Alexandra Emelyanovna Rostovtseva (nee Shchelokova , married Weiss ; 1872, Novocherkassk after 1941, Rostov-on-Don ) - Russian opera singer (mezzo-soprano) [1] .
| Alexandra Rostovtseva | |
|---|---|
 | |
| Birth name | Alexandra Emelyanovna Shchelokova |
| Date of Birth | 1872 |
| Place of Birth | Novocherkassk , Region Don Troops , Russian Empire |
| Date of death | after 1941 |
| Place of death | Rostov-on-Don , USSR |
| Citizenship |  Russian Empire →  the USSR |
| Profession | Opera singer |
| Years of activity | 1895-1921 |
| Theater | Mamontov Private Opera , Zimin Opera House |
Biography
Born in 1872 in Novocherkassk in the family of Emelyan Shchelokov. She studied at the local Don Mariinsky Gymnasium (her sisters Olga and Maria were trained there).
Cousin aunt (by marriage) Augusta Leonidovna Miklashevskaya.
In 1895 she graduated from the Moscow Conservatory, was a student of L. Giraldoni and A. Alexandrova-Kochetova (vocals), as well as V. Safonov (piano) [2] .
She performed on the opera stage under the pseudonym Rostovtseva. Her debut took place in 1896 in the part of Siebel (Faust by S. Gounod) on the stage of the Private Opera of S. I. Mamontov . In 1904-12, she was part of the troupe of the Opera House of S. I. Zimin .
Rostovtseva was the first performer of the parts of Lyubava ("Sadko"), Lyubasha ("The Tsar's Bride"), Weaver ("The Tale of Tsar Saltan"), Amelfa ("The Golden Cockerel") in the operas of N. A. Rimsky-Korsakov, as well as Lizis (“Necklace” by N. Krotkov) and the Princess (“Ilya Muromets” by V. Serova). At the same time, the parts of Lyubava and Lyubasha were written by the composer specially for her voice [3] , and the second of them Rimsky-Korsakov passed with the singer himself [4] . As a result, the performance of Rostovtsev’s role as Lyubasha was highly appreciated by one of the leading critics of the time N. Kashkin [5] .
In addition to the above, she performed the following parts: Rogneda (the opera of the same name by A. Serov), Lyubov (“Mazepa”), Solokh (“Cherevichki”), Morozov (“Oprichnina”, all by P. Tchaikovsky), Delilah (“Samson and Delilah” ( C. Saint-Saens), Amneris (“Aida” by J. Verdi) and others. Later, she switched to characteristic roles.
In addition, she conducted active social activities: from 1894, she organized symphonic music concerts in the capital every year, from 1904–06 she was the artistic director of concerts organized at Pavlovsky Station, in 1907–15 she held a series of concerts united by a common theme (Russian song ”,“ European song ”,“ Patriotic concerts ”, etc.) [6] .
Since 1921, she lived in Belgrade, performed on the stage of a local opera (in particular, she performed the nanny role in the opera Eugene Onegin), but she soon completed her singing career and became a vocal and stage teacher at the Stankovych school [3] [7] .
Literature
- Rossikhina V. Opera House of S. Mamontov - M., 985.P. 233.
Notes
- ↑ Domestic singers, 1750-1917: dictionary: in 2 hours, Part 2 / A.M. Pruzhansky. - Moscow: Sov. Composer, 1991
- ↑ Agin M.S. Vocal-encyclopedic dictionary: Biobibliography: in 5 volumes. T. 4 .: M-P / M-culture of the Russian Federation. - M., 1993
- ↑ 1 2 Kosik V.I. Russian paints on the Balkan palette: Russian art in the Balkans (late 19th – early 21st centuries). M., 2010.S. 237
- ↑ A look at the life and work of V.I. Belsky in St. Petersburg and Belgrade / L. G. Barsova // The Russian diaspora and the study of the Russian language and Russian culture in non-Slavic and foreign surroundings (Belgrade, June 1-2 1-2, 2011): International Scientific Symposium: Reports / Alexander Solzhenitsyn House of Russian Abroad, Int. pedagogical Society in support of the Russian language, Slavic Society in Serbia, Faculty of Philology of Belgrade University, Russian House in Belgrade; Repl. ed. B. Stankovic. - Belgrade: Slavic Society of Serbia, 2012. - S. 204-216
- ↑ Gozenpud A.A. Russian Opera House at the turn of the 19th — 20th centuries and F.I. Chaliapin: 1890-1904. - L., 1974. S. 234—235
- ↑ Art of N. A. Rimsky-Korsakov and his contemporaries in letters of N. N. Rimsky-Korsakova to her son. Publication by Z. M. Huseynova. From the funds of the manuscript cabinet of the Russian Institute of Art History: Messages. Publications Reviews Vol. 6 / Comp. and holes ed. G.V. Kopytova. St. Petersburg: Russian Institute of the History of Arts, 2016. - S. 139—198
- ↑ Romana Ribiћ. Stara Lachka sacristy of Peter Stojanoviћa: (1877-1957) / Zatnik Matice srpske for scenic skill and music. - ISSN 0352-9738. - Kњ. 28/29 (2003), pp. 161-185. S. 169