Zabela Vrubel biography

She graduated from the St. Petersburg Conservatory, studied with N. Iretskaya and O. for the first time in the performance of students of the conservatory B, performing the Leonora party in the opera Fidelio. She was improved with M. Markez in Paris, where she performed in concerts with A. upon returning she worked in opera theaters - in Kyiv in the troupe of I. Svetov, Tbilisi, Kharkov.

The season –96 sang in the St. Petersburg private opera S. Sokolov, where Gretel's party in the opera Genzel and Gretel Khumperdinka was successfully performed on the Russian stage. The flowering of creative activity Zabeli is connected with her performances on the stage of the Moscow private opera S. Mamontov-here the Walter created deeply poetic, exciting musical and sculptural images in many Russian and foreign operas.

She was especially close to her heroines of opera N. with the composer himself, who highly appreciated the talent of Zabeli, the singer was connected by a long creative friendship. Zabla was the first performer of the parties of Vera “The Boyar Vera Sheloga”, Martha “Tsarist Bride”, and Lebeded Princess; The princesses of the beloved beauty of the “stroke immortal”, written by the composer in the calculation of her voice and a bright artistic personality.

In –11 she worked in the troupe of the Mariinsky Theater, but rarely performed in performances because of her husband’s illness, artist M. Vrubel, and the death of her son. The last few years of life have performed in concerts. She performed the works of Russian composers, mainly Rimsky-Korsakov, who dedicated her romances “I am still full, O my dear friend” and “nymph”. Zabeli's voice was distinguished by a beautiful silver timbre, lyrical softness, emotional saturation.

The artist had an impeccable sense of style, exceptional musicality, delicate taste. Literature: F Indereisen Nick. Life and creativity, issue. IV, M. Zabla-Vrubel, M. Grigoryev Source: Musical Encyclopedia,-Gg. Nadezhda Ivanovna Zabel-Vrubel was born on March 20 on April 1 in the family of an old Little Russian family. Her father, Ivan Petrovich, a civil servant, was interested in painting, music and contributed to the versatile education of his daughters - Catherine and Nadezhda.

From the age of ten, Nadezhda studied at the Kiev Institute of Noble Maidens, which she graduated from a large silver medal in the year. From a year, Nadezhda studies at the St. Petersburg Conservatory, in the class of Professor N. To resolve the issue of admission, she certainly listened to candidates at her home, met in more detail with them. Here is what L.

Barsova writes: “The whole palette of colors was built on impeccable vocals: a clean tone, as it were, is endlessly and continuously flowing and developing. She considered false intonation the biggest drawback, and forced singing was considered as the greatest disaster - a consequence of dysfunctional breathing. The lessons of Iretskaya, Kobel, learned perfectly ...

”Already participation in the student performance“ Fidelio ”by Beethoven on February 9, the year paid the attention of specialists to the young singer who performed the Leonora party. The reviewers noted “a good school and a musical understanding”, “a strong and well -set voice”, while indicating a lack of “in the ability to stay on stage”. After graduating from the Conservatory, Nadezhda at the invitation of A.

Rubinstein makes a concert trip around Germany. Then she goes to Paris - the stage career of Zabela began to improve in M. in Kyiv, at the I. Opera Theater, it is especially necessary to highlight the role of Margarita “Faust” Guno, one of the most difficult and demonstrative in opera classics. Constantly working on the image of Margarita, the wander has more and more sophisticatedly interprets it.

Here is one of the Kyiv reviews: “Ms. Walla, with whom we met for the first time in this performance, created such a poetic image, was so impeccably good in vocal terms that from its first entry on the stage in the second act and from the very first notes of its introductory recitative, blessed, right up to the final scene in the dungeon of the latest action, she completely took care of the attentiveness of attention.

And the location of the public. " In the year, Korusla performed in St. Petersburg, in the Panaevsky Theater. At one of the rehearsals of the opera Humperdinka Genzel and Gretel, Nadezhda Ivanovna and her future husband occurred. Her sister "noticed that Nadia was somehow especially youthful and interesting, and realized that it was from the atmosphere of the love that this Vrubbel surrounded her." Vrubel then said that "if she refused him, he would take his life." The happy newlywed wrote to her sister: “In Mih [Aile Alexandrovich], I find new virtues every day; Firstly, he is unusually meek and kind, simply touching, in addition, I always have fun and surprisingly easy with him.

I certainly believe in his competence regarding singing, he will be very useful to me, and it seems that I will also be able to have an influence on him. ” As the most beloved by Zabel, she identified the role of Tatyana in Eugene Onegin. For the first time sang it in Kyiv, in Tiflis chose this party for her benefit, and in Kharkov - for the debut. About this first appearance on the stage of the Kharkov Opera Theater on September 18, M.

told M. in her memoirsNadezhda Ivanovna was very good and stylish. Her talent blossomed in the Mamontov Theater, where she was invited by Savva Ivanovich in the fall of the year with her husband. Soon her meeting with the music of Rimsky-Korsakov took place. For the first time, Rimsky-Korsakov heard the singer on December 30 in the Volkhov party in Sadko. After the second picture, I met Nikolai Andreevich and received complete approval from him.

