The French newspaper Combat then wrote: “This performance ended with the triumph of two ladies! Montserrat Caballe and Irina Arkhipova are beyond competition. They are the only and inimitable of their kind. Thanks to the festival in Orange, we were lucky enough to see two “sacred idols” at once, who deserved enthusiastic public response."
Irina Konstantinovna Arkhipova (b. 1925) - Russian singer (mezzo-soprano). Born in Moscow. Father - Vetoshkin Konstantin Ivanovich. Mother - Galda Evdokia Efimovna. Spouse - Vladislav Ivanovich Piavko, People's Artist of the USSR. Son - Andrey. Great-granddaughter - Irina.
Irina Arkhipova's father is from Belarus. He was from a family of hereditary railway workers who were deep and serious in their craft. The labor traditions of the Vetoshkin family and the desire for knowledge led my father to Moscow in the 1920s, to the Institute of Engineers railway transport. Subsequently, Konstantin Ivanovich became a major specialist in the field of construction. In Moscow, he participated in the construction of the Lenin Library buildings and the development of the Palace of Soviets project. He was a very musical person, played several instruments, but, unlike his wife, Evdokia Efimovna, in whose family everyone could sing, he was deprived of a singing voice. His maternal grandfather, Efim Ivanovich, had remarkable musical talent and a beautiful voice (bass-baritone), and sang all his life at rural holidays and in church. At one time he led the collective farm choir. Upon arrival in Moscow, Evdokia Efimovna auditioned for the Bolshoi Theater choir, but her husband, Konstantin Ivanovich, did not allow her to work there.
Knowledge of the surrounding world occurred not only with the help of visual images, but also through sound impressions. The first musical sounds of my childhood were my mother’s singing. She had a very beautiful voice, soulful, soft timbre. Dad always admired him. Although he himself did not have a voice, he was a very musical person, he loved going to concerts and opera performances in the theater. Self-taught, he learned to play the balalaika, mandolin, and guitar. I remember how these daddy’s instruments were always on our cabinets at home. Then I found out that in the family of my father’s parents, where there were several sons, there was even a kind of family orchestra. Dad also played the piano.
During my childhood, “live” music sounded much more often than now not only in the family circle - in school curriculum Singing lessons were compulsory. They were an indispensable part of a comprehensive education and aesthetic education children. At such lessons they not only sang, but children also learned musical literacy- learned notes. In our school singing lessons there were even musical dictations: I remember how we received the task of recording with notes the melody we had just listened to folk song"There was a birch tree in the field." All this speaks about the level of teaching and attitude towards what is commonly considered a “non-core” subject. Of course, not all of my classmates liked singing lessons, but I really liked them, just as I liked singing in the choir.
Of course, parents tried to do everything to ensure that their children received a comprehensive education. We were taken to theaters and our artistic inclinations were encouraged. Dad himself drew well and was sympathetic to my first experiments in this direction. We often played music in our house and not only when guests came. Often my mother and I would hum something together. We especially liked singing the duet of Lisa and Polina from “The Queen of Spades” by P.I. Tchaikovsky - of course, by ear, not by notes...
Seeing his daughter’s musical talent, Konstantin Ivanovich decided to send Irina to study music in piano class. She entered Central music school at the Moscow Conservatory, but due to a sudden illness she did not have to study there. Later, to make up for lost time, Irina entered the Gnesin school. Her first piano teacher was Olga Aleksandrovna Golubeva. A year and a half later, Irina moved to Olga Fabianovna Gnessina. In parallel with her piano lessons, she sang in the choir of a music school.
For the first time, I learned how to evaluate my voice during a solfeggio lesson from teacher P.G. Kozlova. We sang the task, but someone from our group was out of tune. To check who was doing this, Pavel Gennadievich asked each student to sing separately. It was my turn. From embarrassment and fear that I had to sing alone, I literally shrank. Although I sang with clear intonation, I was so worried that my voice sounded not like a child, but almost like an adult. The teacher began to listen carefully and interestedly. The boys, who also heard something unusual in my voice, laughed: “Finally they found the fake one.” But Pavel Gennadievich abruptly interrupted their fun: “You’re laughing in vain! After all, she has a voice! Maybe she’ll famous singer".
However, there was no doubt in the family: Irina’s future was architecture. In 1941, she graduated from the 9th grade, but the war began, which largely influenced her choice of profession. In the fall, the family evacuated to Tashkent. In 1942, after graduating from school in Tashkent, Irina entered the Architectural Institute (MARCHI), which was also evacuated in Tashkent. Irina passed the exam in drawing and drafting with an “excellent No. 1” rating.
My choice future profession was predetermined back in Moscow. When my father’s builder friends came to visit us, they often looked at me and said: “What a serious daughter you have! She’ll probably become an architect.”
I really looked stern back then: I wore a thick braid, was fit, always with a serious expression on my face. I was very flattered by this opinion of adults, especially since it coincided with my plans - I admired the works of the famous women sculptors A.S. Golubkina and V.I. Mukhina and dreamed of being a sculptor or architect. And it was just a happy coincidence that the Architectural Institute ended up in Tashkent very close to our house.
In Tashkent, Irina Arkhipova resumed her music studies, and there, at the Architectural Institute, her first public performance took place. Irina performed Polina's romance. The performance was not very successful - strong excitement let me down. In 1944, when the institute returned from evacuation to Moscow, she decided to perform again. Over time, these concerts became an integral part of her student life.
Often, answering the question of how she became a singer, Irina Konstantinovna says: “She graduated from the Architectural Institute.” The illogicality of such an answer is purely external, since the Architectural Institute, in addition to broad education, erudition, outlook, representation and sensation of space, sense of style, form, composition, also gave quite serious musical education. Within the walls of the institute, music was highly respected. Both teachers and students were avid theatergoers.
In 1945, the “father of architecture,” the famous academician Ivan Vladislavovich Zholtovsky, invited Nadezhda Matveevna Malysheva to lead a vocal circle at the Moscow Architectural Institute, which Irina Arkhipova joined. Before this, Nadezhda Matveevna worked as an accompanist for the famous vocal teacher G. Aden. From that moment on, a new period began in Irina’s life, which led her to the opera house and to the concert stage. It is from this moment that her creative (singing) biography begins.
Nadezhda Matveevna led me to correct interpretation works, taught me to feel the form, explained the subtext, and suggested which techniques could be used to achieve a high artistic result. In our circle, everything was assessed according to the highest standards of true art. My repertoire quickly increased, Nadezhda Matveevna was pleased with me, but at the same time she was stingy with praise. Therefore for me it was great joy find out what she said about me: “You can speak the same language with Ira - the language of Chaliapin and Stanislavsky!”
In the vocal circle, the future singer began to become seriously acquainted with romance and opera literature. It is interesting that during classes on Habanera from the opera “Carmen” by J. Bizet, N.M. Malysheva offered her interpretation of the image of Carmen - pure, free, wild - which found a response in Irina’s soul and subsequently became the cornerstone in the performance of the entire party. A few months after the start of classes, her first vocal evenings took place in the architectural school.
While studying singing and making progress in vocal circle concerts and its evenings, I.K. Arkhipova, nevertheless, continued to prepare for the work of an architect and persistently worked on her graduation project under the guidance of Professor M.O. Barshch, teachers G.D. Konstantinovsky, N.P. Sukoyants and architect L.S. Zalesskaya.
For my diploma, I chose an unusual topic - designing a monument-museum in honor of those who fell in the Great Patriotic War. Patriotic War in the city of Stavropol. Unusuality was not the point - only three years had passed since the end of the war, and the memory of the fallen was very fresh, and the construction of monuments in their honor was more than relevant. The solution I proposed was unusual - to erect a monument in the form of a kind of pantheon on an elevated place in the park, in the very center of the city of Stavropol. At that time, this was new: immediately after the war, no one had built pantheon monuments. It was then that they began to appear in various places in our country - just name the famous ensemble on Mamayev Kurgan in Volgograd or the one opened quite recently memorial Complex on Poklonnaya Hill in Moscow.
I was not in the city of Stavropol itself, but I, like other graduates, were provided with everything necessary materials- photographs, plans, literature - so I had a good idea of the place where I proposed to install the monument. According to my project, it was supposed to stand on Komsomolskaya Hill - this is the highest place in the park, which I wanted to crown with some kind of vertical. And this visual dominant was to become a monument-museum, erected in the form of a rotunda with columns. Inside the rotunda, I planned to place a Museum of Glory with sculptural images of heroes, with the names of the fallen carved on the walls. The alleys of the park were supposed to converge on this rotunda, the detailed layout of which (and the surrounding area) I also made.
Now, after many years, I understand that while still a very young architect, I intuitively felt and tried to express, to the best of my ability, what later became characteristic of our monumental architecture.
Until recently, I was sure that my graduation project had disappeared somewhere in the archives of the institute or disappeared completely (after all, almost half a century had passed!). But some time ago they called me and informed me that the institute had organized an exhibition of works by architects who lived, studied and worked in the era of totalitarianism - from 1938 to 1948 - and that my diploma project was also on display at the exhibition. Later, at one of my evenings in the hall of the House of Architects, which I organize regularly, the rector of the Architectural Institute spoke and said that the German and Japanese architects who visited the exhibition were interested in some projects for exhibitions they were planning in other countries. Among the selected works was my project...
Having defended her diploma with "excellent" marks and successfully graduated from the institute, in 1948 Irina Arkhipova was assigned to work in the Voenproekt architectural and design studio, where she designed residential buildings on Yaroslavskoe Highway. At this time, in the workshop of the Palace of Soviets, a group of architects led by L.V. Rudneva led the design of the complex of Moscow State University named after M.V. Lomonosov on the Sparrow Hills. The design of the service buildings of the complex was transferred to L.V. Rudnev "Voenproekt", of which the garage, printing house and chemical laboratory were entrusted to Irina Arkhipova, and this work was successfully completed by her. Architect Irina Arkhipova is the author of the project for the Moscow Financial Institute building on Mira Avenue.
In the same 1948, having learned that an evening department had opened at the Moscow Conservatory, Irina, while continuing to work as an architect, entered the first year class of People's Artist of the RSFSR Leonid Filippovich Savransky.
In March 1951, Irina Arkhipova, a 3rd year student at the Moscow Conservatory and architect of the Voenproekt of the Ministry of Defense, made her debut on Moscow radio for Italy. She told the audience about her family, sang the Molinelli anthem and Russian folk song"Oh, what a long night."
By the 5th year it became obvious that I needed to finally decide on a profession. In addition to studies at the conservatory, performances in the opera studio, work on chamber repertoire, and participation in concerts were added. Irina Arkhipova decided to take a year off at her own expense, go to full-time studies, graduate from the conservatory and see what happens. It turned out that Irina Arkhipova never returned to architecture.
While working on the diploma program, which included an aria from “Mass” by I.S. Bach, Irina Arkhipova rehearsed in the Great Hall of the Conservatory with Harry Grodberg, who played the famous organ. Since then, the line has appeared in the biography of the professional singer organ music. She subsequently sang with organist M. Roizman, I. Braudo, P. Sipolnieks, O. Tsintyn, O. Yanchenko. Performed in organ halls philharmonic societies of Minsk, Moscow, Leningrad, Kyiv, Chisinau, Sverdlovsk and many other cities of our country. She recorded a record of organ music in the famous Dome Cathedral in Riga, the Vilnius Cathedral, the Polish church in Kyiv, etc.
