseev conducted. A sophisticated audience gathered in the prestigious Pliel concert hall in Paris ... When it was all over, each of us went out to bow. My turn came too. And suddenly something shook. I was frightened, I thought that the spotlight had burst or some beam had collapsed. But it turned out that it was a flurry of applause. Irina Konstantinovna Arkhipova pushed me: “Go. They are calling you." I will die - I will not forget this sound.
“The first independent theatrical work of Lydia Chernykh was the role of the temperamental, passionate Spaniard Carmella in F. Zuppe's operetta Doña Juanita, which Chernykh performed with brilliance, demonstrating virtuoso vocals, stage charm, the ability to dance, move and speak. The latter is especially important for singers, because, according to Stanislavsky, they “lose a lot if they don’t engage in artistic reading. Music with an illiterate word, with an unsound voice is terrible, and if a voice does not sound in a word, then there is neither opera nor music.
Classical operetta is a wonderful school for a singer. It requires excellent vocal and stage training, because the performer has to sing like in an opera, dance like in a ballet, play, speak and improvise like on a dramatic stage, at the same time he must be able to listen and hear the orchestra, his partners, obey the conductor's hand. V. I. Nemirovich-Danchenko constantly emphasized that in order to maintain stage form, “dramatic artists need to appear in vaudeville, and opera artists in operettas.”
The meeting with Zuppe, whose melodies are characterized by flexibility and plasticity, played a definitely positive role in creative biography Lidia Chernykh, became a serious preparation for the title role in J. Offenbach's operetta "The Beautiful Elena", which for many years adorned the poster of the Musical Theater and brought the singer a well-deserved success. This role in a play once staged by V. I. Nemirovich-Danchenko himself, Chernykh prepared together with the first performer of the part of Elena in this production, N. F. Kemarskaya. Literally from the first notes of the aria: “I was seized with happy delight when he looked into my eyes, how I saved my bashfulness from fiery love arrows ...” - the audience froze, listening to every sound of the singer’s divine voice. If we add to this the excellent external data of the performer, we will see Elena, whom contemporaries called the Beautiful.
The singer's repertoire includes more than thirty leading roles: Tatyana from Eugene Onegin, Lisa from The Queen of Spades, Zemfira ("Aleko"), Bianka ("The Taming of the Shrew"), Kupava ("The Snow Maiden"), Gorislava ("Ruslan and Lyudmila ”), Desdemona (“Othello”), Natasha Rostova (“War and Peace”), Violetta (“La Traviata”) and others. She prepared and sang solo concert programs from the works of P. Tchaikovsky, G. Verdi, G. Puccini, M. Mussorgsky, N. Rimsky-Korsakov, S. Rachmaninov, S. Prokofiev, I. Strauss, F. Lehar, I. Kalman. Each new theatrical work of the singer is an event in the musical life of Moscow, an invaluable gift to opera lovers. But the People's Artist of Russia lives not only in the theater, her unique talent is in demand on the most prestigious Russian and foreign stages (in Moscow, St. Petersburg, Kazan, cities in Italy, Germany, USA, France, Japan, Yugoslavia ...) She recorded on radio and television many programs of opera and chamber music, including a program included in the "Golden Fund" of television and radio broadcasting; a record of Rimsky-Korsakov's romances and a CD of N. Medtner's most difficult romances to verses by A. Pushkin and F. Tyutchev, which Lidia Chernykh prepared together with accompanist L. A. Orfenova, were recorded.
I was fascinated by the deep, subtle, lyrical poems of great poets and the very poignant philosophical music of Nikolai Medtner, - the singer explains her choice. - These romances fell on my soul so much that I immediately realized: this is mine.
A wide range of natural vocal abilities and good professional training allow Lidia Chernykh to confidently master the styles of various composers. But especially close to her is that music that makes it possible to reveal the lyricism, spiritual generosity, sacrifice of opera heroines, when the entire musical fabric of the work is permeated with their feelings (Tatyana from Eugene Onegin, Iolanta from the opera of the same name, Zemfira from Aleko, Mimi from " Bohemians, Lida from the Battle of Legnano, Kupava from The Snow Maiden, Natasha Rostova from War and Peace, Violetta from La Traviata, Desdemona from Othello). It was about such operatic characters that P. I. Tchaikovsky wrote in a letter to S. I. Taneev: “I have always tried to choose plots in which real living people act, who feel the same way as I do.” Chernykh also sings only the music that is in tune with her soul. In revealing the complex spiritual world of her heroines, Lydia Chernykh shows extraordinary psychological insight and depth of understanding of human characters (“I live not with passions, but with my soul, I live the life of my heroines with my heart”).
