Obukhova biography

The whole family was musical. Obukhova recalled: “My early childhood was flowing in the village, where we were: sister, brother and I, lived with our father and grandfather. My mother died when I was two years old. ” Mother’s grandfather Adrian Mazuraki, who brought up little Nadia, according to the memoirs of his contemporaries, an excellent musician, was very friendly with the great Russian pianist Nikolai Rubinstein.

They often played four hands on the piano. For the future two singers, the sister of Nadezhda - Anya also sang was extremely important to commit Mazuraki to music. The cult of music reigned in his house. Grandfather himself played himself and accustomed to singing and playing his granddaughters on the piano. A happy life in a wealthy estate, Russian nature, singing peasants, music classes - all this was interrupted unexpectedly.

Nadi found tuberculosis, and Mazuraki with his granddaughters left for Nice. The bright nature of the Italian and French Riviera has become native to Obukhova forever. She gave her a lot of musical and life impressions that formed her personality. The treatment was accompanied by training. The sisters perfectly mastered French and Italian. The singing of Polina Madame Lipman Truth taught them singing to them, she incorrectly defined Obukhova's voice as soprano, almost tore off him.

In the year, the grandfather of Hope died suddenly, and the sisters had to return to Moscow. In the capital, the singer continued her music classes, and in the year she became a student of the Moscow Conservatory. She entered the class, the leader of which was the famous music teacher Umberto Mazetti. He had a special gift to feel future celebrities. Ten years before his student, his first Russian opera singer Antonina Nezhdanova was his student.

Unfortunately, in the summer of the year, hope had to quit his studies due to illness. She went to Sorrento to be treated, and returned only a year later. Obukhova began to perform in concerts. The strict charter of the conservatory forbade students to speak under his name. She took the first steps to the glory of Obukhov under a pseudonym. In the programs, she was announced as "Madame Andreeva." At one of the concerts, she heard Nezhdanova.

She was delighted with the singing of a young singer, for many years she became her real friend. A beautiful career was prepared by Obukhova already on a conservative bench, thanks to a rare voice, performance and patronage of Nezhdanova. Obukhov enters the troupe of the Bolshoi Theater. Obukhov becomes one of the first stars of the opera troupe of the Bolshoi Theater.

His opera very convenient for voice impressed the singer. Nadezhda Obukhov was absolutely alien to the new proletarian government. All her closest relatives were prominent representatives of the former Russian elite. Fortunately, its “non -mirror” origin did not affect the life and career of the Obukhova itself. She is among many prominent artists, quickly joined the new cultural life of post -revolutionary Russia.

Anatoly Lunacharsky acts with the introductory speech at a concert, similar to the fraternity of the new government with representatives of culture. And the Soviet government takes one of the treasures of the bygone empire under its wing - the Bolshoi Theater. Making it over time of the international sign of the new empire. At the Bolshoi Theater, Obukhova worked for almost fifty years.

Over the years, here she performed in more than twenty opera productions, performing almost all parties of the classical repertoire. Only during the First World War, Obukhov interrupted her performances, because together with her husband, an officer of the artillery, she went to the front. After his death, she did not get married a second time. In the year, Obukhova received the state then called the Stalin Prize and the Order of the Red Banner of Labor.

The opera parties executed by Obukhova became classic. The power of the stage images of Russian women from the opera Rimsky-Korsakov, Mussorgsky, Tchaikovsky, as well as, as well as images of the polar orientation created by Obukhova, are that they are primarily vocal, initially musical and at the same time extremely dramatic, although the drama of each of them is deeply individual, not standard in its expression.

The singer practically never copied the stereotypes established in the mind, trying to find new colors in traditional roles. So, working on the role of Carmen, which M. Maksakova sang before it, she practically re-developed the whole concept of the role, and made it so convincing that the operator-operator of the opera specifically changed the main scenes for her.

To play this role, the actress was engaged in dancing in the ballet class for several months, and criticism subsequently called her Carmen “the most dancing”. Neither the audience nor even the partners wanted to believe that the actress at that time was already 44 years old. Obukhova left the scene of the Bolshoi Theater in the year, being in the prime of her talent.

Since that time, she completely devoted herself to concert activities. At the same time, Obukhova almost never repeated the program of the same concert. Obukhov fulfilled her last concert in honor of her mentor and friend A. Nezhdanova in her house in connection with the anniversary of the death of the great singer.After this concert, she went to rest in Feodosia and died suddenly there.

He was buried in Moscow at the Novodevichy cemetery. Nadezhda Andreevna Obukhova. Domestic singers.