#Mikhail Glinka Михаил Глинка

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Veronika Sterkhova Вероника Стерхова, “The Brilliant Divertissement Блестящий дивертисмент“, music by Mikhail Glinka Михаил Глинка, choreo by Leonid Yakobson Леонид Якобсон, set design by Tatyana Noginova Татьяна Ногинова, Anna Yakushchenko Анна Якущенко and Vyacheslav Okunev Вячеслав Окунев, Leonid Yacobson Ballet Театр балет имени Леонид Якобсон, Saint Petersburg, Russia.

Source and more info at: Leonid Yacobson Ballet Website Leonid Yacobson Ballet on Telegram Leonid Yacobson Ballet on You Tube Leonid Yacobson Ballet on Facebook Leonid Yacobson Ballet on Instagram Leonid Yacobson Ballet on VKontakte

Photographer Stas Levshin on Facebook Photographer Stas Levshin on Instagram

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Глинка Михаил Иванович | Ариозо https://arioszo.ru/glinka-mikhail-ivanovich/

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XE3F8753 – Mijaíl Glinka (Михаил Иванович Глинка), Tikhvin Cemetery (Saint Petersburg)

Mijaíl Ivánovich Glinka (en ruso: Михаил Иванович Глинка; Novospásskoie, provincia de Smolensk, 1 de junio de 1804-Berlín, 15 de febrero de 1857) fue un compositor ruso, considerado el padre del nacionalismo musical ruso. Durante sus viajes visitó España, donde conoció y admiró la música popular española, de la cual utilizó el estilo de la jota en su obra La jota aragonesa. Recuerdos de Castilla, basado en su prolífica estancia en Fresdelval, «Recuerdo de una noche de verano en Madrid», sobre la base de la obertura La noche en Madrid, son parte de su música orquestal. El método utilizado por Glinka para arreglar la forma y orquestación son influencia del folclore español. Las nuevas ideas de Glinka fueron plasmadas en “Las oberturas españolas”. Glinka fue el primer compositor ruso en ser reconocido fuera de su país y, generalmente, se lo considera el ‘padre’ de la música rusa. Su trabajo ejerció una gran influencia en las generaciones siguientes de compositores de su país. Sus obras más conocidas son las óperas Una vida por el Zar (1836), la primera ópera nacionalista rusa, y Ruslán y Liudmila (1842), cuyo libreto fue escrito por Aleksandr Pushkin y su obertura se suele interpretar en las salas de concierto. En Una vida por el Zar alternan arias de tipo italiano con melodías populares rusas. No obstante, la alta sociedad occidentalizada no admitió fácilmente esa intrusión de "lo vulgar" en un género tradicional como la ópera. Sus obras orquestales son menos conocidas. Inspiró a un grupo de compositores a reunirse (más tarde, serían conocidos como "los cinco": Modest Músorgski, Nikolái Rimski-Kórsakov, Aleksandr Borodín, Cesar Cui, Mili Balákirev) para crear música basada en la cultura rusa. Este grupo, más tarde, fundaría la Escuela Nacionalista Rusa. Es innegable la influencia de Glinka en otros compositores como Vasili Kalínnikov, Mijaíl Ippolítov-Ivánov, y aún en Piotr Chaikovski. es.wikipedia.org/wiki/Mijaíl_Glinka es.wikipedia.org/wiki/Los_Cinco_(compositores)