In "Iolanthe", one of the finest examples of Tchaikovsky's light, life-affirming lyrics, the singer sees the main through line of her part in the continuously growing desire for light and joy. Intonationally accurate, with inspired lyricism, she conveys the poetry of a pure girlish soul, the beauty and strength of a feeling of love and fidelity. The whole appearance of the Blacks - Iolanthe - luxurious blond hair, flowing waves of a transparent silk dress, careful movements and gestures of a blind person - is full of defenseless beauty, inner poetry and some kind of unearthly spirituality, and the divine voice of a noble timbre and even sound, freely flowing and hovering over orchestra, elevates the souls of the listeners, forcing their hearts open to the light to beat faster.
Just as in love, tender and trusting we see Cherny - Desdemona in G. Verdi's Otello, one of the most perfect incarnations of the Shakespearean theme on the opera stage. And here Lydia Chernykh managed to reveal with great force the spiritual tragedy of her heroine, the tragedy of two loving hearts. The opera is performed in Italian. But the audience doesn't seem to notice. Real music doesn't need translation. Listening to Chernykh, one becomes convinced of how much purely sonic beauty is in her voice.
But what is the most characteristic feature of her unique voice, what elevates it above other voices no less valuable in terms of vocal material, is its inner flexibility, penetration. In preparation for the role of Desdemona, the singer re-read Shakespeare more than once, listened to recordings of this part performed by Renata Tebaldi, Katya Richarelli, and other famous stars, but not in order to imitate them, but to create her own vocal and dramatic image. “Perhaps it will seem strange,” notes Lydia Chernykh, “but the Italian Desdemona for me is in many ways similar to Pushkin's Tatyana Larina. The manifestation of feelings may be different, but the feelings themselves remain the same.
The vocal and dramatic colors were found by the singer with unusual accuracy when creating the image of Violetta in G. Verdi's La Traviata, written by the composer with the simplest musical means, in soft watercolor semitones. All attention is focused on the inner world of the heroine and her tragic conflict with environment. Violetta's arias and duets are imbued with a true understanding of the music style of the "great Italian". Here is the subtlety of nuance, and light, like a breath of wind, sound, and intonational expressiveness. Violetta performed by Chernykh is lively, emotional, and the very sound of the singer's voice is warm, earthy, which is so necessary and sometimes lacking for many performers of this part.
Now Lidia Alekseevna is an outstanding teacher, associate professor of the Academic Music School at the Moscow Conservatory. P. I. Tchaikovsky, also teaches solo singing at the Moscow state university culture. Teaching others to sing is hard. Among her students there are laureates of prestigious competitions, the best sing on the opera stage, including in Bolshoi Theater(Ekaterina Vasilenko). Lidia Chernykh is proud of them, she strives to pass on to her students the experience she received from her teachers and acquired on the capital and European stages. She generously shares the most cherished secrets of her amazing profession, where “a little bit” sometimes means “everything”. Here are her memoirs: “I was terribly worried during the exam of my first graduate - more than if she sang herself. I hope that the work of my students, to whom I gave a start in life, will turn out well, and they will remember me with a kind word.
Chapter 3
I think that I will not be mistaken when I say this phrase: Lidia Chernykh's life is music and the stage. Does this woman have any hobbies, interests, finally, a family?
Correspondents of the regional newspaper "Word of the grain grower", talking with our fellow countrywoman, recognized her from the other side. She loves to read classic novels and Russian poetry. AT free time tries to visit exhibitions, museums, go to the drama theater or listen to good music in the concert hall.
Lidia Alekseevna is a wonderful wife and caring mother. Her husband is a double bass player, plays in the State Symphony Orchestra; son Andrey is a cellist. In Lydia's small two-room apartment, only the kitchen remains for classes. But she does not complain, on the contrary, she treats this with humor:
This is my office. Here I sing, here I cook. My men especially welcome a variety of pies - with cabbage, mushrooms, potatoes, fish, apples.
It turns out that Lydia's soul is also extraordinary, as if it radiates some kind of special light. This is probably because she subordinates her life to this rule: “The more difficult, the greater the desire to overcome. It's in everything I do." Involuntarily, the words of L. N. Tolstoy are recalled: “Happy is the one who is happy at home.” And my heroine is really happy. And in his office-kitchen, and in a huge house called Russia. She confidently declares: “Tours - yes, please, with pleasure ... but to leave Russia forever and come here as a guest? No, it's not for me."
Conclusion
I am starting the final page of my work. Time to take stock...
Firstly, I got great pleasure and as if I myself became taller and better. Secondly, a special feeling appeared in my soul. It is like joy. Thirdly, our country is also special if such wonderful people live in it! Now I can tell why a simple country girl has become a celebrity. Talent, work and mystery are the three "Ts", which, according to A. A. Akhmatova, create a great artist. The original gift of our compatriot Lydia Chernykh, her wonderful voice, which sounded in many concert halls, gained fame and enthusiastic responses around the world. It seems that it costs nothing for this voice to soar freely even over the full sound of the orchestra. And one can only guess what a titanic work has been invested here, how much life has been given to each sound ... But the secret of her bewitching artistic charm, the extraordinary timbre of her voice, her appearance on stage, which does not tolerate a single false note - this secret to us, listeners and viewers, destined to solve every time anew - never to unravel to the end.
