Sadko   (Nebolsin;  Reizen, Gamrekeli, Khanaev, Barsova, Gribova, Zlatogorova, Petrov, Burlak)   (2-Aquarius AQVR 387)
Item# OP2984
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Product Description

Sadko   (Nebolsin;  Reizen, Gamrekeli, Khanaev, Barsova, Gribova, Zlatogorova, Petrov, Burlak)   (2-Aquarius AQVR 387)
OP2984. SADKO, recorded 1946­-47, w.Nebolsin Cond. Bolshoi Theatre Ensemble; Mark Reizen, David Gamrekeli, Nikandr Khanaev, Valeria Barsova, Elena Gribova, Bronislava Zlatogorova, Pavel Tchekin, Ivan Petrov, Ivan Burlak, Alexander Peregudov, Luka Zynovyitch, Anatoly Yakhontov, Ivan Skobtsov, Dmitry Martchenkov, Fedor Godovkin, Mikhail Novozhenin, Galina Nechaeva, Valentina Shevtchenko, Veniamin Shevtsov, etc. (Russia) 2-Aquarius AQVR 387. - 4607123631553


“Certainly one of the most sonorous, expressive and beautifully-controlled bass voices ever to have been recorded was that of Mark Reizen. He was a legend in his own lifetime in Russia and, at the age of 90, he was still able to make a remarkable stage appearance, singing Prince Gremin in EUGEN ONÉGIN….one of the greatest bass singers of the 20th century.”

- Alan Bilgora, THE RECORD COLLECTOR, 2010

“A superb singer and powerful actor with a highly expressive, rich voice of astonishing color and range, [Reizen’s] forte was legendary, but he also had a pianissimo so expressive it could stop a rehearsal to allow Natalia Shpiller singing opposite him to regain her composure, while the rest of the cast were drying their eyes.”


“Certainly Khanaev’s career is worthy of a long overdue consideration, as his importance as an artist has not been so easily recognised in the West, mainly because his recordings are rarely found as they were not distributed in the same volume as those of Kozlovsky and Lemeshev….For admirers of the Russian tenor voice and a singer who deserves to be better appreciated, a ‘must’.”

- Alan Bilgora, THE RECORD COLLECTOR, 2011

“Khanaev studied at the Moscow Conservatory under Zviagina from 1921 to 1924. In 1925 he worked at the Opera Studio of the Bolshoi Theater, and from 1926 to 1954 he was a soloist with the Bolshoi Theater. Khanaev was a singer of great theatrical and musical artistry. His unique talents were particularly evident in the Russian classical repertoire, for example, as Herman in PIQUE DAME and in the title rôle of SADKO. His other parts included Shuiskii in BORIS GODUNOV, Don José in CARMEN, the title rôle in OTELLO, and Grigorii Melekhov in Dzerzhinskii’s THE QUIET DON. Khanaev taught at the Moscow Conservatory from 1948 to 1950.”