Having performed brilliantly at the graduation concert and passed the State exams with honors, Irina Arkhipova entered graduate school, but she was not liked during the audition for the Bolshoi Theater troupe, and she was not accepted. In graduate school, she first studied in the class of F.S. Petrova, then in chamber singing - with A.V. Dolivo, and all these years she did not break up with N.M. Malysheva.
Even during her studies at the conservatory, everyone was convinced that Irina Arkhipova was destined to become, first and foremost, an opera singer. Her repertoire already included complex opera roles. She was often invited to take part in the most prestigious concerts with the participation of recognized master vocalists. On March 1, 1954, Irina Arkhipova took part in a concert in the Red Banner Hall of the CDSA, where she performed together with I.S. Kozlovsky, A.P. Ognivtsev, L.A. Ruslanova, A.P. Zuevoy, V.A. Popov. In April 1954, Irina Arkhipova was invited to take part in the comedy "The Bourgeois in the Nobility", which was brought to the USSR by the Parisian theater "Comédie Française". She successfully sang all the performances in Moscow and Leningrad on French and again auditioned for the Bolshoi Theater, but again she was not accepted.
One day, Leonid Filippovich Savransky, who was already tired of enduring that his student’s voice still remained unclaimed (he was indignant: “I can’t see that you don’t sing! Where is this good?”), took me to G.M. Komissarzhevsky, an old theatrical figure, known even before the revolution as an impresario. I sang him a few things. He immediately dictated a telegram in front of us on the phone to Sverdlovsk, to the director of the opera house M.E. Ganelin: “Tall, slender, interesting, musical, with a full range, so many years old...” That is full characteristics.
Soon the answer came: Ganelin invited me to come for an audition. I didn’t go - I decided to continue my graduate studies. Two or three months later, the director of the Sverdlovsk Theater Natalya Barantseva appeared in Moscow. She listened to me and also asked: “Will you come or teach?” I answered: “I don’t know yet.”
At the end of the theater season, M.E. himself came to Moscow. Ganelin. He listened to me and said: “I’m giving you a debut!” Without any tests... Returning to Sverdlovsk, he immediately sent me “lift” money so that I could leave. I calculated everything correctly: having received the money, I could no longer refuse - after all, I now had obligations to him. And I made the final decision - I’m going to Sverdlovsk! Moreover, the theater there has always been famous for its good professional level; at that time the famous bass Boris Shtokolov sang there. That meant something.
In 1954, Irina Arkhipova transferred to the correspondence department of the graduate school of the vocal faculty and went to Sverdlovsk, where she worked all winter at the Opera and Ballet Theater. In 1955, she won an international vocal competition at the V World Festival of Youth and Students in Warsaw, which ended with a concert of the winners in the Kremlin and at which one of the government members asked: “Why isn’t Arkhipova at the Bolshoi?” After the festival, the current life of the soloist of the Sverdlovsk Opera began. Irina Arkhipova took part in the final tour concert of the theater, which took place in Rostov-on-Don, and then went with him to Kislovodsk and began preparing the part of Carmen, in which she soon performed with success.
At the same time, I. Arkhipova’s “Leningrad line” began.
On January 28, 1956, her first touring concert performance took place - a concert from the works of R. Schumann in the Small Philharmonic Hall in Leningrad. Two days later, the singer successfully debuted in “The Tsar’s Bride” in Maly opera house. After these concerts, Irina Arkhipova was offered to stay in Leningrad, but unexpectedly for her, by order of the USSR Ministry of Culture, she was transferred to the Bolshoi Theater.
On March 1, 1956, Irina Arkhipova began working at the Bolshoi, and exactly a month later, on April 1, her debut took place - she performed the part of Carmen with great success. Her partner in the first "Carmen" was the Bulgarian singer Lyubomir Bodurov. The part of Michaela was sung by E.V. Shumskaya, conducted by V.V. Not much.
From the debut performance in Bolshoi Theater The memory retained a feeling of some extraordinary fear. But it was a completely justified, natural horror before the upcoming appearance on the famous stage, which was still unfamiliar to me. It was a “one-time” fear - how will I sing? How will the public, to whom I was also unfamiliar, receive me?
Due to my inexperience at that time, I did not know that I had to be afraid not just of the first appearance on the Bolshoi stage, but of the first appearance on it precisely as Carmen. I didn’t think then that this was an exceptional case: for the first time in the Bolshoi and immediately in leading role! My thoughts were then occupied with one thing - to sing the performance well.
Every year I try to somehow celebrate that debut: on this “frivolous” day I sing, if possible, in a performance at the Bolshoi Theater or arrange a creative evening on its stage. In 1996, I was able to celebrate the 40th anniversary of my arrival at the Bolshoi Theater: it was on March 1, 1996 that an agreement was signed for the publication of a book of my memoirs, “Music of Life.” What a coincidence. I hope it turned out to be happy...
In December 1956, Irina Arkhipova sang Amneris ("Aida" by G. Verdi) on the stage of the Bolshoi Theater. This was followed by “War and Peace” (Helen), “Falstaff” (Meg) directed by B.A. Pokrovsky. Irina Arkhipova considered it a great honor and pleasure to sing in concerts where A.Sh. conducted. Melik-Pashayev. With his death the great and important stage artistic life of the singer. She received enormous creative baggage from the inspired master. He largely determined her creative destiny, for already at the very beginning he laid in her a solid foundation based on exactingness, taste, and musicality.
In 1958, the Bolshoi Theater staged the most difficult opera by the Czech composer L. Janacek, “Her Stepdaughter” (“Jenufa”). The musical director and conductor of the production was chief conductor Prague Opera Zdenek Halabala. The production director was Lingart, a director from the opera house in Brno (Czechoslovakia). Irina Arkhipova performed the most difficult role of the Dyachikha (Kostelnichka).
Although a director came to Moscow from Brno to stage the opera, conductor Halabala could also be called more than just musical director, but also a full-fledged director: the entire musical and rhythmic pattern written by the composer was translated by Zdenek Antonovich (as we called him in the Russian manner) into dramatic action. In his mise-en-scenes, he was guided by music. For example, there are many pauses in Shteva’s part, and Halabala explained why: Shteva was afraid of the angry old woman Dyachikha and stuttered out of fear. When these and other features of the opera score were explained to the singers, everything fell into place and was understandable.
Zdenek Antonovich’s work was so interesting that I soon began to relate to something unfamiliar to me before musical material with less fear, and then became so carried away by this part that she did not limit herself only to her own rehearsals with Halabala, but stayed at others to see how he worked with the performers. Watching him at this time, I could apply to myself all those demands and advice that he gave to my partners.
Another striking example of how to work on stage was for Arkhipova S.Ya. Lemeshev. Under his leadership, she participated in the production of Werther. The performances were a huge success, not to mention what a triumph S.Ya himself was at the performances. Lemeshev - Werther. It was from him that the singer learned to devote all her strength and all her thoughts to working on her image, on the opera.
In May 1959, Irina Arkhipova first performed one of her favorite roles - the part of Marfa in M.P.'s Khovanshchina. Mussorgsky.
The culmination of the first stage of I.K.’s artistic life. Arkhipova became a singer in June 1959, when the famous Italian tenor Mario del Monaco toured the Soviet Union. He was the first Italian opera singer on the Soviet stage. His arrival was a huge event, and the success of Carmen with his participation was incredible.
The audience greeted us standing. I don’t remember how many times we went out to bow. Mario kissed my hands, tears flowed from my eyes - from joy? From tension? From happiness? I don’t know... The choir artists picked up Mario and carried him in their arms from the stage to the artist’s room. At one time only F.I. was awarded such an honor. Chaliapin. Mario, also joyful and happy, said then: “I have been singing on stage for twenty years. During this time I have known many Carmen, but only three of them remain in my memory. These are Joanna Pederzini, Rise Stevens and Irina Arkhipova.”
It turned out to be difficult to go outside - the endless applause of Muscovites who saw the expected miracle spread beyond the walls of the theater, which was surrounded by a huge crowd. It included those who had just left the hall, those who did not attend the performance, and those who watched the broadcast on television and managed to come to the Bolshoi.
I didn’t consider myself famous and believed that without makeup and a costume, no one would recognize me at the service entrance and I could leave the theater completely calmly. But the Moscow public knows how to love! I was immediately surrounded, they said good words, thanked. I don’t remember how many autographs I signed then... For the first time in my life so many...
The tremendous success of "Carmen" in Moscow opened the doors to the world opera stage for Irina Arkhipova and brought the singer worldwide success. Thanks to the television and radio broadcast of this performance throughout Europe, she received numerous invitations from abroad. During a tour in Budapest, she performed Carmen in Italian for the first time. Her partner, in the role of Jose, was the talented singer and actor József Szymandy. And ahead was to sing with Mario del Monaco in Italy! In December 1960, "Carmen" was shown in Naples, and in January 1961 - in Rome. Here she was accompanied not just by success - by triumph! It became evidence that Irina Arkhipova’s talent was recognized in her homeland as the best vocal school in the world, and Del Monaco recognized Irina Arkhipova as the best of the modern Carmen.
You are my delight, my torment,
You illuminated my life with happiness...
My Carmen...
This is how Jose, who is in love, addresses Carmen in his famous aria from the second act, or, as it is also called, the “aria with a flower.”
I, too, can rightfully repeat these words of recognition to my heroine. And although it cannot be said that working on this role was my torment, my Carmen was not given to me right away and not easily, but after many doubts and searches for my vision, my understanding of this character from Bizet’s very popular opera and Mérimée’s no less popular short story. But it is indisputable that the performance of this game had decisive influence for my entire future creative destiny. Carmen has truly illuminated my life because I relate to her very vivid impressions from my first years of work in the theater. This party opened the way for me to the big world: thanks to it, I received my first real recognition both in my homeland and in other countries.
Tours in Italy were of great importance for all Russian art. These were the first performances of a Russian singer in the history of Soviet opera and her participation in productions in Italian. opera stage. In addition, Irina Arkhipova performed in Rome with an evening of Russian romances. The result of these tours was the signing by the director of La Scala, Dr. Antonio Ghiringelli and the USSR Ambassador to Italy S.P. Kozyrev document-contract about the first internship of young Soviet singers in Italy. Soon T. Milashkina, L. Nikitina, A. Vedernikov, N. Andguladze, E. Kibkalo went there.
Irina Arkhipova’s popularity also grew in her homeland. In November 1961, her first solo concert took place in the Hall of Columns of the House of Unions. In his program - classical music. I. Arkhipova decided to perform Shaporin’s Spanish romance “The Night Breathed Cool” and felt that the work Soviet composer took an equal place next to the famous classics.
In the fall of 1963, work took place on the first opera, which was intended for the stage of the newly opened Kremlin Palace of Congresses - “Don Carlos” by G. Verdi. Irina Arkhipova was entrusted with the Eboli party. The Bulgarian conductor Asen Naydenov was invited for the production, who later said: “Irina Arkhipova has not only great self-control, a sense of proportion and acting skills, but also enormous musicality, excellent memory and brilliant artistry. I know two singers who coped brilliantly with this most difficult part - Elena Nikolai and Irina Arkhipova."
