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Napravnik's accomplishments as a composer are not the main reasons for his place in Russian music history as he is best known for being the principal conductor at St. Petersburg for over 50 years, and unlike some now more famous Russian composers of his time, he was well trained in music.

· Eduard Frantsovich Napravnik ·
Born: 24 August, 1839, Beischt, Bohemia
Died: 23 November, 1916

He was born the second son of a school teacher. When he was 11 years old, his mother died and his father died three years later. An uncle found him a position as an organist and in 1854, he entered the Prague Organ School but after two years he could no longer afford to continue his studies. However, the Conservatory director, J.F. Kittl, recognised the talents of the boy and allowed him to attend the daily Opera class and even gave him private lessons. In 1861, Kittl found him a post as 2nd conductor at Frankfurt Opera but coincidentally he was also offered the position of conductor of the private orchestra of Prince Yusupov in St. Petersburg. It was the latter position that Napravnik accepted, thus beginning his long association with the city. After a few years, he moved to the Mariinsky theatre, which was to prove crucial to his career.

Meanwhile he was writing music. His first opera, 'Nizhegorodzy' (1857) was the usual standard operatic stuff. At the time, every Russian composer was trying to get on the operatic bandwagon and Napravnik was no exception. He had a young family to provide for and his increasing duties as a conductor left him hardly any time to supplement his small income with private lessons. In the event, his first opera did reasonably well and in 1869, Napravnik became principal conductor at the Mariinsky theatre and also conductor of the Russian Musical Society. He also organised concerts at the Imperial Court at which he appeared as pianist and organist. While he did not have the time to teach at St Petersburg Conservatory, he did lecture regularly and as an influential figure in Russian music, he was in a position to advise Tchaikovsky on his first incursion into opera. In 1874, he took out Russian citizenship after which he seldom travelled abroad. His next opera, 'Harold', was not a success but in preparing for his third opera, 'Dubrovsky', he asked Modeste Tchaikovsky to write a libretto based on Pushkin, as Modeste had done for his brother Peter. (The Queen of Spades). With 'Dubrovsky', Napravnik scored a lasting success. His last opera, 'Francesa da Rimini' (1902) was not a success although the first performances went well. In December, 1914, after more than 50 years in a leading role in Russian musical life, ill-health forced Napravnik to stop conducting and he died in November, 1916.

The title role of Vladimir in 'Dubrovsky' was taken by the Russian tenor Nicolai Figner and the female lead of Masha was sung by his wife, Medea Mei-Figner. While Figner is not represented in our six voices, he deserves a mention:

Nicolai Figner (1856-1919) studied at St. Petersburg Conservatory and in Italy. In 1882, he made his debut in Gounod's 'Philemon et Baucis' in Naples and in 1884, he gained stage experience in South America with Claudio Rossi's company. He appeared in the world premier of 'Edmea' (Catalani) at La Scala, Milan, conducted by the then unknown Arturo Toscanini. He made many successful appearances throughout Europe with his wife, the Italian Soprano Medea Mei, before returning to St.Petersburg and the Imperial Opera, where both had enviable careers. From 1910 - 1915, he directed and sang at the Narodniy Dom Opera House. He lost most of his possessions during the Russian revolution and died shortly thereafter.

As a result, Vladimir becomes a 'noble outlaw' but is undone by his love for Troyekurov's daughter, Masha (soprano). To be near her, he intercepts and impersonates a French tutor, a Monsieur Desforges, and gives her music lessons. That is one natural opportunity for the composer, to which Napravnik responded with some pretty vocalises and French salon ditties. There are also massed choral scenes depicting the elder Dubrovsky's wake, and in the robbers den (including a funnier-than-intended scene with the hapless tutor, M. Desforges). The younger Dubrovsky's first criminal act occurrs at the end of Act 1 and consists of the lurid murder by arson of the objectionable bailiffs sent by the court to take possession of the Dubrovsky homestead on Troyekurov's behalf. The first Act ends with Vladimir's romance, 'O give me oblivion.'

The vocal writing is virtuoso, testifying to the opulence of the Imperial Russian Opera in its golden age. The title role, a showpiece for Nicolai Figner, remains one of the most characteristic Slavonic-tenor roles in the repertory. The Act 1 romance, a stylized lullaby ending morendo on a sustained high Bflat, is a Russian concert favourite and well-recorded by Russian tenors.

