once Again listening to her unique contralto, you know that she has become an integral part of Russian life, each of us and all together. She miraculously kept the richness and depth of Russian song, is not often fulfilling the masterpieces created by the people and polished by centuries. In her interpretation of this deep nation acquired works by Soviet composers. Contemporary music she has returned to her folk roots. Lessons Choir named M. E. Pyatnitsky, where it went in 1947, after a severe contest, in which, as they say, there were fifteen hundred people in one place, not been in vain.
the Native soil of national musical wealth of Russia, open and saved in the twentieth century, Mitrofan Efimovich Pyatnitsky, the beginning of collectivization, the Bolsheviks seemed “kulak heritage”. The nephew of M. Pyatnitsky, a prominent expert on folk art Peter M. Kazmin, a brilliant philologist and folklorist, was unable to cope with powerful ideological onslaught, and in 1931 the Choir named M. E. Pyatnitsky was headed by the composer Vladimir G. Zakharov. With his arrival the team began to sing songs praising the collective construction, although he knew what legacy was left by the founder of the choir and his associates. 400 phonograms recorded in the Voronezh, Ryazan and other provinces of Central Russia, the original rural costumes – this wealth and still helps the team to touch the soil that produced him into the world. V. Zakharov, people with flexible political sense, in the second half of 1940-ies grass “rootless cosmopolitans” and DM. DM. Shostakovich, was a gifted composer and excellent teacher, human nature is full of contradictions… Despite the fact that the Choir named M. E. Pyatnitsky, already in the 1930s received the status state, increased dance group headed by T. Ustinova and orchestra composed by V. Hvatova became a huge team, each singer selected the piece, and ogresta otshlifovyvaya natural talents. Although L. Zykina worked in the Choir. M. E. Pyatnitsky only two years, it was here that she was able to understand the nature of real folk art, its radical difference from essays on the topic of the day, “national in form and socialist in content”.
This understanding has multiplied during work in the Russian song Choir of all-Union radio, where she arrived in 1951, as if reborn from the ashes. In 1949, after the death of his mother, which caused the tragic emotional shock, L. Zykina lost her voice, almost two years worked in a printing house, but the thirst for life and creativity was stronger than the disease. Lucky for her, she came to Choir of all-Union radio a year after they adopted as a choirmaster 24-year-old graduate of Mos��ovsky Conservatory Nikolay Vasilyevich Kutuzov, an outstanding musician and connoisseur of Russian folklore. In the mid 1950s, he headed the team, where he worked until his death in 2011. He helped the young singer to find the right tone of each song convinced her that it is not the power of the sound and the sincerity of performance, the self-revelation of personality. This coincided with her children’s and youthful aspirations. Already in maturity it has recorded important for understanding its creative labs memory: “we did Not have this in the house, to the singing interrupted, not listening, interrupting him to pour out in song all over. We have a singing has always been considered a penitent, whether that revealing himself to people. And that trust was impossible to offend.” It is amazing how the very tone of confession, which is so important for the entire Soviet art of the 1950s and 1960s years, is akin to folk art, striving for maximum disclosure of the national soul. Search of young poets, writers, filmmakers in those years, seemed to many “artistic Westernism”, was also connected with the native soil, as the picturesque art of the avant-garde of the early twentieth century icons.
I Think that the Russian song Choir of all-Union radio, working under the supervision of N. In. Kutuzova, L. Zykina has not only honed his extraordinary natural vocal quality, but found the creative resilience, which helped her to withstand both human and professional trials that fell to her share. Here she received the most important vaccination from the musical misery that is able to convert any popular song in thug chanson.
In 1960, she began her solo career in Mosconcert, in the early ‘ 60s, along with the artists of the Music hall for the first time was in Paris, by 1965, L. Zykina was a national favorite. In 1970 she was awarded the Lenin prize. The word came to her fame, which allowed greater than the other, creative freedom, but it gave rise to many rumors and speculation. Not sure what all she was like. This time of her life, at first glance, a well-known, though she always kept a secret to which not anyone wanted to admit.
was she happy? Of course. And in personal and professional life. But as a unique creative personality, towering over his contemporaries, it is at times acutely aware of his loneliness, which only retreated in the scene.