Mikhail Ivanovich Glinka (Russian: Михаил Иванович Глинка; 1 June [O.S. 20 May] 1804 – 15 February [O.S. 3 February] 1857) was the first Russian composer to gain wide recognition within his own country, and is often regarded as the fountainhead of Russian classical music. Glinka’s compositions were an important influence on future Russian composers, notably the members of The Five, who took Glinka’s lead and produced a distinctive Russian style of music. Glinka was born in the village of Novospasskoye, not far from the Desna River in the Smolensk Governorate of the Russian Empire (now in the Yelninsky District of the Smolensk Oblast). His wealthy father had retired as an army captain, and the family had a strong tradition of loyalty and service to the tsars, while several members of his extended family had also developed a lively interest in culture. His great-great-grandfather was a Polish–Lithuanian Commonwealth nobleman, Wiktoryn Władysław Glinka of the Trzaska coat of arms. As a small child, Mikhail was raised by his over-protective and pampering paternal grandmother, who fed him sweets, wrapped him in furs, and confined him to her room, which was always to be kept at 25 °C (77 °F); accordingly, he developed a sickly disposition, later in his life retaining the services of numerous physicians, and often falling victim to a number of quacks. The only music he heard in his youthful confinement was the sounds of the village church bells and the folk songs of passing peasant choirs. The church bells were tuned to a dissonant chord and so his ears became used to strident harmony. While his nurse would sometimes sing folksongs, the peasant choirs who sang using the podgolosochnaya technique (an improvised style – literally under the voice – which uses improvised dissonant harmonies below the melody) influenced the way he later felt free to emancipate himself from the smooth progressions of Western harmony. After his grandmother’s death, Glinka moved to his maternal uncle’s estate some 10 kilometres (6 mi) away, and was able to hear his uncle’s orchestra, whose repertoire included pieces by Haydn, Mozart and Beethoven. At the age of about ten he heard them play a clarinet quartet by the Finnish composer Bernhard Henrik Crusell. It had a profound effect upon him. "Music is my soul", he wrote many years later, recalling this experience. While his governess taught him Russian, German, French, and geography, he also received instruction on the piano and the violin. At the age of 13, Glinka went to the capital, Saint Petersburg, to study at a school for children of the nobility. Here he learned Latin, English, and Persian, studied mathematics and zoology, and considerably widened his musical experience. He had three piano lessons from John Field, the Irish composer of nocturnes, who spent some time in Saint Petersburg. He then continued his piano lessons with Charles Mayer and began composing. When he left school his father wanted him to join the Foreign Office, and he was appointed assistant secretary of the Department of Public Highways. The work was light, which allowed Glinka to settle into the life of a musical dilettante, frequenting the drawing rooms and social gatherings of the city. He was already composing a large amount of music, such as melancholy romances which amused the rich amateurs. His songs are among the most interesting part of his output from this period. In 1830, at the recommendation of a physician, Glinka decided to travel to Italy with the tenor Nikolai Kuzmich Ivanov. The journey took a leisurely pace, ambling uneventfully through Germany and Switzerland, before they settled in Milan. There, Glinka took lessons at the conservatory with Francesco Basili, although he struggled with counterpoint, which he found irksome. Although he spent his three years in Italy listening to singers of the day, romancing women with his music, and meeting many famous people including Mendelssohn and Berlioz, he became disenchanted with Italy. He realized that his mission in life was to return to Russia, write in a Russian manner, and do for Russian music what Donizetti and Bellini had done for Italian music. His return route took him through the Alps, and he stopped for a while in Vienna, where he heard the music of Franz Liszt. He stayed for another five months in Berlin, during which time he studied composition under the distinguished teacher Siegfried Dehn. A Capriccio on Russian themes for piano duet and an unfinished Symphony on two Russian themes were important products of this period. When word reached Glinka of his father’s death in 1834, he left Berlin and returned to Novospasskoye. While in Berlin, Glinka had become enamored with a beautiful and talented singer, for whom he composed Six Studies for Contralto. He contrived a plan to return to her, but when his sister’s German maid turned up without the necessary paperwork to cross to the border with him, he abandoned his plan as well as his love