Tribute to Stesha: Russian-Gypsy Diva - A Tribute To Stesha: The Russian-Gypsy Diva - COMPACT DISCS [CD]
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This recording is a tribute to the celebrated Russian-Gypsy diva Stepanida Soldatova (1787-1822), whose talent and imaginative performances influenced several generations of Russian musicians, composers, and writers. Professionally trained in bel canto, Stepanida synthesized her own signature style, combining the qualities of virtuoso operatic style and the oral performance tradition of Eastern-European Gypsies (Rroma).Stesha, as she was known to her friends, started her performing career very young, singing with the famous Gypsy choir that was founded by Count Orlov during the reign of Catherine the Great. When she was only sixteen, she had a chance to listen to Teresa Maciurletti, an actress of the St Petersburg Italian Opera who performed several concerts in Moscow in 1803. This encounter apparently defined young Stesha's aspirations to study professional music and the art of bel canto, and to apply these skills to her performance of Russian folk-songs. The direction this young singer chose for herself was completely atypical for a Gypsy musician of the time. Stesha was lucky to find a wealthy and competent music-lover who 'applied all possible means to educate her extraordinary talent and taste'. She soon began to perform with her own ensemble, consisting of a male guitarist, a male violinist, and two more women singers. Typically for the Gypsy ensembles of the time, all members of the group also sang in choruses and danced; Stepanida herself was described as an extraordinary dancer.The album concludes with a suite, based on two arrangements by Ivan Rupin (1792-1850), a talented singer and composer sometimes referred to as 'The Russian Nightingale'. Like Stesha, he too was trained in bel canto by the Italian singer P. Muscetti in Moscow, and even Italianised his last name in his publications as Rupini. For Rupin and his peers it was customary to pair a slower song
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- GenreClassicalDescriptionThis recording is a tribute to the celebrated Russian-Gypsy diva Stepanida Soldatova (1787-1822), whose talent and imaginative performances influenced several generations of Russian musicians, composers, and writers. Professionally trained in bel canto, Stepanida synthesized her own signature style, combining the qualities of virtuoso operatic style and the oral performance tradition of Eastern-European Gypsies (Rroma).Stesha, as she was known to her friends, started her performing career very young, singing with the famous Gypsy choir that was founded by Count Orlov during the reign of Catherine the Great. When she was only sixteen, she had a chance to listen to Teresa Maciurletti, an actress of the St Petersburg Italian Opera who performed several concerts in Moscow in 1803. This encounter apparently defined young Stesha's aspirations to study professional music and the art of bel canto, and to apply these skills to her performance of Russian folk-songs. The direction this young singer chose for herself was completely atypical for a Gypsy musician of the time. Stesha was lucky to find a wealthy and competent music-lover who 'applied all possible means to educate her extraordinary talent and taste'. She soon began to perform with her own ensemble, consisting of a male guitarist, a male violinist, and two more women singers. Typically for the Gypsy ensembles of the time, all members of the group also sang in choruses and danced; Stepanida herself was described as an extraordinary dancer.The album concludes with a suite, based on two arrangements by Ivan Rupin (1792-1850), a talented singer and composer sometimes referred to as 'The Russian Nightingale'. Like Stesha, he too was trained in bel canto by the Italian singer P. Muscetti in Moscow, and even Italianised his last name in his publications as Rupini. For Rupin and his peers it was customary to pair a slower songArtistTribute to Stesha: Russian-Gypsy DivaTitleA Tribute To Stesha: The Russian-Gypsy DivaFormatCDLabelNaxos
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Born in Naples in 1893, Teresa de Rogatis was a child prodigy who gave her first recital at the age of seven. She studied piano, composition, counterpoint, harmony, conducting and voice at the Conservatorio San Pietro in Naples. While in Egypt on a concert tour, she met and soon married a Swiss man of means living in Cairo, Paolo Feninger. Settling there in the 1920s, Rogatis helped to found the National Conservatory of Egypt, where she also taught piano and guitar for over 40 years. Her husband's death prompted her retirement in 1963 back to Naples, where she lived quietly until her death in 1979. Her career as a teacher allowed little time for composition, but de Rogatis took a selfless attitude to her own work. 'If teaching hundreds of young people about the poetry and beauty of music, instead of composing works and symphonies, means giving one's life up, then that's what I've done. But if some of these young people, who are now adults, can understand a Beethoven symphony or sonata and find in it solace and a guide for their own lives, then I will live in their memories just as I would have done in my works, and my life will have been equally useful.' Her relatively slender output - 60 acknowledged works - is dominated by piano music, but de Rogatis also wrote instrumental songs and dances for the guitar, and a four-movement Sonatina of no less ready melodic appeal, all presented here by her modern-day counterpart, the Italian guitarist Cinzia Milani. In a personal introduction to the scholarly booklet note, Milani observes how de Rogatis 'reconciled brilliant virtuoso flair with an elegantly feminine touch, even when the overall tone is jocular or ironic.' Milani's decision to record this music on a distinctly modern instrument is part of 'an imaginary dialogue between different periods and the changes they heralded like glancing backwards while walking towards t
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