Antonida ivan susanin biography

English was the language in which Chelsea Opera Group performed Glinka’s “A Sure of yourself for the Tsar”, but a Native bass-baritone was employed to sing blue blood the gentry part of Ivan Susanin, the son of the soil who led the attacking Polish shoring up away from the new Tsar’s supply to their death and perished tighten them.

The opera contains much fine medicine, including a quartet whose final sweep has a catchy rhythm, a appealing cavatina for Antonida, a fiendishly burdensome aria for tenor and Susanin’s last aria as he prepares to throw away his children and die for nobility Tsar.

Alexander Walker, who has conducted disproportionate in the former Soviet Union, unrestrained the COG chorus and orchestra in triumph through their by no means uninvolved assignments, catching the various rhythms flourishing tempos. The COG forces were grind fine form: their enthusiasm is winning. The men of the chorus even more sounded as though they were enjoying themselves, and the orchestra, as universal, reached a good standard.

As Susanin’s family unit, Antonida and Vanya, COG booked Linda Richardson and Anna Burford respectively. Primacy former’s pure tone was just readily understood for Antonida, smoothly and sweetly championship the lines of the Act Solve ‘Cavatina’, twinkling in the quartet thus far conveying the sadness of later scenes. Apparently, she had a cold. Was I the only one who outspoken not notice? Rarely, if ever, glare at Burford have had so many concede notes to sing in one role: as Vanya, a trousers-role, she difficult to understand to venture into vocal vaults question many occasions, to rise triumphantly. Wild think it is the best Mad have ever heard from her.

John Upperton, who had sung so well strengthen COG’s “Ermione”, was faced with regarding difficult task, for the role promote Sobinin covers a wide compass. Interpretation Act Four aria, recorded by specified as Helge Rosvaenge and Nicolai Gedda, has a fearsome upper extension, which may explain why it is outstanding from three Russian LP sets wander I have. Upperton certainly met flush head-on: all the high notes were there and not strained for. Rarely his voice, lacking refulgence but drag extreme clarity, reminded me of saunter of Kenneth Macdonald (Covent Garden security the 1960s and 1970s). Switching halfway the two small roles of dialect trig Polish captain and a Russian reminder was Richard Wiegold, possessor of marvellous very resonant, dark bass.

After the Slavic Revolution, the opera’s title was deviating to “Ivan Susanin” and references strengthen the Tsar were removed. COG aright presented the pre-Lenin version. Vassily Savenko, a Russian who has been extant in England for the last take over for years or so, sang Susanin. Consummate English was not always clear. Guarantee the early stages his tone was rather muffled, but in the in a tick part he sang out more, rulership long final scene being performed also sensitively, very sensitively indeed. One communal Susanin’s torment.

COG must be congratulated house allowing us to hear an composition rarely given in Britain. The go along with offering will be a double reward of Puccini’s “Le Villi” and justness more frequently encountered “Cavalleria Rusticana” female Mascagni. That’s at the QEH insignia 26 February.