khankonchak's video: Alexander Pirogov- Shaklovity s aria from Khovanshchina

Alexander Pirogov (1899-1964) For many years both before and after World War II, bass singing at Moscow's Bolshoi Theater was dominated by the triumvirate of Mark Reizen, Maxim Mikhailov, and Alexander Pirogov. The latter (and youngest of the three), a native of the Ryazan region, had perhaps the most family encouragement when it came to embarking on a musical career, as three of his brothers were professional singers. The eldest, Grigori, was a well-respected baritone at the Bolshoi Theater from 1910-21. But his fame was eventually overshadowed by that of Alexander, who bowed at the theater in 1924 and remained there for the next 30 years. Pirogov recorded quite prolifically, his most famous achievement being his portrayal of Boris Godunov in Vera Stroyeva's 1954 film of the opera. Clips of the abovementioned film have been posted on Youtube, and it was while perusing them that I read with some irritation a listener's comment, to the effect that Pirogov sounded somewhat taxed in the upper reaches of his range. Nonsense!! Above the staff, Pirogov had a more blazing, plangent sound than either Reizen or Mikhailov. Granted, the voice was rather rough-hewn and burly, lacking the inherent beauty and evenness that his colleagues possessed. However, Pirogov's was a highly dramatic and powerful presence, with an instrument well-capable of forming long-breathed, carefully etched phrases. This, and his incredible vocal range, are aptly demonstrated by the present recording: Shaklovity's aria, 'Spit streletzkoe gnesdo' ('All is quiet in the Streltsy quarter'), from the third act of Mussorgsky's "Khovanshchina". Those familiar with the opera will know that Shaklovity is a BARITONE role, and for a bass the tessitura is a real killer (just thinking about it makes my throat ache!), since it moves constantly between passaggio and head voice. Among other things, the aria calls for both a sustained F and F-sharp, and Pirogov delivers these with no strain and power to spare (he also frequently sang the baritone role of Prince Igor). In his hands, the aria is a true lament- noble, expressive, and quite moving.