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A series of great Eastern European and Slavic Marches, Folk Band, Songs and Popular recordings Check out more Russian, Polish, Ukrainian and Czech - Yugo-Slav recordings for sale by clicking the link belowMore great Eastern European and Slavic Records in my other listings!What do we know today about this amazing theatre, about this brightest of epochs - about the Moscow Operetta Theatre of the 1930s? Strangely enough, very few people know that in the late thirties at the All-Union Radio, the Moscow Operetta Theatre recorded a number of its performances for broadcast. Until now, none of these unique and truly priceless recordings has been released in their entirety - neither in Soviet times on records, nor in our own time on CDs. Small fragments of these recordings were occasionally published on solo records showcasing the old masters of the operetta The great Aria from from the french light Operette "les Cloches de Corneville" 5995 french, russian tenor with orchestraGrenicheux’s Air - Je regardais en l’air operetta (Operette «Les Cloches de Corneville») (Robert Planquette)Mikhail Kachalov, acc. Bolshoi Theatre Orchestra, Conductor Alexander Zalevsky 1937Moscow Aprelevka Plant 02031937 Moscow recording orig GRAMPLASTREST 10" 78 rpm CONDITION: EXCELLENT faint scuffs, plays E very quiet lightest hissA GREAT COPYMikhail Kachalov1900–1969Lyric tenor. Operetta singer.Acclaimed Artist of the Russian Soviet Federal Socialistic Republic (1945). A member of the Communist Party since 1939.Studied at the Moscow High Art and Technology College and at the same time at the music studio of M. P. Galperin. Took vocal lessons with Z. V. Agafonova, O. B. Ajgorn, R. I. Charov.Sang in the choirs of the E. V. Potopchina Theater and the Dmitrov Theater.In 1919, he started singing operetta. In 1927, he joined the troupe of the Moscow Operetta Theater and performed there until 1967.Had a pure and tender tenor voice and a perfect feeling for the operetta genre. Among his best roles were Andrejka ("Svadba v Malinovke" by Boris Aleksandrov), Stepan ("Moja Gjuzel" by Aleksandrov), Andrej ("Bespokojnoe schastye" by Miljutin), Edwin ("Csárdásfürstin" by Kálmán), Mr. X ("Zirkusprinzessin" by Kálmán), Adam ("Vogelhändler" by Zeller), Jim ("Rose-Marie" by Friml and Stothart).“The 1930s can rightly be called the golden age of acting in the art of operetta. The troup of the Moscow Operetta Theatre was formed from a brilliant pleiad of masters of this genre. Grigory Yaron was the only phenomenon of his kind. He did not copy anyone and it was impossible to imitate him. His physical constitution, ‘miniaturism’ and sharp comedic talent largely determined the manner and style of his acting. Emphasizing his individual characteristics and playing up to them, Yaron employed large strokes, rich colours and sharp contrasts. In a peculiarly grotesque manner, the Yaron buffade was also starkly different. He had a subtle feeling for the music and with complete control of his body, he was a virtuoso-dancer. ‘Yaron without dance’, said V. Nemirovich-Danchenko, ‘is only half a Yaron’.The principal actor was Vladimir Volodin who was truly national - both in his work and in his nationwide popularity, which brought him roles in the most famous Soviet musical films. Unforced humour, rare charm, and infectious cheerfulness endeared viewers to Volodin from the very first minute. Volodin performed at the Moscow Operetta Theatre from the very beginning right up until the end of his career, becoming one of the most beloved operatic artists. For jokes and witticisms, verses and songs, Volodin always projected a vivid, deeply humane image; the genuine nature of his interpretation was always felt.For many years, the lyrical duo of Evdokia Lebedeva and Mikhail Kachalov delighted audiences with their exceptional charm. They were as one with their inner emotional structure and the natural beauty of their voices and warmth of their souls. The artists sang with the eternal touching poetry of human emotions. It is noteworthy that in Kachalov’s appearance there was nothing of the operetta hero: he was not tall, without fiery eyes and burning temperament. And yet at the same time, when Kachalov sang, there was never indifference from the auditorium. Listeners were conquered not by external effects, but by his soft stage charm and charming, ‘Kachalovian’ timbred voice filled with the utmost sincerity.The legendary, older actors of the Moscow Operetta Theatre in those years were Nikolai Bravin and Tatiana Bach. The possessor of a strong, flexible and unusually beautiful baritone, Bravin graduated from Umberto Mazetti’s (the teacher of Antonina Nezhdanova, Nadezhda Obukhova), class at the Moscow Conservatory, who predicted a brilliant operatic future for his student. Bravin received genuine recognition in his performances of operetta. Possessing a rich baritone of large range, thick velvet timbre and exemplary diction, Bravin played the leading baritone roles in classical operetta, and in the 1930s he became the first performer of a number of roles in operettas by Soviet composers. In her youth, Tatiana Bach played in the Viennese operettas, and later gained fame as a performer of musical theatre roles. Beautiful and elegant, with great stage talent, Tatiana Bach’s bright temperament, genuine gaiety and wonderful dancing skills were the distinctive features of her work.Klaudia Novikova’s heroines attracted audiences with their stormy temperament, active vitality, a wide palette of bright colours, and by the variety of characters. Novikova's strong, chesty voice, with a velvety touch, expressed feelings and experiences which thrilled her audience. ‘A real prima