In May-June 1963, Irina Arkhipova traveled to Japan, where she spent 14 solo concerts throughout the country, and in 1964, on tour of the Bolshoi Theater in Milan, at La Scala, Irina Arkhipova performed brilliantly in the roles of Marina Mnishek (Boris Godunov), Polina (" Queen of Spades") and Helen Bezukhova ("War and Peace"). In the same year, I. Arkhipova made her first trip to the USA. In New York, she met pianist John Wustman, with whom she still remains in true creative friendship. The singer toured with him several times in the USA and Europe, in particular, she sang with him in one of the concerts at the Pleyel Hall in Paris. In 1970, during the third round of the Tchaikovsky Competition, Irina Arkhipova and John Wustman recorded at the company. "Melody" - a disc from the works of S. Rachmaninov and M.P. Mussorgsky's cycle "Songs and Dances of Death". This disc received the Grand Prix "Golden Orpheus" in Paris.
In 1967, Irina Arkhipova accepted an offer to take part in the production of “Khovanshchina” by M.P. Mussorgsky at the famous La Scala, becoming the first Russian singer to receive an invitation to participate in the production of the play abroad. Irina Arkhipova performed the role of Marfa in the premiere performances in Italian. The part of Ivan Khovansky was performed by the famous Bulgarian bass Nikolai Gyaurov.
Returning to Moscow after my first Milan tour, I soon received a very warm letter from Dr. Antonio Ghiringelli, director of the La Scala theater: “Dear Signora Irina, I want to express to you on behalf of the theater and on my own behalf great recognition for your participation in the performances "Khovanshchina" Both the press and the public highly appreciated your subtle art as an actress and your beautiful voice. I express my ardent desire to see you perform at La Scala and also in Italian operas, in particular in the operas Don Carlos and Aida. The first of these two operas is expected late next year. I will not hesitate to inform you of possible dates and, of course, ask for your cooperation and participation. May 18, 1967, Milan." But less than a year after "Khovanshchina", at the end of 1967, I was again in Milan - I participated in the production of another opera by M. P. Mussorgsky - "Boris Godunov". And again I met Nikolai Gyaurov, who sang Tsar Boris wonderfully.
In 1969 - again on tour in the USA, again at Carnegie Hall in New York. Here Irina Arkhipova sang scenes from Carmen in French. In 1970, the singer received an invitation to the San Francisco Opera to perform Aida. Luciano Pavarotti was present at one of the performances, who invited the singer to Donizetti’s “The Favorite” in Bologna.
In August 1970, Irina Arkhipova, having sung Marina Mnishek, Polina in The Queen of Spades and several concerts on the tour of the Bolshoi Theater of the USSR in Canada at Expo 70, flew to Riga, where she made her debut as Azucena in the opera Il Trovatore. In October of the same year, Arkhipova participated in the production of “Il Trovatore” in Nancy in France, after which she was included in the theater’s “Golden Book” and received a contract for “Aida” in Rouen and Bordeaux and for the production of “Il Trovatore” in Orange. This production took place in the summer of 1972 as part of the International Opera Festival.
Without any exaggeration, I can say that I consider my performance in “Troubadour” on the stage of the ancient Roman amphitheater from the time of Emperor Augustus to be the most powerful impression in my artistic life, a significant milestone in my creative destiny.
The impression of visiting the amphitheater in Orange was amazing. It aroused both delight and fear in me: a gigantic bowl, on the steps of which, diverging upward and to the sides and somewhat destroyed over the past millennia, can accommodate up to eight thousand spectators; many arches in a huge wall reaching forty meters; in one of them there is a preserved, albeit dilapidated, statue of Emperor Augustus... This was once a place for entertainment for Roman soldiers. Now opera performances are staged here.
Of course, before entering such an unusual stage for myself, where I had to sing surrounded by outstanding performers, I was worried, but I did not expect such success, such extraordinary delight from the public. And not only her. For me, who had recently experienced unpleasant moments in my “native” theater, it was very important that the interest and appreciation of my reading of Azucena’s character received such a high response in France, whose newspapers called our duet with Montserrat Caballe like this: “Triumph of Caballe! Coronation Arkhipova!"
The French newspaper Combat then wrote: “This performance ended with the triumph of two ladies! Montserrat Caballe and Irina Arkhipova are beyond competition. They are the only and inimitable of their kind. Thanks to the festival in Orange, we were lucky enough to see two “sacred idols” at once, who deserved enthusiastic public response." In addition to the press, French filmmakers also showed interest in the production of “Il Trovatore” on the stage of the huge ancient amphitheater, who shot an entire film dedicated to the historical production of the opera. (True, they never saw it in our country).
Another wonderful experience from the festival in the south of France was my acquaintance with Montserrat Caballe. This famous singer behaved very dignified throughout our collaboration on “Troubadour” - without any “prima donna outbursts”. Moreover, she was very attentive to her partners, did not suppress anyone with her fame, but was calm and friendly. Her behavior once again confirmed that the Great Artist has no need to engage in “frills” - His Majesty Art speaks for him. Montserrat treated me not just well - in London, where we met three years later, and again at the Troubadour, she even brought her impresario to me and said that she had never heard a better Azucena than Arkhipova of their performances. The assessment of a colleague of this rank is worth a lot.
The London debut of 1975, where again I. Arkhipova sang with great success along with M. Caballe in Troubadour, turned out to be no less successful, and the press was numerous and enthusiastic. After this performance, tours in England became regular. Performances, festivals, concerts. It was on these tours that Irina Arkhipova had a meeting with the wonderful Italian conductor Riccardo Mutti. The singer considers chamber programs, including romances by Medtner, Taneyev, Prokofiev, Shaporin, Sviridov, important for herself, so the success that befell them in England is especially dear to her. One of the articles, a response to the concerts in September 1986, was entitled "The Magic Mezzo". "...She gave London unforgettable moments of singing art, enchanting and beautiful sounds of her voice, one of best votes V last years... Arkhipova has excellent command of her voice, its limitless emotional possibilities: from a quiet whisper to a cry of despair and command. She can amaze with great sound, but her main goal is to serve music with complete freedom, boundless musicality and taste... Arkhipova sounds full, inspired and at the same time modest, without pretensions, without affectation, like the best Slavic and Balkan folk singers, but with the advantage that comes from singing breath, supported by mastery - true bel canto."
“Arkhipova was able to revive in our memory the greatness of Maria Callas, giving us simultaneously two unique hours of music that excited us,” the press wrote after the concert in memory of Maria Callas on the Herod-Attica stage, which took place as part of Irina Arkhipova’s September tour in Greece (1983).
Stories about people whom Irina Arkhipova was lucky enough to meet in life, know by working together on stage can be infinitely long. This is work with conductor B.E. Khaikin, directors I.M. Tumanov, B.A. Pokrovsky, G.P. Ansimov; wonderful singers A.A. Eisen, P.G. Lisitsian, Z.I. Andzhaparidze, the next generation of singers, whom she supported at the very beginning of their operatic journey, who later became partners with I.K. Arkhipova. The singer led many of them, so to speak, by the hand, onto European and other stages.
Irina Arkhipova’s deep and serious acquaintance with new works began at the conservatory, in graduate school. With the cantata “Mother's Word” based on the poems of Julius Fučik, performed at the conservatory by the student orchestra under the direction of the young Algis Žuraitis, she opened the direction of oratorio-cantata forms in her work. Three decades later, during a radio appearance with V.I. Fedoseev, she repeated this cantata.
Then there was work with S.S. Prokofiev: cantata "Alexander Nevsky", oratorio "Ivan the Terrible", opera "War and Peace", "The Tale of a Real Man", his satirical songs.
The singer became acquainted with the music of Rodion Shchedrin and with him personally during the preparation of the opera “Not Only Love” on the stage of the Bolshoi Theater, and in 1962 this performance was conducted by E.V. Svetlanov. With composer A.N. Kholminov met when he wrote Mother's song for a gala concert dedicated to the 40th anniversary of the Komsomol, and later - while working on the image of the commissar in "Optimistic Tragedy", which the composer wrote with Irina Arkhipova in mind.
Unfortunately, the singer truly, creatively met the great Georgy Vasilyevich Sviridov late, but once she started working, she could no longer move away from the composer, from his music - original, deep, modern. G.V. Sviridov said: “Irina Konstantinovna is an artist not only of great feeling and subtle intellect. She has a good sense of the nature of poetic speech, has a wonderful sense of musical form, the proportion of art...”
A bright, unforgettable event - meeting the Georgian composer Otar Taktakishvili, which turned into a long-term creative friendship.
I have one “non-archival” thing at home that constantly reminds me of different events and people. This is a linen tablecloth of considerable age, on which I have embroidered autographs left in different time many outstanding cultural figures with whom I had the opportunity to meet, be acquainted, work or be friends...
The idea of collecting autographs on the tablecloth did not belong to me. In the 50s, when I had just come to work at the Bolshoi Theater, an elderly secretary worked in our director’s reception room - she was one of the oldest employees of the theater. So she collected and embroidered such signatures. Although I was still a young singer then, she asked me to sign her tablecloth. I remember being somewhat surprised by this, but also flattered. I liked the idea so much that I also decided to collect autographs. wonderful people with whom fate will bring me together.
The first who left their signatures on my tablecloth were my colleagues at the Bolshoi Theater - singers Maria Maksakova, Maria Zvezdina, Kira Leonova, Tamara Milashkina, Larisa Nikitina... Of the singers with whom I often appeared on the Bolshoi stage, they signed for me Ivan Petrov, Zurab Andzhaparidze, Vladislav Piavko... I also have autographs of our outstanding ballet dancers - Maya Plisetskaya and Vladimir Vasiliev. Embroidered on the tablecloth are the signatures of many great musicians - David Oistrakh, Emil Gilels, Leonid Kogan, Evgeniy Mravinsky...
The tablecloth traveled with me all over the world in a special bag for needlework. She is still at work today.
In 1966, Irina Arkhipova was invited to take part as a member of the jury of the P.I. Competition. Tchaikovsky, and since 1967 she has been the permanent chairman of the jury of the M.I. Competition. Glinka. Since then, she has regularly taken part in many prestigious competitions around the world, including: "Verdi Voices" and the Mario del Monaco Competition in Italy, the Queen Elizabeth Competition in Belgium, the Maria Callas Competition in Greece, the Francisco Viñas Competition in Spain, vocal competition in Paris, vocal competition in Munich. Since 1974 (with the exception of 1994) she has been the permanent chairman of the jury of the P.I. Competition. Tchaikovsky in the "solo singing" section. In 1997, at the invitation of the President of Azerbaijan Heydar Aliyev and the Minister of Culture of Azerbaijan Palad Bul-Bul Ogly, Irina Arkhipova headed the jury of the Bul-Bul Competition, organized for the 100th anniversary of the birth of this outstanding Azerbaijani singer.
Since 1986 I.K. Arkhipova heads the All-Union musical society, at the end of 1990 transformed into the International Union of Musical Workers. Irina Konstantinovna takes part in many international congresses and symposiums of public and government organizations By global problems humanity. In the sphere of her everyday concerns and interests there are a wide variety of issues, even curiosities. Not without her participation, it was possible to preserve the famous Bird Market for Moscow, organize performances by young singers - laureates of the M.I. Competition. Glinka, “knock out” the Column Hall for the International Competition named after P.I. Tchaikovsky.