· Audio ·
Napravnik: Dubrovsky: Vladimir's recitative and Romance: O give me oblivion:

(01) Alexander Davidov (1902) » listen to audio | 1.81 mb
(02) Andrei Labinsky (c1905) » listen to audio | 1.42 mb
(03) David Badridze (1935)» listen to audio | 1.66 mb
(04) Sergei Lemeshev (c1951) » listen to audio | 3.58 mb
(05) Ivan Kozlovsky (1952) » listen to audio | 3.75 mb
(06) Gennadi Pischaiev (1950s) » listen to audio | 3.26 mb

Note:
All audio compressed to mp3 80 kbps / 22050 Hz
Sources: (01): Gramophone & Typewriter, 22062 · (02): Amour, 2-22930 · (03): Soviet Song, 3035 · (04): Melodiya, D012273 · (05): Melodiya, complete opera set, D01849-56 · (06): Akkord, D6077-8.

In choosing the tenors my first thought was to include the ones with the most music, Kozlovsky + Lemeshev. Then, Russian style was a factor so Labinsky and Davidov are windows to a past style. Pischaiev is a combination of both and is an interesting voice.

(01) Alexander Davidov (1872-1944): Born Israel Levinson. He had some vocal lessons c1890, but his debut at Dnepropetrovsk was so heavily criticised that he moved into smaller roles. He moved to the Maryinski Theatre in 1900 where he sang the role of 'Hermann', about which the critics were ecstatic. During the next 10 years with the Maryinski, he regularly toured USSR and Europe, his repertoire being enormous. Sadly he became deaf and left the opera stage (1914), continuing for c10 years with concert appearances. He then moved to Paris, and in 1934 took on a new role as stage director for a production of 'Prince Igor'. In 1935, he returned to Russia and became a sought-after vocal tutor. His most respected roles included French, Italian, Russian and even German (as e.g. 'Loge') operas. Reputedly Davidov recorded more than 400 records. He died in Moscow 1944.

(02) Andrei Labinsky (1871-1941): Labinsky studied singing at the Petersburg Conservatoire (1895-1899) with Stanislaus Gabel and Victor Samus. He debuted in 1899 at the Maryinsky as 'Berendei', singing there until 1912 and returning for the seasons of 1919-1924. He went to the Bolshoi for the periods 1912-1919 and 1924-1926. He toured frequently throughout USSR and was invited to sing in Japan. The voice was a brilliant open sound supposedly up to high 'F'. He 'created' the roles of 'Vsevolod' (Invisible City of Kitesh) and 'Afer' (Servilia). Among his best lyrical roles were 'Alfredo', 'Almaviva', 'Dubrovski', 'Duke of Mantua', 'The Indian Guest', 'Lenski' and 'Vladimir' (Prince Igor); also tackling bigger roles such 'Raoul' and 'Samson'. He made c300 records. He died in Moscow in 1941 during an air raid.

(03) David Badridze (1899-1987?): He studied at Tiflis Conservatoire, passing with honours c1926. For c8 years, he sang at the Opera House at Tiflis; then at the Bolshoi Theatre until 1948; retired shortly afterwards. Repertoire included 'Almaviva', 'Duke of Mantua', 'Faust', 'Lenski', 'Nadir'. His records are rarely found. Badridze became a well-respected vocal tutor throughout 1950s-1970s. My information is that he died 1987 (but 1985 has also been documented).

(04) Sergei Lemeshev (1902-1977): His father died when Lemeshev was 10, so supporting his family was paramount. A nearby well-to-do family introduced him to classical music and he was encouraged to have vocal lessons. After some success singing in a social club in Tver, he joined the Tver Cavalry School which had an arts department. From there he gained a scholarship to Stanislavsky's Opera School and the Moscow Conservatoire, but he became unhappy with performing minor roles and took himself off to various cities throughout USSR and China taking on major roles. 1931 saw him returning to Moscow where the Bolshoi snapped him up – for a time he specialised, very successfully, in French roles. One 'asset' that should not be overlooked was his good looks and appeal to women – this elevated his social status to a unique level. Perhaps due to this popularity, there was some suggestion, unproven, that he was homosexual. The 1960s saw him moved towards a teaching role plus some stage production; he also made a couple of films. He died in Moscow, 1977.