Lydia Chernykh also comes to her small homeland, willingly meets with the people of Timothy, and they are proud of her. In the Timsky Museum of Local Lore, in the regional library, in the building of the village club in the village of 1st Vygornoye, stands and corners dedicated to the life and work of Lidia Alekseevna Chernykh were decorated. And I would very much like her performances to take place in Kursk. I think it's unfair that this hasn't happened yet.
List of used literature
B.M. Pokrovsky. Stars of the capital scene / ed. B. M. Pokrovsky. - M .: AST-press book, 2002
G. Okorokova. Daughters of the nightingale region: Century 20 / ed. G. Okorokova. - Kursk: Kursk regional public organization Union of Women of Russia - 2008
I. Verbova. Star solo of Lydia Chernykh / I. Verbova / / Sudarushka - 1996, No. 10
4. N. Lagina. The main theme is love / N. Lagina / / Muscovite - 1994, No. 3
N. Liquid. Star of the capital scene / N. Zhidkikh / / Word of the Khleboroba - 2009, No. 62
V. Filimonov. From a shoemaker's family to folk artists / V. Filimonov / / Land and business - 2012, No. 23
Chernykh Lidia Alekseevna - Soviet and Russian opera singer (soprano). People's Artist of Russia. In 1977 she graduated from the Moscow State Conservatory (teacher - Professor D. Ya. Pantofel-Nechetskaya). Since 1976 - an intern, and soon - a soloist of the Musical Theater. K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko. Since the late 1970s, she has sung leading roles in most of the theatre's performances. Participated in performances of the Wroclaw Opera House in Poland (Tatiana in "Eugene Onegin" by P.I. Tchaikovsky, 1980), in productions of "Eugene Onegin" in France (1987), "Boris Godunov" by M.P. Mussorgsky in Italy (1989). In France, she also performed the parts of Lisa in Tchaikovsky's The Queen of Spades, Kupava in N.A.'s The Snow Maiden. Rimsky-Korsakov, Zemfira in "Aleko" by S. V. Rachmaninov; in Italy - Lisa in The Queen of Spades. Toured in Germany, France, Italy, Belgium, Yugoslavia, Japan, USA. He has stock records on radio and gramophone records: arias from operettas by F. Lehar, I. Kalman, romances by P.I. Tchaikovsky, "Eugene Onegin", "Queen of Spades", "Snow Maiden", "Romeo and Juliet" P.I. Tchaikovsky with the Grand Symphony Orchestra. P.I. Tchaikovsky under the direction of V.I. Fedoseev; "Sorochinsky Fair" by Mussorgsky, "The Taming of the Shrew" by V.Ya. Shebalin, "Requiem" by O.A. Kozlovsky, arias from operas and romances with a radio and television orchestra conducted by Y. Silantiev, conductor V.M. Esipov. Participated in the recording of D. Bortnyansky's opera "Rival Son", conductor M.V. Yurovsky.
Today the soloist of the opera, professor of the Moscow State Conservatory, People's Artist of Russia Lidia Alekseevna Yatsynych (Chernykh) celebrates her birthday.
Russian President Dmitry Medvedev sent her a congratulatory telegram, the Kremlin press service reports. In the telegram, in particular, the president writes: “Your entire creative path is connected with the theater. K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko. On his famous stage, professional recognition and love of the audience came to you. Your multifaceted talent was appreciated by fans of opera, operetta, and classical romance.
A wonderful teacher, for many years you have been teaching gifted young people how to sing solo. Your students are distinguished by brilliant performing skills and artistic taste.”
Medvedev wished the birthday girl prosperity, health and good luck.
Lidia Alekseevna Yatsynych (Chernykh) graduated from the Moscow State Conservatoire in 1977. P. I. Tchaikovsky (class of Prof. D. Ya. Pantofel-Nechetskaya).
Since 1976 - an intern, and then - a soloist of the Musical Theater. K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko. Since the late 1970s, she has sung leading roles in most of the theatre's performances.
Toured in Germany, France, Italy, Belgium, Yugoslavia, Japan, USA.
In 1980 she took part in the performance of the Wroclaw Opera House in Poland (Tatiana in Tchaikovsky's "Eugene Onegin"), in 1987 - in the production of "Eugene Onegin" in France. 1989 - in the production of "Boris Godunov" by M. P. Mussorgsky in Italy.
In France, she also performed the parts of Lisa in The Queen of Spades by P. I. Tchaikovsky, Kupava in The Snow Maiden by N. A. Rimsky-Korsakov, Zemfira in Aleko by S. V. Rachmaninov; in Italy - Lisa in The Queen of Spades.
Lidia Alekseevna - Professor of the Department of Solo Singing of the Moscow State Conservatory. P. I. Tchaikovsky. Since 1989 he has been teaching at the Academic College of Music at the Moscow State Conservatory. P. I. Tchaikovsky.
