Nabokov, Nicolas [Nikolay]
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- Bu səhifədəki naviqasiya:
- Nemirovich-Danchenko, Vladimir Ivanovich
- BIBLIOGRAPHY
- Nemtin, Aleksandr Pavlovich
- WORKS
Németh, Maria(b Körmend, 13 March 1897; d Vienna, 28 Dec 1967). Hungarian soprano. She studied in Budapest and Naples, and with Giannina Russ in Milan. She made her début in Budapest in 1923 as Sulamith (Die Königin von Saba). From 1924 to 1946 she was a member of the Vienna Staatsoper, where her voice and temperament enabled her to sing Puccini, Verdi, Mozart and Wagner with equal success. She was considered a superb Turandot, a role she sang at Covent Garden in 1931. She also appeared in Italy, and as Donna Anna at the Salzburg Festival. Her last appearance was as Santuzza in 1946. Her recordings show the inherent beauty of her voice and the security of her technique, most notably in the roles of Sulamith, Turandot and Leonora in La forza del destino. (GV; L. Riemens; R. Vegeto) HAROLD ROSENTHAL/ALAN BLYTH Nemirovich-Danchenko, Vladimir Ivanovich(b Ozurgeti, Georgia, 11/23 Dec 1858; d Moscow, 25 April 1943). Russian theatre and opera director and playwright. He began as a drama critic and playwright in Moscow. He supervised the drama course at the Moscow Philharmonic Society, 1891–1901. In 1897 he met Konstantin Sergeyevich Stanislavsky and they founded the Moscow Art Theatre where their experiments in naturalist and symbolist theatre were internationally influential. Both directed productions; Nemirovich-Danchenko was primarily responsible for the repertory and other literary activities. He looked for and encouraged many Russian playwrights, including Chekhov. After the 1917 Revolution the government proposed that the experimental studios set up at the Moscow Art Theatre should be organized for opera. Stanislavsky’s Bol'shoy Opera Studio applied his new ideas of theatrical ensemble and ‘Method’ acting to opera production. Nemirovich-Danchenko’s Moscow Art Theatre Musical Studio, founded in 1919, was more avant-garde and revolutionary. While he shared his old colleague’s basic concern for rhythm and internal truth in theatrical production, Nemirovich-Danchenko held no brief for psychological realism. He banished all traditional conventions of dramatic and operatic staging. Employing exercises and rehearsal techniques inspired by Jaques-Dalcroze’s eurhythmics, he created a stylized performance known as the ‘synthetic theatre’ and promoted the ideal of the poyushchiy aktyor (‘singing actor’). All stage movement sprang directly from the music. Steps and gestures were devised in the strictest synchronization with the music and were executed in abstract, spatial settings devoid of realistic trappings. The company was composed of very young singers. Roles were rotated, and no personality or voice was ever permitted to stand out. The repertory was varied, including both opera and operetta. Nemirovich-Danchenko was particularly eager to stimulate new works; among the group’s productions was Shostakovich’s Katerina Izmaylova, on 24 January 1934, two days after its Leningrad première as Lady Macbeth of the Mtsensk District. Productions of standard works were notoriously controversial. Librettos were often completely rewritten and scores too were frequently altered. In Carmen (1924), for example, the role of Micaëla was eliminated, and in La traviata (1934) a new chorus provided a running social commentary on Violetta’s tragedy. Under Isaak Rabinovich’s artistic direction, these productions were among the landmarks of Constructivist stage design. The operas were usually mounted on unit sets consisting of platforms and towers of various levels connected by ramps and stairs. Light was selectively used to define acting areas, as well as to create specific moods. Costumes were characteristically stylized and exceedingly colourful. Both in Russia and abroad on tour these productions were acclaimed for their imaginative daring and high standards of acting and staging. At the same time, critics found the musical standard low and altered scores intolerable. Although the studio’s name was changed in his honour to the Nemirovich-Danchenko Musical Theatre in 1926, his influence at home was limited by Stalin’s conservative taste. In the West, however, he has proved to be an important contributor to the development of modern opera production. His memoirs, Iz proshlovo, were published in Moscow in 1936, and also in an English translation, My Life in the Russian Theatre (London, 1936).
PAUL SHEREN Nemtin, Aleksandr Pavlovich(b Perm', 13 July 1936; d Moscow, 3 Feb 1999 ). Russian composer. He graduated in 1960 from the Moscow Conservatory where he studied compostition with Chulaki, and from 1965 divided his time between mathematical research (number theory) and composition. His output is mostly instrumental; the one-movement symphony Voyna i mir (‘War and Peace’) for organ and orchestra occupies a central place in his development. A follower of Skryabin’s musical and philosophical concepts, Nemtin worked on a reconstruction of Skryabin’s project for a Misteriya (‘Mysterium’) for more than 20 years. On the basis of existing poetical text, brief musical sketches and fragments from Skryabin’s opp.66, 68, 73 and 74, the monumental Predvaritel'noye deystvo (‘Prefactory Action’) came into being. Scored for organ, piano, soprano, mixed choir and lighting, it consists of three integrated symphonies: Vselennaya [Universe], Chelovechestvo [Humanity] and Preobrazheniye [Transfiguration]. Nemtin developed the harmonic and orchestral style of late Skryabin, creating a work in which artistic and philosophical concerns of the early 20th century found a new interpretation on the threshold of the new millennium. The three parts of this work were performed separately: part 1 under the direction of Kondrashin (Moscow, 1973), part 2 under Aleksandr Dmitriyev (St Petersburg, 1996) and part 3 under Ashkenazy (Berlin, 1996). Nemtin has also written an operatic scene based on Skryabin’s sketches for Keystut i Birute and has composed a ballet Nyuansï (‘Nuances’) around material from Skryabin’s late piano works. Both were completed in 1974. Nemtin’s orchestration textbook is considered revelatory and has received genuine approval through its use in training.
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