In 1993, the Irina Arkhipova Foundation was organized in Moscow, supporting and promoting young performing musicians, including singers.
Irina Konstantinovna Arkhipova is a unique phenomenon on the world opera stage. She is the People's Artist of the USSR (1966), Hero of Socialist Labor (1985), laureate of the Lenin Prize (1978), State Prize of Russia (1997) for enlightenment, prizes and medals named after S.V. Rachmaninov, Moscow City Hall Prize in the field of literature and art for outstanding contribution to artistic culture Moscow and Russia (2000), Russian Award "Casta Diva" "For noble service to opera" (1999), International Award of the Foundation of the Holy All-Praised Apostle Andrew the First-Called (2000). She was awarded three Orders of Lenin (1972, 1976, 1985), the Order of the Red Banner of Labor (1971), the Order of Merit for the Fatherland, II degree (2000), the Order of the Russian Orthodox Church Holy Equal-to-the-Apostles Princess Olga II degree (2000), Order of the Republic (Moldova, 2000), order insignia "Cross of St. Michael of Tver" (2000), "For mercy and charity" (2000), "For services to the culture of Poland", St. Luke for supporting the culture of the Yaroslavl region, the “Golden Apollo” memorial sign for long-term ascetic service to Russian musical art (1998), the medal named after A.S. Pushkin (1999), many other domestic and foreign medals. She was awarded the titles of People's Artist of the Republic of Kyrgyzstan, People's Artist of the Republic of Bashkortostan (1994), Honored Artist of Udmurtia, and the title "Maestra Del Arte" (Moldova).
Irina Arkhipova is a professor at the Moscow State Conservatory named after P.I. Tchaikovsky (1984), full member and vice-president of the International Academy of Creativity and the Russian section of the International Academy of Sciences, president of the International Union of Musical Workers (1986) and the Irina Arkhipova Foundation (1993), Honorary Doctor of the National Academy of Music named after Musicescu of the Republic of Moldova (1998), President of the Russia-Uzbekistan Friendship Society.
I.K. Arkhipova was elected as a deputy of the Supreme Soviet of the USSR (1962-1966), people's deputy of the USSR. She is the owner of the titles: “Person of the Year” (Russian Biographical Institute, 1993), “Man of the Century” (International Biographical Center of Cambridge, 1993), “Goddess of the Arts” (1995), Laureate of the world art prize “Diamond Lyre” of the Marishin Art Corporation Management International". In 1995, the Institute of Theoretical Astronomy of the Russian Academy of Sciences assigned the name Arkhipova to minor planet No. 4424.
I can confidently call my life happy. I was happy with my parents, my loved ones, my friends, happy with my teachers and my students. All my life I have been doing what I love, I have traveled almost the whole world, I have met many outstanding personalities, had the opportunity to share with people what nature has given me, to feel the love and gratitude of my listeners and to feel that my art is needed by many. But it is so important for each of us to know about our need.
As soon as they called the past twentieth century - both electronic and cosmic... Nostradamus in his mysterious “Centuries” predicted that it would be “iron”, “bloody”... Whatever it was, this is our century, that , in which we had to live, and there was no other time for us. What matters is what you did in the time allotted to you on this earth. And what did you leave behind...
When the “Tsarina of Russian Opera” celebrated her 75th birthday, a certain foreign publication presented perhaps the most expensive gift. It named Irina Arkhipova one of the main mezzo-sopranos of the 20th century and deservedly put her on a par with the great performers Nadezhda Obukhova and.
Childhood and youth
The future titled opera singer was born on the second day of January 1925 in the center of Moscow, and she retained a reverent attitude towards her throughout her life.
"My hometown- Moscow. This is the city of my childhood and youth. And although I have traveled to many countries and seen many beautiful cities, Moscow for me is the city of my entire life,” she did not hide her enthusiastic feelings.Singer Irina Arkhipova
Irina spent her childhood in a communal apartment at house No. 3 on Romanovsky Lane. The love of music in the family seems to have been passed on through mother's milk. Father Konstantin Ivanovich, although he succeeded in professional engineering, was a master of the balalaika, piano, guitar and mandolin. His wife Evdokia Efimovna was a soloist of the Bolshoi Theater choir. However, there is a version that the woman just passed the selection, but her husband opposed it further career beloved wife in this establishment.
One way or another, the girl’s initial acquaintance with the “song” art occurred thanks to her parents, who constantly took the child to concerts and operas. The path turned out to be predetermined: music school. I had to leave my chosen piano class due to illness and choose a new place to study - Gnesinka itself with one of its creators, Olga Gnesina.
Concerning higher education, then drawing skills, war, the opinion of my father’s construction friends and evacuation to Tashkent made their own adjustments. The first university was the architectural institute, which upon her return the girl graduated from in the capital of Russia, presenting thesis about the project of a monument to those killed in the Great Patriotic War, and was enrolled in the Tchaikovsky Conservatory, where she later taught.
Already in her 2nd year, Irina performed arias at the Opera Studio and performed on the radio. For 2 years she served as a soloist at the Opera and Ballet Theater in Sverdlovsk, without getting into the Bolshoi Theater. It happened later - seriously and for a long time.
Music
The role with which Arkhipova made her debut on the Sverdlovsk theater stage was the mistress of the boyar Gryazny, Lyubasha, in the opera “ The Tsar's Bride" In 1955, she submitted to a prestigious international competition, where Irina Konstantinovna’s performance was so convincing that “from above” they were indignant about why she was not at the Bolshoi.
Irina Arkhipova performs an aria from the opera "Carmen"The annoying misunderstanding was corrected instantly. And here her “Carmen” immediately created a real sensation. The applauding audience, fascinated by the timbre of her voice and the artist’s mastery of transformation, had no idea that the April Fool’s premiere was difficult for her:
“Due to my inexperience at that time, I did not know that I had to be afraid not just of the first appearance on the Bolshoi stage, but of the first appearance on it in the role. I didn’t think then that this was an exceptional case: for the first time at the Bolshoi and immediately in the leading role! My thoughts were then occupied with one thing - to sing the performance well.”
The seductress José, a beautiful gypsy, opened the doors to the world's stages. Milan, Rome, Paris, London, New York, Naples and other cities, plus all of Japan, fell at her feet. Later, in 1972, she was lucky enough to collaborate with “Senora Soprano,” which made a huge impression on Arkhipova.
“This illustrious singer behaved very dignified throughout our collaboration on “Il Trovatore” - without any “diva outbursts.” Moreover, she was very attentive to her partners, calm, and friendly,” recalled Irina Konstantinovna.
By the way, after meetings with great artists, the artist asked them to sign a souvenir on a special tablecloth.
Irina Arkhipova performs the aria "Ave Maria"The repertoire mostly included works by native Russian authors, who strengthened its popularity: “The Queen of Spades”, “Boris Godunov”, “War and Peace”, “Eugene Onegin”, “Sadko”, “Khovanshchina” and many others. Soon a new section appeared in his creative biography - romances and sacred music.
“Ave Maria” by Arkhipova, released in 1987, took its place in the list of famous recordings of this “hit”.
In addition to her main activities, she actively participated in social activities - a member of the jury of prestigious Soviet and Russian, as well as world music competitions, author of 3 books, vice-president of the Academy of Creativity and the Academy of Sciences, creator of a personal fund to help budding talents.
Personal life
The titled singer, according to some media reports, sought happiness in her personal life three times. She first tied the knot in her youth, during her student days, with Evgeniy Arkhipov, to whom she gave her only son, Andrei (1947). The artist had no other children. But later a grandson Andrei appeared, who continued the opera work of the famous grandmother, and a granddaughter Irina, named in her honor.
The second chosen one was Yuri Volkov, a translator by profession. Irina “attracted” her third husband to herself. There is an opinion that after seeing her “Carmen”, the then cadet, future tenor Vladislav Piavko was so inspired that after demobilization he decided to enroll in GITIS.
Arriving at the theater, he first courted, and then fell in love with Irina, whom he took with pressure and perseverance. Despite the significant age difference, the couple went through more than 40 happy years hand in hand. Their photos together - both work and personal - will touch even a skeptic.
Death
On the holiday of Orthodox Epiphany in 2010, Irina Konstantinovna was hospitalized at the Botkin Hospital, where she died 23 days later.
Cause of death: heart pathology, unstable angina. The farewell took place on February 13, which was attended by prominent Russian figures, for example, and . "Voice eternal Russia” fell silent, which was a noticeable loss for the entire cultural world.
The grave of the great mezzo-soprano is located on Novodevichy Cemetery. On June 9, 2018, a memorial to the sculptor Stepan Mokrousov-Guglielmi was opened here.
Parties
- "The Tsar's Bride" (Lyubasha)
- "Carmen" (Carmen)
- "Aida" (Amneris)
- "Boris Godunov" (Marina Mnishek)
- "The Enchantress" (Princess)
- "Khovanshchina" (Marfa)
- "Queen of Spades" (Polina)
- "War and Peace" (Helen)
- "Snow Maiden" (Spring)
- "Mazeppa" (Love)
- "Troubadour" (Azucena)
- "Sadko" (Lyubava)
- "Queen of Spades" (Countess)
- "Iphigenia in Aulis" (Clytemnestra)
- "Masquerade Ball" (Ulrika)
Opera singer (mezzo-soprano) Irina Konstantinovna Arkhipova (nee Vetoshkina) was born on January 2, 1925 in Moscow. Her father Konstantin Vetoshkin was a major specialist in the field of construction, participated in the construction of the buildings of the Lenin Library and the development of the project for the Palace of the Soviets. The mother auditioned for the Bolshoi Theater choir, but her husband did not allow her to work there.
As a child, Irina entered the Central Music School at the Moscow Conservatory to study piano, but due to a sudden illness she was unable to study. Later she entered the Gnessin school.
In 1942, having graduated from school in evacuation in Tashkent during the Great Patriotic War, Irina entered the Moscow Architectural Institute (MARCHI), which was also evacuated in Tashkent.
In 1955, she won the international vocal competition at the V World Festival of Youth and Students in Warsaw.
In 1956-1988, Irina Arkhipova was a soloist of the Bolshoi Theater.
She made her debut as Carmen in the opera of the same name by Georges Bizet. Subsequently, this role became one of the best in the singer’s repertoire and received worldwide recognition.
Over the years of work at the Bolshoi Theater, the singer performed in dozens of repertoire operas, performed the roles of Marfa in Khovanshchina and Marina Mnishek in Modest Mussorgsky's Boris Godunov, Lyubasha in The Tsar's Bride, Vesna in The Snow Maiden and Lyubava in Nikolai's Sadko Rimsky-Korsakov. Her repertoire included the roles of Polina and Countess in The Queen of Spades and Lyubov in Mazeppa by Pyotr Tchaikovsky, Amneris in Aida, Ulrika in Un ballo in maschera, Azucena in Il Trovatore and Eboli in Don Carlos by Giuseppe Verdi .