” The image of Volkhov met the individuality of the artist. Ossovsky wrote: “When she sings, it appears - ethereal visions are swaying before your eyes, meek and ... almost elusive ... When they have to experience grief, this is not grief, but a deep sigh, without a murmur and hopes.” After the Sadko, Rimsky-Korsakov himself writes to the artist: “Of course, you thereby composed the sea princess that you created in singing and on the stage its image, which will remain in my imagination forever ...” Soon, Zapel-Right began to be called the “Korsakovsky singer”.

Rimsky-Korsakov did not hide his attitude to the singer. Regarding the “Pskovite” he said: “I generally consider Olga the best role with you, even if I were not even bribed by the presence on the stage of Chaliapin himself.” For the Party of the Snow Maiden of the Woles-Raulbel, she was also awarded the highest assessment of the author: "I had not heard the Snow Maiden as Nadezhda Ivanovna as Nadezhda Ivanovna." Rimsky-Korsakov immediately wrote some of his romances and opera parties in the calculation of the artistic capabilities of Zabela-Brubel.

In this party, the best features of talents of Zabela-Vrubel showed. No wonder contemporaries called her a singer of a female soul, a female quiet dream, love and sadness. And at the same time, crystal purity of sounding, crystal transparency of the timbre, special tenderness of cantileine. The critic I. Lipaev wrote: “Ms. Wandel turned out to be an excellent Martha, full of meek movements, blue humility, and in her voice, warm, expressive, not shy of the height of the party, everything captivated by musicality and beauty ...

Wandering is incomparable in scenes with Dunyasha, with Lykov, where she has all love and hope for a pink future, and even more good in the last one and even more good in the last The act, when the potion already poisoned the poor thing and the news of the execution of Lykov drives her crazy. In general, Martha in the person of Zabeli found a rare artist. ” The review of the other critic is Kashkin: “Zabela sings arias on the [Martha] surprisingly well.

This number requires rather exceptional voice funds, and many singers hardly have such a lovely fracture in the highest register that the noble flaunts. It is difficult to imagine this aria, I hurry better. The scene and the aria of the crazy Martha were performed by a wanderer unusually touching and poetic, with a great sense of proportion. ” Engel also gave the equally high assessment of singing and game: “Martha [of the wand] was very good, how much warmth and touching was in her voice and in stage performance!

In general, the artist was almost entirely successful; She holds almost the whole party in some kind of fracture, even on high notes, which gives Martha that halo of meekness, humility and humility to fate, which, I think, was drawn in the imagination of the poet. " A great impression of the Wolla-Brubel in the role of Martha made on O. what a marvelous, thin, elegant music! And how beautiful and simply sings and plays Marfa Zabel.

I cried so well in the last act - she touched me. She is surprisingly simply leading a scene of madness, her voice is clean, tall, soft, not a single loud note, and she bays. The whole image of Martha is full of such tenderness, lyricism, purity - it just doesn’t come out of my head. ” Of course, the opera repertoire of Zabela was not limited to the music of the author of the “royal bride”.

She was an excellent Antonida in Ivan Susanin, penetratively sang to Joland in Tchaikovsky’s opera of the same name, even the image of Mimi in Bohemia Puccini was able to. Nevertheless, Russian women of Rimsky-Korsakov caused the greatest response in her soul. It is characteristic that his romances also formed the basis of the chamber repertoire of the Zabela-Vrubel. In the most woeful fate of the singer there was something from the heroines of Rimsky-Korsakov.

In the summer of the year, Nadezhda Ivanovna had a son - Savvochka. But two years later he fell ill and died. To this, the mental illness of the husband was added. Vrubel died in April. And her very creative career, in any case, theatrical, was unfairly short. After five years of brilliant performances on the stage of the Moscow private opera, from the year of the Wolla-Broel he serves in the Mariinsky Theater.

The Mariinsky Theater had a higher professional level, but there was no atmosphere of the holiday, the love that reigned in the Mamontov Theater. Its appearance, and singing was still charming for me, and yet it was compared to the previous, as it were, a delicate and somewhat dull watercolor, only reminiscent of a picture painted with oil paints. In addition, her encirclement on stage was devoid of poetry.

The dryness inherent in the production in state theaters was felt in everything. ” On the imperial stage, she never had a chance to fulfill the party of Fevronia in the opera of Rimsky-Korsakov "The Tale of the Invisible City of Kitege."And contemporaries claim that on a concert stage this party sounded great.