and turned north for Saint Petersburg. There he reunited with his mother, and made the acquaintance of Maria Petrovna Ivanova. After he courted her for a brief period, the two married. The marriage was short-lived, as Maria was tactless and uninterested in his music. Although his initial fondness for her was said to have inspired the trio in the first act of opera A Life for the Tsar (1836), his naturally sweet disposition coarsened under the constant nagging of his wife and her mother. After separating, she remarried. Glinka moved in with his mother, and later with his sister, Lyudmila Shestakova. A Life for the Tsar was the first of Glinka’s two great operas. It was originally entitled Ivan Susanin. Set in 1612, it tells the story of the Russian peasant and patriotic hero Ivan Susanin who sacrifices his life for the Tsar by leading astray a group of marauding Poles who were hunting him. The Tsar himself followed the work’s progress with interest and suggested the change in the title. It was a great success at its premiere on 9 December 1836, under the direction of Catterino Cavos, who had written an opera on the same subject in Italy. Although the music is still more Italianate than Russian, Glinka shows superb handling of the recitative which binds the whole work, and the orchestration is masterly, foreshadowing the orchestral writing of later Russian composers. The Tsar rewarded Glinka for his work with a ring valued at 4,000 rubles. (During the Soviet era, the opera was staged under its original title Ivan Susanin). In 1837, Glinka was installed as the instructor of the Imperial Chapel Choir, with a yearly salary of 25,000 rubles, and lodging at the court. In 1838, at the suggestion of the Tsar, he went off to Ukraine to gather new voices for the choir; the 19 new boys he found earned him another 1,500 rubles from the Tsar. He soon embarked on his second opera: Ruslan and Lyudmila. The plot, based on the tale by Alexander Pushkin, was concocted in 15 minutes by Konstantin Bakhturin, a poet who was drunk at the time. Consequently, the opera is a dramatic muddle, yet the quality of Glinka’s music is higher than in A Life for the Tsar. He uses a descending whole tone scale in the famous overture. This is associated with the villainous dwarf Chernomor who has abducted Lyudmila, daughter of the Prince of Kiev. There is much Italianate coloratura, and Act 3 contains several routine ballet numbers, but his great achievement in this opera lies in his use of folk melody which becomes thoroughly infused into the musical argument. Much of the borrowed folk material is oriental in origin. When it was first performed on 9 December 1842, it met with a cool reception, although it subsequently gained popularity. Glinka went through a dejected year after the poor reception of Ruslan and Lyudmila. His spirits rose when he travelled to Paris and Spain. In Spain, Glinka met Don Pedro Fernández, who remained his secretary and companion for the last nine years of his life. In Paris, Hector Berlioz conducted some excerpts from Glinka’s operas and wrote an appreciative article about him. Glinka in turn admired Berlioz’s music and resolved to compose some fantasies pittoresques for orchestra. Another visit to Paris followed in 1852 where he spent two years, living quietly and making frequent visits to the botanical and zoological gardens. From there he moved to Berlin where, after five months, he died suddenly on 15 February 1857, following a cold. He was buried in Berlin but a few months later his body was taken to Saint Petersburg and re-interred in the cemetery of the Alexander Nevsky Monastery. Glinka was the beginning of a new direction in the development of music in Russia Musical culture arrived in Russia from Europe, and for the first time specifically Russian music began to appear, based on the European music culture, in the operas of the composer Mikhail Glinka. Different historical events were often used in the music, but for the first time they were presented in a realistic manner. The first to note this new musical direction was Alexander Serov. He was then supported by his friend Vladimir Stasov, who became the theorist of this musical direction. This direction was developed later by composers of "The Five". The modern Russian music critic Viktor Korshikov thus summed up: "There is not the development of Russian musical culture without…three operas – Ivan Soussanine, Ruslan and Ludmila and the Stone Guest have created Mussorgsky, Rimsky-Korsakov and Borodin. Soussanine is an opera where the main character is the people, Ruslan is the mythical, deeply Russian intrigue, and in Guest, the drama dominates over the softness of the beauty of sound." Two of these operas – Ivan Soussanine and Ruslan and Ludmila – were composed by Glinka. Since this time, the Russian culture began to occupy an increasingly prominent place in world culture. en.wikipedia.org/wiki/Mikhail_Glinka en.wikipedia.org/wiki/The_Five_(composers)

