Sergey Lemeshev-Great tenor of Russia (p2)
This is a great film, and, of course, the participation of the famous singer contributed to its success in many ways.
Lemeshev is gifted with a voice of exceptional beauty and unique timbre. But on this Foundation alone, it is unlikely that it would have reached such notable heights. He is, first of all, an artistic person. His inner spiritual wealth allowed him to reach the forefront of vocal art. In this sense, it is characteristic of his statement: “a man Will come on stage, and you think Oh, what a wonderful voice!
But here is he sang two-three romances, and becomes bored! Why is It because there is no inner light in it, the man himself is not interesting, not talented, but only God has given him a voice. And sometimes on the contrary, the artist’s voice seems to be mediocre, but here he said something in a special way, in his own way, and the familiar romance suddenly sparkled, sparkled with new intonations.
You listen to such a singer with pleasure, because he has something to say. This is the main thing.”
And in Lemeshev’s art, brilliant vocal capabilities and deep content of the creative nature were happily combined. He had something to say to people.
For twenty-five years on the stage of the Bolshoi theater, Lemeshev sang many parts in works of Russian and Western European classics. How eager music lovers were to get to the show, when he sang the Duke in Rigoletto, Alfred in La Traviata, Rudolf in Bohemia, Romeo in Romeo and Juliet, Faust, Werther, and Berendei in the snow maiden, Levko in May night, Vladimir Igorevich in Prince Igor and Almaviva in the Barber of Seville… the Singer always won the audience with a beautiful, heartfelt the timbre of the voice, emotional penetration, charm.
But Lemeshev also has the most favorite, and the most successful role — this is Lensky. He performed the part from “Eugene Onegin” more than 500 times. It was surprisingly in keeping with the entire poetic appearance of our famous tenor. Here his vocal and stage charm, heartfelt sincerity, artless clarity completely conquered the audience.
Our famous singer Lyudmila Zykina said: “in the minds of people of my generation, Sergey Yakovlevich entered, first of all, the unique in its sincerity and purity image of Lensky from Tchaikovsky’s Opera “Eugene Onegin”. His Lensky is an open and sincere nature, which has absorbed the characteristic features of the Russian national character. This role became the content of his entire creative life, sounding a majestic apotheosis at the recent anniversary of the singer at the Bolshoi theater, which for many years applauded his triumphs.”
The audience regularly met with the wonderful Opera singer in concert halls. His programs were varied, but most often he turned to Russian classics, finding and discovering unknown beauties in them. Complaining about the certain limitations of the theatrical repertoire, the artist stressed that on the concert stage he is his own master and therefore can choose the repertoire solely at his own discretion “I Never took what exceeded my capabilities.
By the way, concerts helped me in my Opera work. One hundred Tchaikovsky romances, which I sang in a cycle of five concerts, became a springboard to my Romeo-a very complex part.” Finally, Lemeshev often sang Russian folk songs. And how he sang-sincerely, movingly, with a truly national scale. Cordiality-that’s what first distinguished the artist when he performed folk tunes.
After finishing his career as a singer, Sergey Yakovlevich directed the Opera Studio at the Moscow Conservatory in 1959-1962.
Sergey Lemeshev was married 5 times.
Married to Opera singer Irina Ivanovna Maslennikova, Lemeshev’s daughter, Maria Sergeevna, also became a singer.
Sergei Yakovlevich’s fifth wife was the Opera singer Kudryavtseva-Lemesheva, Vera Nikolaevna (1911-2009), to listen to which he specially came to Leningrad. Their happy marriage lasted for twenty-seven years, until the death of Sergei Yakovlevich, and Vera Nikolaevna devoted the rest of her life to Lemeshev’s legacy.