The singer toured a lot abroad. Arkhipova's triumphant performances took place in Italy - in 1960 in Naples (Carmen), in 1967 and 1973 at the La Scala theater (Marfa and Marina Mnishek); in Germany in 1964 (Amneris); in the USA in 1966 (concert tour); in the UK at Covent Garden in 1975 and 1988 (Azucena and Ulrika). In 1997, Arkhipova performed the role of Filip'evna in Tchaikovsky's Eugene Onegin at the Metropolitan Opera.
The singer was engaged in versatile educational, pedagogical and organizational work. In 1966, she was invited to serve on the jury of the P.I. Competition. Tchaikovsky, where since 1974 (with the exception of 1994) she has been the permanent chairman of the jury in the “solo singing” section. Since 1967, she has been the permanent chairman of the jury of the M. I. Glinka Competition. She has served on the jury of many prestigious competitions around the world, including Verdi Voices and the Mario del Monaco Competition in Italy, the Queen Elizabeth Competition in Belgium, the Maria Callas Competition in Greece, and vocal competitions in Paris and Munich.
Organizer of numerous concerts of young laureate singers various competitions in Moscow, St. Petersburg and other cities of the country. For many years, she conducted opera festival"Irina Arkhipova presents."
In 1974-2003, Arkhipova taught at the Moscow State Conservatory, and in 1984 she became a professor.
She was president of the All-Union Musical Society (now the International Union of Musical Workers).
She was a full member and vice-president of the International Academy of Creativity and the Russian section of the International Academy of Sciences.
Irina Arkhipova was a deputy of the Supreme Soviet of the USSR of the sixth convocation in 1962-1966, and a people's deputy of the USSR in 1989-1992.
In 1993, the Irina Arkhipova Foundation was organized, which supports young performers and organizes festivals.
Irina Arkhipova wrote the books: “My Muses” (1992), “Music of Life” (1997), “A Brand Called “I” (2005).
Irina Arkhipova is included in the Russian book of records as the most titled Russian singer. In 1966, she was awarded the title People's Artist of the USSR. In 1984, Arkhipova received the gold star of Hero of Socialist Labor. She was a laureate of the Lenin Prize (1978) and the State Prize of the Russian Federation (1996). Among her awards are three Orders of Lenin (1971, 1976, 1984), the Order of the Red Banner of Labor (1971), as well as the Russian Orders of Merit for the Fatherland, II degree (1999) and the Holy Apostle Andrew the First-Called (2005). She was awarded orders and medals of foreign countries.
In 1993, she was named “Person of the Year” by the Russian Biographical Institute, and “Person of the Century” by the International Biographical Center of Cambridge.
In 1996, Arkhipova was awarded the World Arts Prize (established by the Marishen Art Management International corporation) - the Diamond Lyre and the title Goddess of the Arts.
In 1999, the singer was awarded the Russian opera award Casta diva.
In 1995, the Institute of Theoretical Astronomy of the Russian Academy of Sciences assigned the name Arkhipova to minor planet No. 4424.
On February 11, 2010, Irina Arkhipova died at the age of 86 in Moscow. She was buried at the Novodevichy cemetery.
Irina Arkhipova was married three times. The first marriage was a student marriage and quickly broke up. The singer’s second husband was translator Yuri Volkov.
Her last husband was the tenor of the Bolshoi Theater, People's Artist of the USSR Vladislav Piavko. From her first marriage, Arkhipova had a son, Andrei (1947-2006). The family’s musical traditions were continued by the singer’s grandson Andrei Arkhipov, a guest soloist of the Bolshoi Theater (bass).
The material was prepared based on information from RIA Novosti and open sources
Born in Moscow. Father - Vetoshkin Konstantin Ivanovich. Mother - Galda Evdokia Efimovna. Spouse - Vladislav Ivanovich Piavko, People's Artist of the USSR. Son - Andrey. Great-granddaughter - Irina.
Irina Arkhipova's father is from Belarus. He was from a family of hereditary railway workers who were deep and serious in their craft. The labor traditions of the Vetoshkin family and the desire for knowledge led my father to Moscow in the 1920s, to the Institute of Railway Transport Engineers. Subsequently, Konstantin Ivanovich became a major specialist in the field of construction. In Moscow, he participated in the construction of the Lenin Library buildings and the development of the Palace of Soviets project. He was a very musical person, played several instruments, but, unlike his wife, Evdokia Efimovna, in whose family everyone could sing, he was deprived of a singing voice. His maternal grandfather, Efim Ivanovich, had remarkable musical talent and a beautiful voice (bass-baritone), and sang all his life at rural holidays and in church. At one time he led the collective farm choir. Upon arrival in Moscow, Evdokia Efimovna auditioned for the Bolshoi Theater choir, but her husband, Konstantin Ivanovich, did not allow her to work there.
Knowledge of the surrounding world occurred not only with the help of visual images, but also through sound impressions. The first musical sounds of my childhood were my mother’s singing. She had a very beautiful voice, a soulful, soft timbre. Dad always admired him. Although he himself did not have a voice, he was a very musical person, he loved going to concerts and opera performances in the theater. Self-taught, he learned to play the balalaika, mandolin, and guitar. I remember how these daddy’s instruments were always on our cabinets at home. Then I found out that in the family of my father’s parents, where there were several sons, there was even a kind of family orchestra. Dad also played the piano.
During my childhood, “live” music was heard much more often than now not only in the family circle - singing lessons were compulsory in the school curriculum. They were an indispensable part of the comprehensive education and aesthetic education of children. At such lessons they not only sang, but at them the children received the beginnings of musical literacy - they learned notes. At our school, during singing lessons, we even had musical dictations: I remember how we received the task of writing down in notes the melody of the folk song “A Birch Tree Stood in the Field.” All this speaks about the level of teaching and attitude towards what is commonly considered a “non-core” subject. Of course, not all of my classmates liked singing lessons, but I really liked them, just as I liked singing in the choir.
Of course, parents tried to do everything to ensure that their children received a comprehensive education. We were taken to theaters and our artistic inclinations were encouraged. Dad himself drew well and was sympathetic to my first experiments in this direction. We often played music in our house and not only when guests came. Often my mother and I would hum something together. We especially liked singing the duet of Lisa and Polina from “The Queen of Spades” by P.I. Tchaikovsky - of course, by ear, not by notes...
Seeing his daughter’s musical talent, Konstantin Ivanovich decided to send Irina to study music in piano class. She entered the Central Music School at the Moscow Conservatory, but due to a sudden illness she did not have to study there. Later, to make up for lost time, Irina entered the Gnesin school. Her first piano teacher was Olga Aleksandrovna Golubeva. A year and a half later, Irina moved to Olga Fabianovna Gnessina. In parallel with her piano lessons, she sang in the choir of a music school.
For the first time, I learned how to evaluate my voice during a solfeggio lesson from teacher P.G. Kozlova. We sang the task, but someone from our group was out of tune. To check who was doing this, Pavel Gennadievich asked each student to sing separately. It was my turn. From embarrassment and fear that I had to sing alone, I literally shrank. Although I sang with clear intonation, I was so worried that my voice sounded not like a child, but almost like an adult. The teacher began to listen carefully and interestedly. The boys, who also heard something unusual in my voice, laughed: “Finally they found the fake one.” But Pavel Gennadievich abruptly interrupted their fun: “You’re laughing in vain! After all, she has a voice! Maybe she’ll be a famous singer.”
However, there was no doubt in the family: Irina’s future was architecture. In 1941, she graduated from the 9th grade, but the war began, which largely influenced her choice of profession. In the fall, the family evacuated to Tashkent. In 1942, after graduating from school in Tashkent, Irina entered the Architectural Institute (MARCHI), which was also evacuated in Tashkent. Irina passed the exam in drawing and drafting with an “excellent No. 1” rating.
Best of the day
The choice of my future profession was predetermined back in Moscow. When my father’s builder friends came to visit us, they often looked at me and said: “What a serious daughter you have! She’ll probably become an architect.”
I really looked stern back then: I wore a thick braid, was fit, always with a serious expression on my face. I was very flattered by this opinion of adults, especially since it coincided with my plans - I admired the works of the famous women sculptors A.S. Golubkina and V.I. Mukhina and dreamed of being a sculptor or architect. And it was just a happy coincidence that the Architectural Institute ended up in Tashkent very close to our house.
In Tashkent, Irina Arkhipova resumed her music studies, and there, at the Architectural Institute, her first public performance took place. Irina performed Polina's romance. The performance was not very successful - strong excitement let me down. In 1944, when the institute returned from evacuation to Moscow, she decided to perform again. Over time, these concerts became an integral part of her student life.
Often, answering the question of how she became a singer, Irina Konstantinovna says: “She graduated from the Architectural Institute.” The illogicality of such an answer is purely external, since the Architectural Institute, in addition to broad education, erudition, outlook, understanding and sense of space, sense of style, form, composition, also provided quite serious musical education. Within the walls of the institute, music was highly respected. Both teachers and students were avid theatergoers.
In 1945, the “father of architecture,” the famous academician Ivan Vladislavovich Zholtovsky, invited Nadezhda Matveevna Malysheva to lead a vocal circle at the Moscow Architectural Institute, which Irina Arkhipova joined. Before this, Nadezhda Matveevna worked as an accompanist for the famous vocal teacher G. Aden. From that moment on, a new period began in Irina’s life, which led her to the opera house and to the concert stage. It is from this moment that her creative (singing) biography begins.
From the very beginning, Nadezhda Matveevna led me to the correct interpretation of works, taught me to feel the form, explained the subtext, and suggested which techniques could be used to achieve a high artistic result. In our circle, everything was assessed according to the highest standards of true art. My repertoire quickly increased, Nadezhda Matveevna was pleased with me, but at the same time she was stingy with praise. Therefore, it was a great joy for me to find out what she said about me: “You can speak the same language with Ira - the language of Chaliapin and Stanislavsky!”
In the vocal circle, the future singer began to become seriously acquainted with romance and opera literature. It is interesting that during classes on Habanera from the opera “Carmen” by J. Bizet, N.M. Malysheva offered her interpretation of the image of Carmen - pure, free, wild - which found a response in Irina’s soul and subsequently became the cornerstone in the performance of the entire party. A few months after the start of classes, her first vocal evenings took place in the architectural school.
While studying singing and making progress in vocal circle concerts and its evenings, I.K. Arkhipova, nevertheless, continued to prepare for the work of an architect and persistently worked on her graduation project under the guidance of Professor M.O. Barshch, teachers G.D. Konstantinovsky, N.P. Sukoyants and architect L.S. Zalesskaya.
For my diploma, I chose an unusual topic - designing a monument-museum in honor of those who fell in the Great Patriotic War in the city of Stavropol. Unusuality was not the point - only three years had passed since the end of the war, and the memory of the fallen was very fresh, and the construction of monuments in their honor was more than relevant. The solution I proposed was unusual - to erect a monument in the form of a kind of pantheon on an elevated place in the park, in the very center of the city of Stavropol. At that time, this was new: immediately after the war, no one had built pantheon monuments. It was then that they began to appear in various places in our country - just name the famous ensemble on Mamayev Kurgan in Volgograd or the recently opened memorial complex on Poklonnaya Hill in Moscow.