Posted by Enrique R G on 2019-09-12 09:20:20

Tagged: , Mijaíl Ivanovich Glinka , Михаил Иванович Глинка , Mijaíl Glinka , Михаил Глинка , Glinka , Глинка , Tikhvin Cemetery , Cementerio Tijvin , Тихвинское кладбище , New Lazarevsky , Ново-Лазаревским , Tijvin , Tikhvin , Тихвинское , San Petersburgo , Saint Petersburg , Санкт-Петербург , Peterburg , Piter , Питер , Петрогра́д , Petrogrado , Петроград , Leningrado , Ленинград , Rusia , Russia , Россия , Venecia del Norte , Window to the West , Window to Europe , Venice of the North , Russian Venice , Fujifilm XE3 , Fuji XE3 , Fujinon 18-135

The post XE3F8753 – Mijaíl Glinka (Михаил Иванович Глинка), Tikhvin Cemetery (Saint Petersburg) appeared first on Good Info.

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SOUND: https://www.ruspeach.com/en/news/10706/ 1 июня 1804 года родился Глинка Михаил Иванович. Это известный русский композитор. Сочинения Глинки оказали влияние на крупнейших русских композиторов — Мусоргского, Римского-Корсакова, Бородина, Ч��йковского и других. С десяти лет Михаил начал учиться игре на фортепиано и скрипке. На протяжении своей жизни Глинка много путешествовал. Эти путешествия повлияли на его музыкальные произведения. On June 1, 1804 Glinka Mikhail Ivanovich was born. This is a famous Russian composer. Glinka's compositions influenced the largest Russian composers — Mussorgsky, Rimsky-Korsakov, Borodino, Tchaikovsky and others. Since ten years old Mikhail began to study playing the piano and the violin. During his life Glinka traveled much. These travels have influenced his musical work. учиться [uchìtsa] - learn, study композитор [kampazitor] - composer известный [izvesnyj] - famous скрипка [skrìpka] - violin путешествовать [putishèstvavat'] - to travel десять [dèsit'] - ten музыкальный [muzykal`nyj] - musical www.ruspeach.com

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Mikhail Glinka by Cristian González Titorenko Михаил Иванович Глинка https://flic.kr/p/24VXarx

[balletthebestphotographs]

Margarita Shrainer and Dmitry Dorokhov

Margarita Shrainer Маргарита Шрайнер and Dmitry Dorokhov Дмитрий Дорохов, “Just”, music by David Lang, choreo and design by Simone Valastro. As part of the program “Four Characters in Search of a Plot” (“The Ninth Wave” by Mikhail Glinka Михаил Глинка, Nikolay Rimsky Korsakov Николай Римский Корсаков and Bryan Arias; “Silentium” by Arvo Pärt and Martin Chaix; “Fading” by Enrique Granados and Dimo Milev Димо Милев and “Just”), Bolshoi Ballet Большой театр, Moscow, Russia (November 16-17, 2024; New Stage).

Source and more info at: Photographer Damir Yusupov Дамир Юсупов (Damir has no social media accounts known to me) via: Dmitry Dorokhov on Telegram (channel) Dmitry Dorokhov on Facebook Dmitry Dorokhov on Instagram (ballet) Dmitry Dorokhov on Instagram (photography)

Note I: This blog is open to receiving and considering any suggestions, contributions, and/or criticisms that may help correct mistakes or improve its content. Comments are available to any visitor.

Note II: Original quality of photographs might be affected by compression algorithm of the website where they are hosted.

Note III: Some links leading to the English version do not work or contain incomplete information. For this reason, they are published in their original version. You always have the option to translate the page using the right-click on your mouse.

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Anastasia Stashkevich and Vyacheslav Lopatin

Anastasia Stashkevich Анастасия Сташкевич and Vyacheslav Lopatin Вячеслав Лопатин, “Just”, music by David Lang, choreo and design by Simone Valastro. As part of the program “Four Characters in Search of a Plot” (“The Ninth Wave” by Mikhail Glinka Михаил Глинка, Nikolay Rimsky Korsakov Николай Римский Корсаков and Bryan Arias; “Silentium” by Arvo Pärt and Martin Chaix; “Fading” by Enrique Granados and Dimo Milev Димо Милев and “Just”). Within the framework of the Bolshoi Ballet 245th Season Opening Night, Moscow, Russia (September 10, 2020).

Source and more info at: Photographer Natalia Voronova on Facebook Photographer Natalia Voronova on Instagram My Secret Garden on Instagram (by Natalia Voronova)

via: Simone Valastro on Instagram

Note I: This blog is open to receiving and considering any suggestions, contributions, and/or criticisms that may help correct mistakes or improve its content. Comments are available to any visitor.

Note II: Original quality of photographs might be affected by compression algorithm of the website where they are hosted.

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Olga Smirnova Ольга Смирнова

Olga Smirnova Ольга Смирнова, “Just”, music by David Lang, choreo and design by Simone Valastro. As part of the program “Four Characters in Search of a Plot” (“The Ninth Wave” by Mikhail Glinka Михаил Глинка, Nikolay Rimsky Korsakov Николай Римский Корсаков and Bryan Arias; “Silentium” by Arvo Pärt and Martin Chaix; “Fading” by Enrique Granados and Dimo Milev Димо Милев and “Just”). Within the framework of the Bolshoi Ballet 245th Season Opening Night, Moscow, Russia (September 10, 2020).

Olga Smirnova, at the time of this performance, principal dancer of the Bolshoi Ballet, currently principal dancer of Het Nationale Ballet.

Source and more info at: Photographer Natalia Voronova on Facebook Photographer Natalia Voronova on Instagram My Secret Garden on Instagram (by Natalia Voronova)

via: Simone Valastro on Instagram

Note I: This blog is open to receiving and considering any suggestions, contributions, and/or criticisms that may help correct mistakes or improve its content. Comments are available to any visitor.

Note II: Original quality of photographs might be affected by compression algorithm of the website where they are hosted.

