OP2144. LA TRAVIATA (in Russian), Live Performance, 19 April, 1951, w. Semyon Sakharov Cond. Bolshoi Theatre Ensemble; Elizaveta Shumskaya, Sergei Lemeshev, Pavel Lisitsian, etc. (Russia) 2-Aquarius AQVR 261. - 4607123630327
“Elisaveta Shumsyaya made a relatively late début on the leading stage of her home-town, but her success there was of all the greater duration. In the one and a half decades after the Second World War she developed into one of the most indispensable singers at the Bolshoi Theatre and also at the studios of the Russian record company Melodiya. With her light, easy but substantial soprano voice she participated in around a dozen complete opera recordings, mostly in works by Western European composers.”
- Kurt Malisch, VOICES BEHIND THE IRON CURTAIN
“In Russia, Sergei Yakovlevich Lemeshev (1902-1977) is — along with Feodor Chaliapin — perhaps the most beloved opera singer in recent history. He was born into a very poor peasant family, in a small village, during the years of the Bolshevik revolution and the Civil war, and Lemeshev was required to become a cadet in the Red Army Cavalry School. It was, however, actually the Revolution that helped him make his dream of an operatic career come true, since the Bolsheviks gave the poorest peasants and proletarians a preferential right to free education. Sergei was assigned to study at the Moscow Conservatory where, after surviving a rigorous competition, he was accepted. (This determined his political views, for as he said many times, ‘the Soviets gave me everything’.) In 1931, he became a leading tenor of the Bolshoi, where he sang for the next 34 years, winning great acclaim. His audience grew, along with his fame, and he soon gained a veritable army of fans, called ‘lemeshevists’. His vocal and artistic qualities, evident to every listener, are beauty of timbre, musicality, effortlessness of vocal production, expressiveness, and very clear diction - qualities perhaps most commonly found in bel canto singers. An interesting comment on Lemeshev’s singing was made by the Bolshoi tenor Anatoly Orfenov: ‘He developed a mixed voice of incomparable beauty, which made it possible for him to take the highest notes with such beautiful richness that even specialists could not explain how it was done technically….His high C’s … sounded virile and full…His manner of lowering his larynx a bit on high notes allowed him to perform the parts which we ordinary lyric tenors did not sing’.”
- Natalie, "younglemeshevist"
“Everything about [Sergei Lemeshev] was artistic....On the stage, until the end of his career, he was a youth, beloved and vulnerable. Even at seventy he still drove his admirers into ecstasies every time he sang Lensky at the Bolshoi.”
- Galina Vishnevskaya, GALINA, p.324
“Lisitsian had a major career….enjoying three decades as a leading artist at the Bolshoi. He was the foremost interpreter of Tchaikovsky’s baritone rôles – perhaps the finest Onégin of his time. He also created several rôles in works by Prokofiev and was admired for his interpretation of leading rôles in the operas of Verdi, Gounod, Bizet and Puccini. The voice was a supremely beautiful instrument used with the phrasing and sensitivity of a fine instrumentalist.”
- Vivian A. Liff, AMERICAN RECORD GUIDE, Jan./Feb., 2011
"This Armenian baritone remains one of the best-kept musical secrets of the old Soviet state. The voice was remarkably warm, bright, and well produced, with a faster-than-normal vibrato that was perfectly even and possessed no beat. He also had Schipa’s own gift for phrasing in an imaginative, highly musical fashion that breathed life into whatever he did; and he had the technique and breath control to support his ambitious efforts."
- Barry Brenesal, FANFARE, July/Aug., 2002