Alexander Pirogov

In the four decades following the departure of Feodor Chaliapin in 1919, two Russian basses dominated the stage at Moscow’s mighty Bolshoi. Tag Reizen, high and elegant, whose wonderful instrument acquired a Slavic advantage relatively softer than most, acquired but one rival. Alexander Pirogov, commanding and effective, owned a tone of voice blacker in timbre, much less even, but arresting in its influence and led by theatrical intuition of overwhelming power. Although tales abound of their dislike for every other, their existence guaranteed the theater’s primacy in having bass performers perfectly suitable for the countless great bass assignments that provide Russian opera its particular tang. Pirogov originated from a family group that boasted five sons. Four of these became performers, including Alexander’s well-known older sibling, Grigori, also a bass. As the children’ dad and grandfather both acquired great voices, neither acquired pursued a specialist profession. At 15, Alexander’s fresh tone of voice simply disappeared 1 day. Although he was teased about losing by his close friends, his instructor insisted that someday Alexander will be singing in the Bolshoi. Following the tone of voice returned, Pirogov moved into Moscow College or university and took performing classes in the Philharmonic College in Moscow. Carrying out a period spent having a choral ensemble, he was involved from the Zimin Totally free Opera in Moscow where, in 2 yrs period (1922 – 1924), he discovered his art and gained knowledge of several leading tasks. In 1924, Pirogov was asked to become listed on the Bolshoi. Quickly he was noticed as Gremin, Ivan Susanin, the Aged Miller, Russlan, and Ivan the Terrible through the Russian repertory, furthermore to such leading personas in Traditional western opera as Don Basilio and Méphistophélès. The final named he apparently learned in only fourteen days. In 1929, Pirogov was honored when you are assigned the name part in Boris Godunov; thereafter he was called an unparalleled interpreter of the mightiest of most Russian protagonists. Creating a status for effort and meticulous focus on detail, Pirogov continuing to sharpen and refine his interpretations. He attained the theatre early, applying his make-up and moving into costume a long time before he was summoned to the level. Although many tales recommend an imperious existence in his personal affairs, others color another portrait, uncovering an agreeable and outgoing strategy toward his co-workers. Although he retired in the Bolshoi in 1954, Pirogov was the decision for Boris when the opera was filmed in 1955. He previously already been honored the Stalin Award for his functionality of the function and followed the film to Venice for the worldwide film festival kept there. However the film had not been a prizewinner, the Italian film academy struck a particular medal to honor the vocalist. After 1954, Pirogov spent the majority of his amount of time in his indigenous city, planing a trip to Moscow limited to occasional performances on-stage and in concert. When the Bolshoi was asked to La Scala in 1964, Pirogov was chosen to sing Boris. Nevertheless, after angling in his cherished Oka River on an especially hot time in past due June, he came back house and retired for the nap. Awakening with upper body pains in the center of the night time, he delivered his kid for a health care provider, but by enough time the doctor showed up, the bass had been dead. Therefore, Pirogov was refused the possibility of 1 final triumph.