[balletthebestphotographs]

Maria Vinogradova Мария Виноградова

Maria Vinogradova Мария Виноградова, “Just”, music by David Lang, choreo and design by Simone Valastro. As part of the program “Four Characters in Search of a Plot” (“The Ninth Wave” by Mikhail Glinka Михаил Глинка, Nikolay Rimsky Korsakov Николай Римский Корсаков and Bryan Arias; “Silentium” by Arvo Pärt and Martin Chaix; “Fading” by Enrique Granados and Dimo Milev Димо Милев and “Just”). Within the framework of the Bolshoi Ballet 245th Season Opening Night, Moscow, Russia (September 10, 2020).

Source and more info at: Simone Valastro on Instagram

Note I: This blog is open to receiving and considering any suggestions, contributions, and/or criticisms that may help correct mistakes or improve its content. Comments are available to any visitor.

Note II: Original quality of photographs might be affected by compression algorithm of the website where they are hosted.

[balletthebestphotographs]

Anastasia Stashkevich and Vyacheslav Lopatin

Anastasia Stashkevich Анастасия Сташкевич and Vyacheslav Lopatin Вячеслав Лопатин, “Just”, music by David Lang, choreo and design by Simone Valastro. As part of the program “Four Characters in Search of a Plot” (“The Ninth Wave” by Mikhail Glinka Михаил Глинка, Nikolay Rimsky Korsakov Николай Римский Корсаков and Bryan Arias; “Silentium” by Arvo Pärt and Martin Chaix; “Fading” by Enrique Granados and Dimo Milev Димо Милев and “Just”). Within the framework of the Bolshoi Ballet 245th Season Opening Night, Moscow, Russia (September 10, 2020).

Source and more info at: Simone Valastro on Instagram

Note I: This blog is open to receiving and considering any suggestions, contributions, and/or criticisms that may help correct mistakes or improve its content. Comments are available to any visitor.

Note II: Original quality of photographs might be affected by compression algorithm of the website where they are hosted

[balletthebestphotographs]

Margarita Shrainer and Dmitry Dorokhov

Margarita Shrainer Маргарита Шрайнер and Dmitry Dorokhov Дмитрий Дорохов, “Just”, music by David Lang, choreo and design by Simone Valastro. As part of the program “Four Characters in Search of a Plot” (“The Ninth Wave” by Mikhail Glinka Михаил Глинка, Nikolay Rimsky Korsakov Николай Римский Корсаков and Bryan Arias; “Silentium” by Arvo Pärt and Martin Chaix; “Fading” by Enrique Granados and Dimo Milev Димо Милев and “Just”), Bolshoi Ballet Большой театр, Moscow, Russia (November 16-17, 2024; New Stage).

Source and more info at: Photographer Damir Yusupov Дамир Юсупов (Damir has no social media accounts known to me) via: Dmitry Dorokhov on Telegram (channel) Dmitry Dorokhov on Facebook Dmitry Dorokhov on Instagram (ballet) Dmitry Dorokhov on Instagram (photography)

Note I: This blog is open to receiving and considering any suggestions, contributions, and/or criticisms that may help correct mistakes or improve its content. Comments are available to any visitor.

Note II: Original quality of photographs might be affected by compression algorithm of the website where they are hosted.

Note III: Some links leading to the English version do not work or contain incomplete information. For this reason, they are published in their original version. You always have the option to translate the page using the right-click on your mouse.

[ruspeach]

SOUND: https://www.ruspeach.com/en/news/10706/ 1 июня 1804 года родился Глинка Михаил Иванович. Это известный русский композитор. Сочинения Глинки оказали влияние на крупнейших русских композиторов — Мусоргского, Римского-Корсакова, Бородина, Чайковского и других. С десяти лет Михаил начал учиться игре на фортепиано и скрипке. На протяжении своей жизни Глинка много путешествовал. Эти путешествия повлияли на его музыкальные произведения. On June 1, 1804 Glinka Mikhail Ivanovich was born. This is a famous Russian composer. Glinka's compositions influenced the largest Russian composers — Mussorgsky, Rimsky-Korsakov, Borodino, Tchaikovsky and others. Since ten years old Mikhail began to study playing the piano and the violin. During his life Glinka traveled much. These travels have influenced his musical work. учиться [uchìtsa] - learn, study композитор [kampazitor] - composer известный [izvesnyj] - famous скрипка [skrìpka] - violin путешествовать [putishèstvavat'] - to travel десять [dèsit'] - ten музыкальный [muzykal`nyj] - musical www.ruspeach.com