I was not in the city of Stavropol itself, but I, like other graduate students, were provided with all the necessary materials - photographs, plans, literature - so I had a good idea of the place where I proposed to install the monument. According to my project, it was supposed to stand on Komsomolskaya Hill - this is the highest place in the park, which I wanted to crown with some kind of vertical. And this visual dominant was to become a monument-museum, erected in the form of a rotunda with columns. Inside the rotunda, I planned to place a Museum of Glory with sculptural images of heroes, with the names of the fallen carved on the walls. The alleys of the park were supposed to converge on this rotunda, the detailed layout of which (and the surrounding area) I also made.
Now, after many years, I understand that while still a very young architect, I intuitively felt and tried to express, to the best of my ability, what later became characteristic of our monumental architecture.
Until recently, I was sure that my graduation project had disappeared somewhere in the archives of the institute or disappeared completely (after all, almost half a century had passed!). But some time ago they called me and informed me that the institute had organized an exhibition of works by architects who lived, studied and worked in the era of totalitarianism - from 1938 to 1948 - and that my diploma project was also on display at the exhibition. Later, at one of my evenings in the hall of the House of Architects, which I organize regularly, the rector of the Architectural Institute spoke and said that the German and Japanese architects who visited the exhibition were interested in some projects for exhibitions they were planning in other countries. Among the selected works was my project...
Having defended her diploma with "excellent" marks and successfully graduated from the institute, in 1948 Irina Arkhipova was assigned to work in the Voenproekt architectural and design studio, where she designed residential buildings on Yaroslavskoe Highway. At this time, in the workshop of the Palace of Soviets, a group of architects led by L.V. Rudneva led the design of the complex of Moscow State University named after M.V. Lomonosov on the Sparrow Hills. The design of the service buildings of the complex was transferred to L.V. Rudnev "Voenproekt", of which the garage, printing house and chemical laboratory were entrusted to Irina Arkhipova, and this work was successfully completed by her. Architect Irina Arkhipova is the author of the project for the Moscow Financial Institute building on Mira Avenue.
In the same 1948, having learned that an evening department had opened at the Moscow Conservatory, Irina, while continuing to work as an architect, entered the first year class of People's Artist of the RSFSR Leonid Filippovich Savransky.
In March 1951, Irina Arkhipova, a 3rd year student at the Moscow Conservatory and architect of the Voenproekt of the Ministry of Defense, made her debut on Moscow radio for Italy. She told the audience about her family, sang the Molinelli anthem and the Russian folk song “Oh, you are long, night.”
By the 5th year it became obvious that I needed to finally decide on a profession. In addition to studies at the conservatory, performances in the opera studio, work on chamber repertoire, and participation in concerts were added. Irina Arkhipova decided to take a year off at her own expense, go to full-time studies, graduate from the conservatory and see what happens. It turned out that Irina Arkhipova never returned to architecture.
While working on the diploma program, which included an aria from “Mass” by I.S. Bach, Irina Arkhipova rehearsed in the Great Hall of the Conservatory with Harry Grodberg, who played the famous organ. Since then, a line of organ music has appeared in the biography of the professional singer. She subsequently sang with organist M. Roizman, I. Braudo, P. Sipolnieks, O. Tsintyn, O. Yanchenko. She has performed in the organ halls of the philharmonic societies of Minsk, Moscow, Leningrad, Kyiv, Chisinau, Sverdlovsk and many other cities of our country. She recorded a record of organ music in the famous Dome Cathedral in Riga, the Vilnius Cathedral, the Polish church in Kyiv, etc.
Having performed brilliantly at the graduation concert and passed the State exams with honors, Irina Arkhipova entered graduate school, but she was not liked during the audition for the Bolshoi Theater troupe, and she was not accepted. In graduate school, she first studied in the class of F.S. Petrova, then in chamber singing - with A.V. Dolivo, and all these years she did not break up with N.M. Malysheva.
Even during her studies at the conservatory, everyone was convinced that Irina Arkhipova was destined to become, first and foremost, an opera singer. Her repertoire already included complex opera roles. She was often invited to take part in the most prestigious concerts with the participation of recognized master vocalists. On March 1, 1954, Irina Arkhipova took part in a concert in the Red Banner Hall of the CDSA, where she performed together with I.S. Kozlovsky, A.P. Ognivtsev, L.A. Ruslanova, A.P. Zuevoy, V.A. Popov. In April 1954, Irina Arkhipova was invited to take part in the comedy "The Bourgeois in the Nobility", which was brought to the USSR by the Parisian theater "Comédie Française". She successfully sang all the performances in Moscow and Leningrad in French and again auditioned for the Bolshoi Theater, but again she was not accepted.
One day, Leonid Filippovich Savransky, who was already tired of enduring that his student’s voice still remained unclaimed (he was indignant: “I can’t see that you don’t sing! Where is this good?”), took me to G.M. Komissarzhevsky, an old theatrical figure, known even before the revolution as an impresario. I sang him a few things. He immediately dictated a telegram in front of us on the phone to Sverdlovsk, to the director of the opera house M.E. Ganelin: “Tall, slender, interesting, musical, with a full range, so many years old...” That is, a complete description.
Soon the answer came: Ganelin invited me to come for an audition. I didn’t go - I decided to continue my graduate studies. Two or three months later, the director of the Sverdlovsk Theater Natalya Barantseva appeared in Moscow. She listened to me and also asked: “Will you come or teach?” I answered: “I don’t know yet.”
At the end of the theater season, M.E. himself came to Moscow. Ganelin. He listened to me and said: “I’m giving you a debut!” Without any tests... Returning to Sverdlovsk, he immediately sent me “lift” money so that I could leave. I calculated everything correctly: having received the money, I could no longer refuse - after all, I now had obligations to him. And I made the final decision - I’m going to Sverdlovsk! Moreover, the theater there has always been famous for its good professional level; at that time the famous bass Boris Shtokolov sang there. That meant something.
In 1954, Irina Arkhipova transferred to the correspondence department of the graduate school of the vocal faculty and went to Sverdlovsk, where she worked all winter at the Opera and Ballet Theater. In 1955, she won an international vocal competition at the V World Festival of Youth and Students in Warsaw, which ended with a concert of the winners in the Kremlin and at which one of the government members asked: “Why isn’t Arkhipova at the Bolshoi?” After the festival, the current life of the soloist of the Sverdlovsk Opera began. Irina Arkhipova took part in the final tour concert of the theater, which took place in Rostov-on-Don, and then went with him to Kislovodsk and began preparing the part of Carmen, in which she soon performed with success.
At the same time, I. Arkhipova’s “Leningrad line” began.
On January 28, 1956, her first touring concert performance took place - a concert from the works of R. Schumann in the Small Philharmonic Hall in Leningrad. Two days later, the singer successfully debuted in “The Tsar’s Bride” at the Maly Opera House. After these concerts, Irina Arkhipova was offered to stay in Leningrad, but unexpectedly for her, by order of the USSR Ministry of Culture, she was transferred to the Bolshoi Theater.
On March 1, 1956, Irina Arkhipova began working at the Bolshoi, and exactly a month later, on April 1, her debut took place - she performed the part of Carmen with great success. Her partner in the first "Carmen" was the Bulgarian singer Lyubomir Bodurov. The part of Michaela was sung by E.V. Shumskaya, conducted by V.V. Not much.
From the debut performance at the Bolshoi Theater, my memory retained a feeling of some extraordinary fear. But it was a completely justified, natural horror before the upcoming appearance on the famous stage, which was still unfamiliar to me. It was a “one-time” fear - how will I sing? How will the public, to whom I was also unfamiliar, receive me?
Due to my inexperience at that time, I did not know that I had to be afraid not just of the first appearance on the Bolshoi stage, but of the first appearance on it precisely as Carmen. I didn’t think then that this was an exceptional case: for the first time at the Bolshoi and immediately in the leading role! My thoughts were then occupied with one thing - to sing the performance well.
Every year I try to somehow celebrate that debut: on this “frivolous” day I sing, if possible, in a performance at the Bolshoi Theater or arrange a creative evening on its stage. In 1996, I was able to celebrate the 40th anniversary of my arrival at the Bolshoi Theater: it was on March 1, 1996 that an agreement was signed for the publication of a book of my memoirs, “Music of Life.” What a coincidence. I hope it turned out to be happy...
In December 1956, Irina Arkhipova sang Amneris ("Aida" by G. Verdi) on the stage of the Bolshoi Theater. This was followed by “War and Peace” (Helen), “Falstaff” (Meg) directed by B.A. Pokrovsky. Irina Arkhipova considered it a great honor and pleasure to sing in concerts where A.Sh. conducted. Melik-Pashayev. With his death, a large and important stage in the singer’s artistic life ended. She received enormous creative baggage from the inspired master. He largely determined her creative destiny, for already at the very beginning he laid in her a solid foundation based on exactingness, taste, and musicality.
In 1958, the Bolshoi Theater staged the most difficult opera by the Czech composer L. Janacek, “Her Stepdaughter” (“Jenufa”). The musical director and conductor of the production was the chief conductor of the Prague Opera, Zdenek Halabala. The production director was Lingart, a director from the opera house in Brno (Czechoslovakia). Irina Arkhipova performed the most difficult role of the Dyachikha (Kostelnichka).
Although a director came to Moscow from Brno to stage the opera, conductor Halabala could also be called not just a musical director, but also a full-fledged director: the entire musical, rhythmic design written by the composer was translated by Zdenek Antonovich (as we called him in the Russian manner) into dramaturgical action. In his mise-en-scenes, he was guided by music. For example, there are many pauses in Shteva’s part, and Halabala explained why: Shteva was afraid of the angry old woman Dyachikha and stuttered out of fear. When these and other features of the opera score were explained to the singers, everything fell into place and was understandable.
Zdenek Antonovich’s work was so interesting that I soon began to approach previously unfamiliar musical material with less fear, and then I became so carried away by this part that I did not limit myself only to my own rehearsals with Halabala, but stayed at others to see how he worked with performers. Watching him at this time, I could apply to myself all those demands and advice that he gave to my partners.
Another striking example of how to work on stage was for Arkhipova S.Ya. Lemeshev. Under his leadership, she participated in the production of Werther. The performances were a huge success, not to mention what a triumph S.Ya himself was at the performances. Lemeshev - Werther. It was from him that the singer learned to devote all her strength and all her thoughts to working on her image, on the opera.
In May 1959, Irina Arkhipova first performed one of her favorite roles - the part of Marfa in M.P.'s Khovanshchina. Mussorgsky.
The culmination of the first stage of I.K.’s artistic life. Arkhipova became a singer in June 1959, when the famous Italian tenor Mario del Monaco toured the Soviet Union. He was the first Italian opera singer on the Soviet stage. His arrival was a huge event, and the success of Carmen with his participation was incredible.
The audience greeted us standing. I don’t remember how many times we went out to bow. Mario kissed my hands, tears flowed from my eyes - from joy? From tension? From happiness? I don’t know... The choir artists picked up Mario and carried him in their arms from the stage to the artist’s room. At one time only F.I. was awarded such an honor. Chaliapin. Mario, also joyful and happy, said then: “I have been singing on stage for twenty years. During this time I have known many Carmen, but only three of them remain in my memory. These are Joanna Pederzini, Rise Stevens and Irina Arkhipova.”
