Užsienio operos solistų gastrolės Valstybės teatre: asmenybės ir vokalo mokyklų identifikavimas

LTStraipsnyje nagrinėjama svarbi, atskirai netyrinėta Kauno valstybės teatro veiklos sritis – užsienio operos solistų gastrolės. Remiantis archyviniais dokumentais, literatūra, spektaklių recenzijomis, kitais informacijos šaltiniais, siekiama išsiaiškinti ir pristatyti, kokie dainininkai buvo atvykę gastrolių, nustatyti, kokioms vokalo mokykloms jie atstovavo, kokius vaidmenis atliko Valstybės teatre, kaip užsienio solistus įvertino to meto lietuvių muzikos kritikai, kokia gastrolių reikšmė. Straipsnyje taikomas istorinis-analitinis tyrimo metodas. Straipsnį sudaro dvi dalys. Šiame leidinio numeryje skelbiama pirmoji dalis. Reikšminiai žodžiai: Kauno valstybės teatras, užsienio operos solistai, vokalo mokyklų genealoginiai ryšiai, Jānis Ādolfs Kaktiņš, Milda Brehmane-Štengele, Mariss Vētra, Jānis Niedra, Eugene Vitting, Gertruda Pålsson-Wettergren, Carl Martin Öhman, Zdeněk Otava, Vilém Zítek, Petar Raičev, Vittorio Weinberg, Lev Sibiriakov, Dmitrij Smirnov, Fiodor Šaliapin, Grigorij Melnik, Georgij Pozemkovski, Maria Kuznecova, Maria Maksakova, Giovanni Breviario, Norberto Ardelli, Clara Jacobo. [Iš leidinio]

ENThe article examines an important, almost unexplored field of activity of the Kaunas State Theatre. It is based on archival documents, literature, reviews of performances and other relevant sources of information. The article consists of two parts, the first part of which is published in this issue of 'Ars et Praxis'. During the two decades of activity of the Kaunas State Theatre (from 1920 to 1940), 55 soloists from European countries, the Philippines, Japan and the United States of America sang in opera performances. Among them was the legendary operatic bass Feodor Chaliapin. From the very beginning, the national opera theatres of Lithuania and Latvia engaged in developing close relations. In 1924, the prominent Latvian baritone Jānis Ādolfs Kaktiņš was the first to be invited to Kaunas. Later, these theatres constantly exchanged not only soloists, but also ensembles of soloists. The education received by the soloists, facts featured in their creative biographies and the reviews made after their tours at the State Theatre testify to their high level of professionalism. Examination of the education acquired by foreign soloists reveals the existence of continuity along particular genealogical lines, which are important for the development of European vocal art, arising from the schools of the Garcías (father and son), Francesco Lamperti, Beniamino Carelli and Umberto Masetti.Common genealogical lines and identical origins with the Lithuanian vocal school become apparent. Keywords: Kaunas State Theatre, foreign opera soloists, genealogical connections of vocal schools, Jānis Ādolfs Kaktiņš, Milda Brehmane-Štengele, Mariss Vētra, Jānis Niedra, Eugene Witting, Gertrud Pålsson-Wettergren, Carl Martin Öhman, Zdeněk Oava, Vilem Zitek, Petar Raičev, Celestino Sarobe, Vittorio Weinberg, Lev Sibiriakov, Dmitry Smirnov, Geory Pozemkovsky, Feodor Chaliapin, Grigory Melnik, Marija Kuznetsova, Marija Maksakova, Giovanni Breviario, Norberto Ardelli, Clara Jacobo. [From the publication]