(05) Ivan Kozlovsky (1900-1993): He studied at Kiev, drama, piano and singing with Lissenko and Mouravyova, and debuted in Poltava (1920) as 'Faust'. He then moved to the Kharkov Opera in 1924. A leading tenor at the Moscow Bolshoi from 1926 to 1954, Kozlovsky continued to appear in opera until 1970 (as the 'Innocent' in Boris), and continued to perform in public afterwards singing for Mark Reizen's 90th birthday celebration at the Moscow Bolshoi (4 July 1985). Kozlovsky regularly gave concerts throughout Russia including in them unexpected and diverse music by e.g. Schumann and Liszt, as well as songs by his beloved Tchaikovsky. He created his own company c1938, which enacted 'Katerina of Arkas', 'Orfeo' and 'Werther'. WW2 ended the company's activities and he returned to lead at the Bolshoi. Kozlovsky's popularity was phenomenal, followers setting up fan clubs and support groups which cheered him at every performance (which fed his arrogant, though notably generous, character). He died in Moscow 1993.

(06) Gennadi Pischaiev [Pischaev] (1927-?): He graduated from the Moscow Conservatoire in 1953. His vocal teacher was the eminent tenor Sergei Yudin. Pischaiev was mainly a concert singer, particularly remembered for recitals of songs by Tchaikovsky (1960s-1970s). He is said to have suffered from a deformity (probably a mis-shaped hand or arm), so he refused opera stage work (though I found a reference about him taking part in 'Coq d'Or' and in 'Onegin', in Leningrad). Date of death unknown to me.

Itak vsyo kocheno. Su d'boi neumolimoi
Ya osuzhdyon byt ' sirotoi
Eshcho vchera imel ya khleb i krov rodimoi
Azavtra vstrechus's nishchetoi!
Pokinu vas, sviashchyonnye mogily,
Moi dom i amyat' yunykh detskikh let,
Poidu, bezdomnyi i unylyi,

Putyom lisheniya i byed!

Mama! Mama!
O, dai mne zabven 'e, rodnaya,
Sogrei u sebya na grudi
I, detskiye sny navenaya
Dai prezhneye schast'e naiti!,
Isterzan ya satrashnoyu mukoi.
Vsglyani, kak obuzhen lud'mi ya!
Ty snova menya obayukai,
Stradinya laskoyu nezhnoi uimi!
Pust' angelom blagostnym reya.
Tvoya nezemnnaya lyubov'
I greya moi dukh, leleya evo,
Probudit k svidan'yu vnov'!
O, dai, rodnaya, mne zabvenie naiti!
O, dai! ... naiti! ...

And so, all's finished. An implacable fate
has condemned me to be orphaned.
Only yesterday I had bread and my own shelter,
And tomorrow I am faced with poverty!
I must leave you, hallowed graves,
My home, my memory of youthful, childhood years.
I'll leave, homeless and despondent,
Along the path of hardship and misfortune!
( takes out a portrait-medallion)
That's all that's left for me!
Mamma! Mamma!
Oh, give me oblivion, my dear,
Warm me in your arms
And, evoking childhood dreams,
Let me recapture old bliss!
I'm torn my frightful torment.
Look how people have wronged me!
Once again you'll lull me to sleep,
And tenderly remove my pain!
May that the angel of heaven,
And your unearthly love,
Warming and caressing my soul,
Will waken us to meet again!
Oh, give me oblivion to find, my dear,
Oh, give! ... to find! ...

Author's note:
The A.M. for September is a three-way collaboration between myself, David Brandwein and Keith Shilcock, born out of an interest in some of the extremely fine tenors of Russia and focuses on a little known Russian Composer, Napravnik. (That is, little known to us in the Western world). The idea came from David and long hours were spent by Keith Shilcock in locating the unique Russian tenors; Keith and David have magically unearthed quite a few; some of them known, but mostly unknown. Their difficulty has been in selecting six versions of the selected aria which in itself, is relatively familiar to tenor aficionado's and the versions presented have real historic significance. My thanks to them.

Acknowledgements:
- Oxford University Press
- Grove Music
- Richard Taruskin
- Classical composers database
- Opera-Gems.com
- The Grandi-tenori Editor, J.H. Anthonisen, for his usual presentation skills.
- Keith Shilcock wishes to give special thanks to David Hamilton and Houston Maples for their help.