- Z. D. Akron

“Born with a German name, Ivan Petrov assumed the role of quintessential Russian bass during the age between Mark Reizen and Alexander Pirogov and Evgeny Nesterenko, who followed a generation after. Endowed with a generous instrument -- solid, long-ranged, and refined -- Petrov attained first rank among the low-voiced singers at Moscow's Bolshoi and held his position for more than two decades. The onset of diabetes caused his retirement at age 50, but not before he had left an imposing recorded legacy. Petrov's family were naturalized Germans, resident in Russia under the name of Krause for several generations. His father had descended from a tradition of engineers and scientists, but singing, too, had been an integral aspect in the succeeding generations of the Krause family. After a childhood in Siberia during which he spent in his favorite pastimes of volleyball and football, Johann Krause moved with his parents to Moscow in 1936. The specter of German ambition overshadowed the Soviet Union at the time and those bearing German surnames were suspect. Hence, the family chose a new name and the teenager became known as Ivan Petrov. Through his studies at the Moscow Conservatory, Petrov's bass voice began growing noticeably in size and compass. At age 19, he was already working on arias of advanced difficulty; the following year, he was engaged by tenor Ivan Kozlovsky and the Moscow Philharmonic Society. He joined the ensemble in tours of operas presented in concert format. In 1941 alone, after his country was under attack by Germany, Petrov participated in many of the hundreds of performances given for soldiers both on front lines and recuperating in hospitals. In 1942, Petrov auditioned for the Bolshoi Theater and was engaged, becoming a member of the Soviet Union's most prestigious opera theater at the age of 22. In 1947, Petrov was a member of a delegation of young Russian artists sent to the First World Youth Festival in Prague and won a gold medal. Budapest, too, acknowledged his qualities as a singer when he appeared there in 1949. Despite the presence of more established basses, Petrov made himself known at the Bolshoi, first in small roles, soon thereafter in leading parts. By the 1950s, he had become one of the theater's leading artists. During his distinguished career at Russia's great theater, Petrov won several Stalin Prizes for his work in a repertory that came to embrace some two and a half dozen leading parts. Among his most acclaimed were Boris Godunov, Dosifei in Mussorgsky's KHOVANSHCHINA, Ruslan in Glinka's RUSLAN AND LUDMILLA, Don Basilio, Kochubei in Tchaikovsky's MAZEPPA, Méphistofélès in Gounod's FAUST (his favorite), and King Philip in Verdi's DON CARLO. A recording of Verdi's REQUIEM conducted by Igor Markevitch (with soprano Galina Vishnevskaya) demonstrates Petrov's assured sense of Verdian line and dramatic intensity. In 1964, when singing Prince Igor with the Bolshoi at Milan's La Scala, Petrov was honored by the daughter of the famed Russian bass-baritone Feodor Chaliapin when she presented him with a ring her father wore for performances of BORIS GODUNOV. By that time, Petrov had sung the part in venues far afield from his home theater, also offering his Gounod devil in numerous opera houses in Eastern Europe, Scandinavia, and Western Europe. In the years of his prime, the bass also won a positive reputation as a recitalist, appearing with his accompanist of three decades' association, Semyon Stuchevsky.”

- Ned Ludd

“Valeria Barsova was singing in a Moscow cabaret in 1915 when she was noticed by Sergei Zimin, director of the Zimin Opera, where she made her operatic début in 1917, as Gilda in RIGOLETTO. Other roles at this theatre included Susanna in LE NOZZE DI FIGARO, Kostanze in DIE ENTFÜHRUNG AUS DEM SERAIL, Rosina in IL BARBIERE DI SIVIGLIA, the four heroines of LES CONTES D'HOFFMANN and Nedda in PAGLIACCI.

In 1919, she sang Rosina as a last minute replacement for prima-donna Antonina Nezhdanova, at the Hermitage Theatre in Saint Petersburg, opposite Feodor Chaliapin. She then appeared at the Stanislavski Theatre and the Nemirovich-Danchenko Theatre, notably as Clairette in LA FILLE DE MADAME ANGOT.

She finally made her début at the Bolshoi Theatre in 1920 where she was to sing every season until 1948. Besides Italian and French roles such as Gilda, Violetta, Mimì, Butterfly, Juliette, Manon, she also excelled in Russian operas, notably the leading female roles in works such as RUSLAN AND LYUDMILA, THE SNOW MAIDEN, A LIFE FOR THE TSAR, SADKO, THE QUEEN OF SPADES, THE GOLDEN COCKEREL. In 1929, she sang in concert in Berlin and made a tour of Poland. After retiring from the stage, she taught at the Moscow Conservatory from 1950 until 1953. She retired in Sochi on the Black Sea, where she died at 75.”

- Z. D. Akron

“Vassili Vassilyevich Nebolsin (30 May 1898 – 29 October 1958) was a Russian conductor. He studied at the college of the Moscow Philharmonic and became conductor of the orchestra in 1918. He became choir master of the Bolshoi in 1920 and its conductor in 1922. He taught at the Moscow Conservatory from 1940 to 1945. The Stalin Prize was awarded him in 1950.”

-Zillah Dorset Akron