It turned out to be difficult to go outside - the endless applause of Muscovites who saw the expected miracle spread beyond the walls of the theater, which was surrounded by a huge crowd. It included those who had just left the hall, those who did not attend the performance, and those who watched the broadcast on television and managed to come to the Bolshoi.
I didn’t consider myself famous and believed that without makeup and a costume, no one would recognize me at the service entrance and I could leave the theater completely calmly. But the Moscow public knows how to love! They immediately surrounded me, said the kindest words, and thanked me. I don’t remember how many autographs I signed then... For the first time in my life so many...
The tremendous success of "Carmen" in Moscow opened the doors to the world opera stage for Irina Arkhipova and brought the singer worldwide success. Thanks to the television and radio broadcast of this performance throughout Europe, she received numerous invitations from abroad. During a tour in Budapest, she performed Carmen in Italian for the first time. Her partner, in the role of Jose, was the talented singer and actor József Szymandy. And ahead was to sing with Mario del Monaco in Italy! In December 1960, "Carmen" was shown in Naples, and in January 1961 - in Rome. Here she was accompanied not just by success - by triumph! It became evidence that Irina Arkhipova’s talent was recognized in her homeland as the best vocal school in the world, and Del Monaco recognized Irina Arkhipova as the best of the modern Carmen.
You are my delight, my torment,
You illuminated my life with happiness...
My Carmen...
This is how Jose, who is in love, addresses Carmen in his famous aria from the second act, or, as it is also called, the “aria with a flower.”
I, too, can rightfully repeat these words of recognition to my heroine. And although it cannot be said that working on this role was my torment, my Carmen was not given to me right away and not easily, but after many doubts and searches for my vision, my understanding of this character from Bizet’s very popular opera and Mérimée’s no less popular short story. But there is no doubt that the performance of this part had a decisive influence on my entire future creative destiny. Carmen really illuminated my life, since she is associated with very vivid impressions from my first years of work in the theater. This party opened the way for me to the big world: thanks to it, I received my first real recognition both in my homeland and in other countries.
Tours in Italy were of great importance for all Russian art. These were the first performances of a Russian singer in the history of Soviet opera and her participation in productions on the Italian opera stage. In addition, Irina Arkhipova performed in Rome with an evening of Russian romances. The result of these tours was the signing by the director of La Scala, Dr. Antonio Ghiringelli and the USSR Ambassador to Italy S.P. Kozyrev document-contract about the first internship of young Soviet singers in Italy. Soon T. Milashkina, L. Nikitina, A. Vedernikov, N. Andguladze, E. Kibkalo went there.
Irina Arkhipova’s popularity also grew in her homeland. In November 1961, her first solo concert took place in the Hall of Columns of the House of Unions. His program includes classical music. I. Arkhipova decided to perform Shaporin’s Spanish romance “The Night Breathed Cool” and felt that the work of the Soviet composer took an equal place next to the famous classics.
In the fall of 1963, work took place on the first opera, which was intended for the stage of the newly opened Kremlin Palace of Congresses - “Don Carlos” by G. Verdi. Irina Arkhipova was entrusted with the Eboli party. The Bulgarian conductor Asen Naydenov was invited for the production, who later said: “Irina Arkhipova has not only great self-control, a sense of proportion and acting skill, but also enormous musicality, excellent memory and brilliant artistry. I know two singers who coped brilliantly with this most difficult party - Elena Nikolai and Irina Arkhipova."
In May-June 1963, Irina Arkhipova traveled to Japan, where she held 14 solo concerts throughout the country, and in 1964, on tour of the Bolshoi Theater in Milan, at La Scala, Irina Arkhipova performed brilliantly in the roles of: Marina Mnishek ( "Boris Godunov"), Polina ("The Queen of Spades") and Helen Bezukhova ("War and Peace"). In the same year, I. Arkhipova made her first trip to the USA. In New York she met pianist John Wustman, with whom she still remains in true creative friendship. The singer toured with him several times in the USA and Europe, in particular, she sang with him in one of the concerts at the Pleyel Hall in Paris. In 1970, during the third round of the competition named after P.I. Tchaikovsky Irina Arkhipova and John Wustman recorded at the Melodiya company a record of works by S. Rachmaninov and a cycle by M.P. Mussorgsky "Songs and Dances of Death". This record received the Golden Orpheus Grand Prix in Paris.
In 1967, Irina Arkhipova accepted an offer to take part in the production of “Khovanshchina” by M.P. Mussorgsky at the famous La Scala, becoming the first Russian singer to receive an invitation to participate in the production of the play abroad. Irina Arkhipova performed the role of Marfa in the premiere performances in Italian. The part of Ivan Khovansky was performed by the famous Bulgarian bass Nikolai Gyaurov.
Returning to Moscow after my first Milan tour, I soon received a very warm letter from Dr. Antonio Ghiringelli, director of the La Scala theater: “Dear Signora Irina, I want to express to you on behalf of the theater and on my own behalf great recognition for your participation in the performances “Khovanshchina.” Both the press and the public highly appreciated your subtle skill as an actress and your beautiful voice. I express my ardent desire to see you perform at La Scala also in Italian operas, in particular in the operas “Don Carlos” and “Aida.” "The first of these two operas is expected at the end of next year. I will not hesitate to inform you of possible dates and, of course, ask for your cooperation and participation. May 18, 1967, Milan." But less than a year after Khovanshchina, at the end of 1967, I was again in Milan - I participated in the production of another opera by M.P. Mussorgsky - "Boris Godunov". And again I met Nikolai Gyaurov, who sang Tsar Boris wonderfully.
In 1969 - again on tour in the USA, again at Carnegie Hall in New York. Here Irina Arkhipova sang scenes from Carmen in French. In 1970, the singer received an invitation to the San Francisco Opera to perform Aida. Luciano Pavarotti was present at one of the performances, who invited the singer to Donizetti’s “The Favorite” in Bologna.
In August 1970, Irina Arkhipova, having sung Marina Mnishek, Polina in The Queen of Spades and several concerts on the tour of the Bolshoi Theater of the USSR in Canada at Expo 70, flew to Riga, where she made her debut as Azucena in the opera Il Trovatore. In October of the same year, Arkhipova participated in the production of “Il Trovatore” in Nancy in France, after which she was included in the theater’s “Golden Book” and received a contract for “Aida” in Rouen and Bordeaux and for the production of “Il Trovatore” in Orange. This production took place in the summer of 1972 as part of the International Opera Festival.
Without any exaggeration, I can say that I consider my performance in “Troubadour” on the stage of the ancient Roman amphitheater from the time of Emperor Augustus to be the most powerful impression in my artistic life, a significant milestone in my creative destiny.
The impression of visiting the amphitheater in Orange was amazing. It aroused both delight and fear in me: a gigantic bowl, on the steps of which, diverging upward and to the sides and somewhat destroyed over the past millennia, can accommodate up to eight thousand spectators; many arches in a huge wall reaching forty meters; in one of them there is a preserved, albeit dilapidated, statue of Emperor Augustus... This was once a place for entertainment for Roman soldiers. Now opera performances are staged here.
Of course, before entering such an unusual stage for myself, where I had to sing surrounded by outstanding performers, I was worried, but I did not expect such success, such extraordinary delight from the public. And not only her. For me, who had recently experienced unpleasant moments in my “native” theater, it was very important that the interest and appreciation of my reading of Azucena’s character received such a high response in France, whose newspapers called our duet with Montserrat Caballe like this: “Triumph of Caballe! Coronation Arkhipova!"
The French newspaper Combat then wrote: “This performance ended with the triumph of two ladies! Montserrat Caballe and Irina Arkhipova are beyond competition. They are the only and inimitable of their kind. Thanks to the festival in Orange, we were lucky enough to see two “sacred idols” at once, who deserved enthusiastic public response." In addition to the press, French filmmakers also showed interest in the production of “Il Trovatore” on the stage of the huge ancient amphitheater, who shot an entire film dedicated to the historical production of the opera. (True, they never saw it in our country).
Another wonderful experience from the festival in the south of France was my acquaintance with Montserrat Caballe. This famous singer behaved very dignified throughout our collaboration on “Troubadour” - without any “prima donna outbursts”. Moreover, she was very attentive to her partners, did not suppress anyone with her fame, but was calm and friendly. Her behavior once again confirmed that the Great Artist has no need to engage in “frills” - His Majesty Art speaks for him. Montserrat treated me not just well - in London, where we met three years later, and again at the Troubadour, she even brought her impresario to me and said that she had never heard a better Azucena than Arkhipova of their performances. The assessment of a colleague of this rank is worth a lot.
The London debut of 1975, where again I. Arkhipova sang with great success along with M. Caballe in Troubadour, turned out to be no less successful, and the press was numerous and enthusiastic. After this performance, tours in England became regular. Performances, festivals, concerts. It was on these tours that Irina Arkhipova had a meeting with the wonderful Italian conductor Riccardo Mutti. The singer considers chamber programs, including romances by Medtner, Taneyev, Prokofiev, Shaporin, Sviridov, important for herself, so the success that befell them in England is especially dear to her. One of the articles, a response to the concerts in September 1986, was entitled "The Magic Mezzo". "...She gave London unforgettable moments of singing art, enchanting and beautiful sounds of her voice, one of the best voices in recent years... Arkhipova has perfect control of her voice, its limitless emotional capabilities: from a quiet whisper to a cry of despair and command. She can shock with great sound, but her main goal is to serve music with complete freedom, boundless musicality and taste... Arkhipova sounds full, inspired and at the same time modest, without pretensions, without affectation, like the best Slavic and Balkan folk singers, but with the advantage which gives singing breath, supported by skill - true bel canto."
“Arkhipova was able to revive in our memory the greatness of Maria Callas, giving us simultaneously two unique hours of music that excited us,” the press wrote after the concert in memory of Maria Callas on the Herod-Attica stage, which took place as part of Irina Arkhipova’s September tour in Greece (1983).
Stories about people whom Irina Arkhipova was lucky enough to meet in life, to know from working together on stage, can be endlessly long. This is work with conductor B.E. Khaikin, directors I.M. Tumanov, B.A. Pokrovsky, G.P. Ansimov; wonderful singers A.A. Eisen, P.G. Lisitsian, Z.I. Andzhaparidze, the next generation of singers, whom she supported at the very beginning of their operatic journey, who later became partners with I.K. Arkhipova. The singer led many of them, so to speak, by the hand, onto European and other stages.
Irina Arkhipova’s deep and serious acquaintance with new works began at the conservatory, in graduate school. With the cantata “Mother's Word” based on the poems of Julius Fučik, performed at the conservatory by the student orchestra under the direction of the young Algis Žuraitis, she opened the direction of oratorio-cantata forms in her work. Three decades later, during a radio appearance with V.I. Fedoseev, she repeated this cantata.
Then there was work with S.S. Prokofiev: cantata "Alexander Nevsky", oratorio "Ivan the Terrible", opera "War and Peace", "The Tale of a Real Man", his satirical songs.
The singer became acquainted with the music of Rodion Shchedrin and with him personally during the preparation of the opera “Not Only Love” on the stage of the Bolshoi Theater, and in 1962 this performance was conducted by E.V. Svetlanov. With composer A.N. Kholminov met when he wrote Mother's song for a gala concert dedicated to the 40th anniversary of the Komsomol, and later - while working on the image of the commissar in "Optimistic Tragedy", which the composer wrote with Irina Arkhipova in mind.
