Užsienio operos solistų gastrolės Valstybės teatre: asmenybės ir vokalo mokyklų identifikavimas. 2 dalis

LTStraipsnyje nagrinėjama svarbi, atskirai netyrinėta Valstybės teatro Kaune veiklos sritis – užsienio operos solistų gastrolės. Remiantis archyvų dokumentais, literatūra, spektaklių recenzijomis, kitais aktualiais informacijos šaltiniais, siekiama išsiaiškinti ir pristatyti, kokie dainininkai buvo atvykę gastrolių į Valstybės teatrą, 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 antroji straipsnio dalis. Reikšminiai žodžiai: Valstybės teatras, užsienio operos solistės (sopranai), Marijana Čerkaskaja, Teiko Kiwa, Luisa Tapales-Isang, Caterina Jarboro, Tatiana Menotti, Toti Dal Monte, Marguerite de Monsy, Lilie Grandval, Marija Sokil, Valerija Barsova, Nina Koshetz, Nadežda Nearonova, Lidija Lipkovskaja, Barbara Darlys, Ewa Bandrowska-Turska, vokalo mokyklų genealoginiai ryšiai. [Iš leidinio]

ENThe article consists of two parts. This (second) part of the article presents foreign sopranos who sang in opera performances at the State Theatre in Kaunas in 1924–1940. When identifying the touring artists, it turned out that as many as 21 of the 55 singers were sopranos. Soloists came from European countries, the United States of America, Japan and the Philippines. The singers’ voices belonged to various subcategories, from dramatic to coloratura soprano (which determined the selection of performances for the tours). Most of the time, foreign sopranos performed parts in operas by G. Verdi, G. Puccini, Ch. Gounod and P. Tchaikovsky. The choice of touring artists was determined by the financial possibilities of the State Theatre, so the unique opportunity to hear the celebrity of that time, Toti Dal Monte, in an opera performance was not realised. Only the soloist’s concert took place (in 1937), which was organised by the impresario Benjamin Levitas. The vocal education, creative activity, performance reviews and voice recordings of the foreign sopranos who toured the State Theatre testify to their high professional level. Examining the schools that different soloists followed reveals genealogical lines important for the development of European vocal art (see diagram 1). Some genealogical lines go back to the 18th century and mid-17th century Naples – the beginning of the Italian bel canto school. Common connections and identical origins of the Lithuanian and foreign opera soprano vocal schools become clear (see diagram 2). The performances of high-level foreign sopranos stimulated an increase in the professionalism of the State Theatre opera troupe and set an example for the students of the singing classes of the Kaunas Music School (later known as the Kaunas Conservatory).The audience of the State Theatre had the opportunity to get to know not only famous European opera soloists, but also sopranos representing other civilisations, and hear and see unique interpretations of classical opera characters marked by racial originality. On the other hand, the aim of introducing foreign soloists was to establish closer relations with European cultural centres through influential touring artists. It should also be noted that the tours of foreign soloists were beneficial to the State Theatre from a financial point of view. Keywords: State Theatre, foreign opera soloists (sopranos), Mariana Cherkaskaya, Teiko Kiwa, Luisa Tapales-Isang, Caterina Jarboro, Tatiana Menotti, Toti Dal Monte, Marguerite de Monsy, Lilie Grandval, Maria Sokil, Valeria Barsova, Nina Koshetz, Nadezhda Nearonova, Lidia Lipkovskaya, Barbara Darlys, Ewa Bandrowska-Turska, genealogical connections of vocal schools. [From the publication]

• Istorija / History
• Muzikologija / Musicology