2002 The Red Army Choir Cd 1 Rare

Contents.Early life He was born in Golumet, in 1933. When his father went missing in World War II, his mother brought him up. Between 1934 and 1942 he was at, and attended school number 25 from 1941 to 1942. Back at Golumet he attended school from 1942 to 1945, and stayed at Golumet until 1947. For a year from the age of 14 (from 1947 to 1948) he studied to be a welder in F.Z.O. And worked at a plant in Kuibysheva in the as a moulder and caster.

From 1948 to 1950 back in Golumet again, he worked in M.T.S. As an electric welder, meanwhile beginning to perform as a singer.From 17 years old (1950/1951) he was a soloist at and finally was accepted by from 1952 to 1955. This was very difficult because as a he did not even have a matriculation certificate, but his strong singing voice spoke for him. Career With the Alexandrov Ensemble 1953 to 1972. Kharitonov singing Cliff at the Tchaikovsky Hall, 1965One of Kharitonov's first solo performances, at age 32 after twelve years in the choir of the, was a concert at the attended by top government officials.

As a chorister he was aware of the primary function of the bass part. Whether the part actually does so or not, its effect is to appear to provide a rhythmic and tonal foundation for the musical piece. In other words, particularly when the choir sings, or when there are no drums, the bass part appears to set both the rhythm and pitch, by virtue of having the heaviest sound. This understanding, and the understanding within arrangement, is what makes Kharitonov's performance commanding. There is no destabilising ego here. When he sings he sets the melody and dynamic, and establishes all that is to come; the choir appears to settle comfortably above his voice; the choir repeats and follows his lead.

This roars to a climax, with the soloist's voice appearing to carry the weight of all Russia's revolutionary optimism. After all, this is a song about: the first revolutionary; a cross between and - and this performance made cry. The screenshot, left, from a concert given at Tchaikovsky Hall in Moscow during the same time period, is an indication of the stage presence which takes on the persona of himself. Ultimately, this is a recording that demonstrates what a bass soloist really is: the musical foundation of a performance. The sound recording of Cliff can be heard in the 2006 documentary series Chernobyl Nuclear Disaster: Surviving Disaster while brave men swim to their deaths, opening sluice gates below the reactor in the hope of preventing a nuclear explosion. Historical commentary on 1965 performance of Cliff This song is about the fate of the 17th-century Russian rebel, its lyrics and music written in 1864 by poet, playwright and novelist. The song was an anthem for revolutionaries of the late 19th and early 20th century in; often sang it with his comrades-in-arms.

The song is still culturally central to Russia. Kharitonov remembered:.' My solo career truly began with a concert in the on April 22, 1965, dedicated to the 95th anniversary of, when I sang 'There is a cliff on the Volga.' This was my first solo performance. He got up from his seat and wiped away the tears with his hands then applauded, and then everyone in the room stood up as well and applauded too.

I do not know what my performance stirred in the hearts of and the other listeners, but I would like this song to be considered a monument to the Russian victorious spirit. After that performance, I continued to be a soloist with the for seven years, and, from then on, I was regarded as a serious professional singer among the musical and political elite'.' I remember how after the concert came to see me backstage. After expressions of gratitude he hugged me as a father would and told me that also considered this song to be his favorite, and often played a record of it being performed by A.

Pirogov, whenever he was sad at heart. 'If Stalin were alive, then you would be leaving this room as a - because you sing it better than Pirogov,' Voroshilov told me.”. Kharitonov singing Ej, Uhnem, 1965In the West Kharitonov is recognised for his 1965 video of, which resembles 1922 recording, especially in the upper-register roar which in the song represents the hauliers making superhuman effort. He demonstrates the clean Russian bass-baritone sound: a fusion of various influences. There is the Eastern singing style, inherited from, without vibrato and demanding a clear and sonorous resonance at all times: preferably utilising the soundbox of a building space. There is also the influence of the singing style with its emphasis on the resonance in the nasal cavity and the power of the diaphragm: both of which permit control of the loudest and softest vocal sounds without compromising tonal quality.

The tendency of to create some vowels by expanding the soft palate is a great advantage for Russian basses, as it encourages their unique type of richly open resonance. This effect tells to advantage in both the upper and lower registers of this bass-baritone singer.The hard labor of the burlaks is portrayed by the seriousness of his expression throughout the performance, with the exception of a momentary lightening—even the shadow of a smile—when he sings: “We are singing our song to the Sun,' arguably the most hopeful phrase in the entire song (see screenshot). Leonid Kharitonov singing Gori Gori ( Shine shine my star) on television, 1974In this song, the singer speaks to a star, asking it to have compassion on him. Kharitonov sings it as if it were a prayer, and the close-up of his face emphasises the spirituality of the performance. In an interview about this, the interviewer asked Kharitonov about his faith; whether as a child he believed. Leonid remembered that in his early years, he did not go to church, but the boy always felt a connection with the sky; with the cosmos. His star, with whom he communicated, spoke to him.'

The more I live. The more I believe that God exists. Lord God was preparing me to be clean, kept me through homelessness, hunger, poverty. I never hurt anyone, did not deceive, did not have debts. On stage, the artist reveals himself to the spectator-listener.

2002 The Red Army Choir Cd 1 Rare Songs

If a person is mean, with a dirty soul, the listener sees and feels this. I'm on stage not just performing my part. On stage, I live every romance, folk song, or aria from the opera. This brought me to the Lord God.

Soviet Men's Choir

He established everything in Man so that he learned to understand and distinguish the good from the bad.' Tatiana Kovalska, 2004. Kharitonov singing Along the Peterskaya, 1983This folk song, about a jolly, tipsy -driver indiscreetly courting the ladies, belongs to a tradition in which it was previously popularised by and who each made the song their own. Sergeev's version was hilariously rumbustuous but possibly overwhelming at close quarters for the ladies. Kharitonov's inebriate is the huge and clumsy but genial: the symbol of beloved of. The tonality is kept warm and elegant, while the vocal slide from one note to the next — and on one occasion a whole - help to create an illusion of musical drunkenness. This is a musical joke, as previously had taken the vocal slide from drunks and tuneless club singers, and utilised it to showcase his own disciplined vocal skill and consistent vocal quality as he slid from one register to the next.

Soviet Army Dancing

Kharitonov, in his prime, still has a consistent vocal quality across the registers at the age of 50 years, and can surprise the audience by taking a technique which had come to represent sobriety, and hand it back to the toper.So this performance demonstrates the artistry behind the charm of a comedic bass solo performance.