Unfortunately, the singer truly, creatively met the great Georgy Vasilyevich Sviridov late, but once she started working, she could no longer move away from the composer, from his music - original, deep, modern. G.V. Sviridov said: “Irina Konstantinovna is an artist not only of great feeling and subtle intellect. She has a good sense of the nature of poetic speech, has a wonderful sense of musical form, the proportion of art...”
A bright, unforgettable event - meeting the Georgian composer Otar Taktakishvili, which turned into a long-term creative friendship.
I have one “non-archival” thing at home that constantly reminds me of different events and people. This is a linen tablecloth of considerable age, on which I have embroidered autographs left at different times by many outstanding cultural figures with whom I had the opportunity to meet, be acquaintances, work or be friends...
The idea of collecting autographs on the tablecloth did not belong to me. In the 50s, when I had just come to work at the Bolshoi Theater, an elderly secretary worked in our director’s reception room - she was one of the oldest employees of the theater. So she collected and embroidered such signatures. Although I was still a young singer then, she asked me to sign her tablecloth. I remember being somewhat surprised by this, but also flattered. I liked the idea so much that I also decided to collect autographs of wonderful people with whom fate would bring me together.
The first who left their signatures on my tablecloth were my colleagues at the Bolshoi Theater - singers Maria Maksakova, Maria Zvezdina, Kira Leonova, Tamara Milashkina, Larisa Nikitina... Of the singers with whom I often appeared on the Bolshoi stage, they signed for me Ivan Petrov, Zurab Andzhaparidze, Vladislav Piavko... I also have autographs of our outstanding ballet dancers - Maya Plisetskaya and Vladimir Vasiliev. Embroidered on the tablecloth are the signatures of many great musicians - David Oistrakh, Emil Gilels, Leonid Kogan, Evgeniy Mravinsky...
The tablecloth traveled with me all over the world in a special bag for needlework. She is still at work today.
In 1966, Irina Arkhipova was invited to take part as a member of the jury of the P.I. Competition. Tchaikovsky, and since 1967 she has been the permanent chairman of the jury of the M.I. Competition. Glinka. Since then, she has regularly taken part in many prestigious competitions around the world, including: "Verdi Voices" and the Mario del Monaco Competition in Italy, the Queen Elizabeth Competition in Belgium, the Maria Callas Competition in Greece, the Francisco Viñas Competition in Spain, and the Vocal Competition in Paris, vocal competition in Munich. Since 1974 (with the exception of 1994) she has been the permanent chairman of the jury of the P.I. Competition. Tchaikovsky in the "solo singing" section. In 1997, at the invitation of the President of Azerbaijan Heydar Aliyev and the Minister of Culture of Azerbaijan Palad Bul-Bul Ogly, Irina Arkhipova headed the jury of the Bul-Bul Competition, organized for the 100th anniversary of the birth of this outstanding Azerbaijani singer.
Since 1986 I.K. Arkhipova heads the All-Union Musical Society, which at the end of 1990 was transformed into the International Union of Musical Workers. Irina Konstantinovna takes part in many international congresses and symposiums of public and government organizations on global problems of humanity. In the sphere of her everyday concerns and interests there are a wide variety of issues, even curiosities. Not without her participation, it was possible to preserve the famous Bird Market for Moscow, organize performances by young singers - laureates of the M.I. Competition. Glinka, “knock out” the Column Hall for the International Competition named after P.I. Tchaikovsky.
In 1993, the Irina Arkhipova Foundation was organized in Moscow, supporting and promoting young performing musicians, including singers.
Irina Konstantinovna Arkhipova is a unique phenomenon on the world opera stage. She is the People's Artist of the USSR (1966), Hero of Socialist Labor (1985), laureate of the Lenin Prize (1978), State Prize of Russia (1997) for enlightenment, prizes and medals named after S.V. Rachmaninov, the Moscow City Hall Prize in the field of literature and art for outstanding contribution to the artistic culture of Moscow and Russia (2000), the Russian Casta Diva Prize "For noble service to opera" (1999), the International Prize of the Foundation of the Holy All-Praised Apostle Andrew the First-Called (2000 ). She was awarded three Orders of Lenin (1972, 1976, 1985), the Order of the Red Banner of Labor (1971), the Order of Merit for the Fatherland, II degree (2000), the Order of the Russian Orthodox Church of St. Equal-to-the-Apostles Princess Olga, II degree (2000), and the Order of the Republic ( Moldova, 2000), order badges "Cross of St. Michael of Tver" (2000), "For mercy and charity" (2000), "For services to the culture of Poland", St. Luke for supporting the culture of the Yaroslavl region, Memorial badge "Golden Apollo" for long-term ascetic service to Russian musical art (1998), medal named after A.S. Pushkin (1999), many other domestic and foreign medals. She was awarded the titles of People's Artist of the Republic of Kyrgyzstan, People's Artist of the Republic of Bashkortostan (1994), Honored Artist of Udmurtia, and the title "Maestra Del Arte" (Moldova).
Irina Arkhipova is a professor at the Moscow State Conservatory named after P.I. Tchaikovsky (1984), full member and vice-president of the International Academy of Creativity and the Russian section of the International Academy of Sciences, president of the International Union of Musical Workers (1986) and the Irina Arkhipova Foundation (1993), Honorary Doctor of the National Academy of Music named after Musicescu of the Republic of Moldova (1998), President of the Russia-Uzbekistan Friendship Society.
I.K. Arkhipova was elected as a deputy of the Supreme Soviet of the USSR (1962-1966), people's deputy of the USSR. She is the owner of the titles: “Person of the Year” (Russian Biographical Institute, 1993), “Man of the Century” (International Biographical Center of Cambridge, 1993), “Goddess of the Arts” (1995), Laureate of the world art prize “Diamond Lyre” of the Marishin Art Corporation Management International". In 1995, the Institute of Theoretical Astronomy of the Russian Academy of Sciences assigned the name Arkhipova to minor planet No. 4424.
I can confidently call my life happy. I was happy with my parents, my loved ones, my friends, happy with my teachers and my students. All my life I have been doing what I love, I have traveled almost the whole world, I have met many outstanding personalities, I have had the opportunity to share with people what nature has given me, to feel the love and gratitude of my listeners and to feel that my art is needed by many. But it is so important for each of us to know about our need.
As soon as they called the past twentieth century - both electronic and cosmic... Nostradamus in his mysterious “Centuries” predicted that it would be “iron”, “bloody”... Whatever it was, this is our century, that , in which we had to live, and there was no other time for us. What matters is what you did in the time allotted to you on this earth. And what did you leave behind...
Arkhipova Irina Konstantinovna (January 2, 1925, Moscow, USSR - February 11, 2010, Moscow), Russian singer (mezzo-soprano). People's Artist of the USSR (1966). Hero of Socialist Labor (1985). Laureate of the Lenin Prize (1978) and the State Prize of Russia (1997). First Prize and Gold Medal International competition vocalists in Warsaw (1955). Grand Prix and Golden Orpheus (1973); Grand Prix named after Fanny Heldi and Golden Orpheus (1975) - for the best opera recording. Laureate of the Russian Opera Prize “Casta Diva” (1999). Laureate of the S.V. Prize.
In 1948 she graduated from the Moscow Architectural Institute, then from the Moscow State Conservatory (1953; class of L. F. Savransky).
At the Bolshoi Theater
In 1954 she made her debut at the Sverdlovsk State Opera House in the role of Lyubasha (The Tsar's Bride by N. A. Rimsky-Korsakov), where she performed the leading mezzo-soprano repertoire for two years.
In 1956-1988 - soloist of the Bolshoi Theater (first performance - Carmen in the opera of the same name by J. Bizet). This role, performed by the singer on stage in many countries around the world, brought her fame as one of the best Carmen of the 20th century. Over the years of work at the Bolshoi Theater, the singer brilliantly performed in dozens of repertoire operas: Marfa (“Khovanshchina” by M. P. Mussorgsky), Marina Mnishek (“Boris Godunov” by Mussorgsky), Lyubasha (“The Tsar’s Bride” by Rimsky-Korsakov), Vesna (“The Snow Maiden” by Rimsky-Korsakov), Lyubava (“Sadko” by Rimsky-Korsakov), Polina and the Countess (“The Queen of Spades” by P.I.), Lyubov (“Mazeppa” by Tchaikovsky), Amneris (“Aida” by G. Verdi) , Ulrika (“Un ballo in maschera” by Verdi), Azucena (“Il Trovatore” by Verdi), Eboli (“Don Carlos” by Verdi).
She toured a lot abroad. Arkhipova's triumphant performances in Italy (1960, Naples, Carmen; 1967, La Scala, Marfa in Khovanshchina; 1973, La Scala, Marina Mnishek in the opera Boris Godunov), in Germany (1964, Amneris in " Aida"), in the USA (1966, concert tour), in the UK ("Covent Garden": 1975, Azucena in "Il Trovatore"; 1988, Ulrika in "Un ballo in maschera") and in many other countries of the world brought her the fame of the first Russian singers of our time. Foreign critics compared her with F.I. Chaliapin in terms of depth of penetration into the image, a huge range of different vocal and dramatic shades, natural musicality, and temperament. In 1997 she performed the role of Filip'evna in Tchaikovsky's Eugene Onegin at the Metropolitan Opera.
Arkhipova is an outstanding singer of the 20th century, her voice, powerful, rich in shades, smooth in all registers, possessing a magical power of influence on the listener, combined with natural musicality and acting skills, turns each singer’s work into a genuine event in musical life. Arkhipova's interpretation of the dramatic beginning in a musical work is deep and heartfelt. This fully applies to her activities as both an opera singer and a performer of the concert repertoire. In music, Arkhipova has always been interested in tasks of particular performance complexity. A phenomenon in chamber art was her interpretation of the romances of Rimsky-Korsakov and S.I. Taneyev, as well as the cycle of works by G.V. Sviridov, work on which took place in collaboration with the composer and allowed him to call Arkhipova an artist not only of great feeling, but also of subtlety. intelligence.
Social and pedagogical activities
Since 1982 - Professor at the Moscow State Conservatory. P.I. Tchaikovsky. Since 1967 - permanent chairman of the M. I. Glinka competition. Since 1974, he has also been the permanent chairman of the International Tchaikovsky Competition, section “solo singing” (except 1994).
President since 1986 International Union musical figures (1986), under whose patronage numerous music festivals in the Russian province (Ostashkovo, Smolensk).
President of the Irina Arkhipova Foundation (1993).
In 1993, Arkhipova was awarded the title “Person of the Year” (Russian Biographical Institute) and the title “Man of the Century” (Cambridge Biographical Center). In 1995 - the title “Goddess of Arts” and the World Art Prize “Diamond Lyre” (established and awarded by “Marishin Art Management International”).
Minor planet No. 4424 is named after “Arkhipov” (the name was assigned by the Institute of Theoretical Astronomy Russian Academy Sciences, 1995).
On January 19, 2010, Irina Konstantinovna Arkhipova was hospitalized with cardiac pathology at the Botkin City Clinical Hospital. On February 11, 2010, the singer died. She was buried on February 13, 2010 at the Novodevichy cemetery in Moscow.