donna, and an incendiary artist with the sun in her blood’, recalled Tatiana Shmyga when speaking of Klaudia Novikova.The outstanding actress Regina Lazareva was distinguished by the naturalness and elegance of her performances. Like an engraving artist, she honed the reliefs and nuances of each role. Tatiana Shmyga recalled: ‘Of all the actresses of the older generation, I singled out Regina Lazareva. She was, and remained for me, the most beloved artist in our art form. Her talent was unique. She had a rare, peculiar voice, a lyrical operetta soprano. It was a special operetta chic; she was born for the operetta’.Sofia Vermel was a vocalist steeped in the operatic musical culture, even attending a ballet school. She played her heroines with an exquisite femininity and artistically combined singing with dramatic art; (her recordings are especially rare). Olga Vlasova was, in those years, an actress performing lyrical-operetta soprano roles. She created many portrayals of young girls in both classical and Soviet operetta.In those years, the talent of Serafim Anikeev flourished. He was an artist of original individuality, who was already experienced in drama and stage-craft which he tempered with bold acrobatic flights in the circus, with clown-shaped motifs on the carpet. He was a favourite of the public, a cheerful inventor and improviser with a unique comedic charm.What do we know today about this amazing theatre, about this brightest of epochs - about the Moscow Operetta Theatre of the 1930s? Strangely enough, very few people know that in the late thirties at the All-Union Radio, the Moscow Operetta Theatre recorded a number of its performances for broadcast. Until now, none of these unique and truly priceless recordings has been released in their entirety - neither in Soviet times on records, nor in our own time on CDs. Small fragments of these recordings were occasionally published on solo records showcasing the old masters of the operetta - Klaudia Novikova, Nikolay Bravin, Vladimir Volodin, Mikhail Kachalov, Evdokia Lebedeva and Serafim Anikeev. In the 1950s, some of these operettas were re-recorded. However, in these later recordings, radio soloists and even artists from the Bolshoi Theatre were often invited to sing the central roles, while in the recordings, collected in this album, from the late 1930s, we hear only artists from the Moscow Operetta Theatre. In these recordings, made with the technology of the time - on tonfilm (a film soundtrack), and subsequently transferred on to magnetic tape, the atmosphere of this legendary theatre at its creative peak was vividly conveyed. This set includes all known recordings of the Moscow Operetta Theatre performances of this period.” More Great Records on sale right now: CLICK ON THIS LINK TO SEE MORE GREAT RECORDS CLICK ON THIS LINK TO SEE ALL ITEMS - VINTAGE BOOKS, VICTROLA and TURNTABLE ITEMS, CDs, Books and DVDs http://shop.ebay.com/carsten_sf/m.html ==== A Quick NOTE ON GRADING AND SHIPPING: As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS. If for any reason your transaction was NOT SATISFACTORY, pls contact me and I will work something out with you. YOU WILL NEVER HAVE A REASON TO GIVE ME A NEGATIVE RATING or a LOW STAR RATING. Quick note on grading: The Grade (Excellent to Poor, I don't give Mint) refers to the WEAR of the record. Any other defects are stated separately When I listen to a record, I may also give it an aural grade (again E to P), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise."EXCEPTIONALLY QUIET" is close to noiseless, like a vinyl pressing."VERY QUIET" is an above average quiet record for a given pressing."Quiet" is a record that is a great example with some noise. These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment. Multiple item shipping: I am happy to combine items for shipment in one parcel. Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment. Shipment is usually Media Mail, unless you request another service. Shipping is at your risk, I will be happy to insure items at your cost. I charge actual postage plus a small handling fee for packing materials As always, I guarantee your satisfaction. If you don't like the item, just return it, and I will refund the full purchase price. If you are in the San Francisco area, I welcome pick-up in person. I am very happy to ship records worldwide. Please use the EBAY shipping cost as a guideline. As always, I would appreciate any suggestions and corrections from you, pls contact me with any question. Thank you very much, and enjoy these great records!!! Powered by SixBit's eCommerce Solution
Price: 29.99 USD
Location: San Francisco, California
End Time: 2024-11-09T00:11:02.000Z
Shipping Cost: 7.49 USD
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Item Specifics
Restocking Fee: No
Return shipping will be paid by: Buyer
All returns accepted: Returns Accepted
Item must be returned within: 30 Days
Refund will be given as: Money Back
Artist: CLICK RIGHT ARROW > FOR CONDITION, Mikhail Kachalov, Alexander Zalevsky
Format: Record
Material: Shellac
Genre: World Music
Record Label: GRAMPLASTREST
Record Size: 10"
Style: Ballet, Brass, Chanson, Christian, Comedy/Novelty Music, Film Score/Soundtrack, Germany & Austria, Greece, Gregorian Chant, Gypsy, Gypsy Jazz, Islamic, Jazz Instrument, Jewish, Mass, Middle East & Islamic, Music Hall, National Anthem/Patriotic, Polka, Schlager, Speech, Traditional/Vocal, Vocal, Waltz, Cabaret/Vaudeville, Christmas, Eastern Europe & Russia, Jewish & Yiddish, Opera, Political/Conscious
Speed: 78 RPM
Release Title: Cloches de Corneville Grenicheux’s Air
Language: Bulgarian, Croatian, Czech, English, Hebrew, Polish, Romanian, Russian, Yiddish
MPN: 5995, 0203, 5996
