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February 21, 1857 – December 13, 1918

famous Russian opera singer

Biography

Nikolai Nikolaevich Figner was born on the small estate of his father, a forester. As a child, Figner failed the transition exams at the gymnasium, after which he was sent to the Naval Cadet Corps in St. Petersburg, in 1878 he became a naval officer (participated in trip around the world) and didn’t think about the stage. If it were not for “family problems” (as Figner called his marriage to an Italian Bonnet, which was prohibited in the officer class), perhaps he would not have become an artist.

Leaving service with the rank of lieutenant, Figner studied at the St. Petersburg Conservatory (with I.P. Pryanishnikov, J. Everardi), but was expelled; the aspiring artist was assured that he lacked vocal talent. Using subsidies from various individuals, Figner visited Italy twice, where he studied at the Naples Conservatory with Francesco Lamperti, whom he and his family saved during a fire in the theater, and with a certain choirmaster De Rocas.

Figner had a child from his first marriage and four from his second.

Addresses in St. Petersburg

1895-1905 - house of O. A. Bilbasova - Liteiny Avenue, 36.

Creation

In 1887-1903 and in 1907 he sang at the Mariinsky Theater.

The first performer of the roles of Herman (The Queen of Spades) and Vaudemont (Iolanta) in the operas of P. I. Tchaikovsky.

Figner’s artistic talent was admired by P. I. Tchaikovsky, who dedicated six romances to him, opus 73. Figner was the first Russian opera singers combined dramatic, stage and vocal unified system operatic action. This is exactly how musicologists assessed Figner’s work in the accompanying article to the giant record by the Melodiya company, published in the late 70s of the last century. According to the outstanding conductor Nikolai Malko, Figner was an epoch, a school, a reformist and, perhaps, a revolutionary. Best years stage life the singer was preceded and prepared the way for realistic art F. I. Shalyapin, I. V. Ershov and their contemporaries. Figner’s dramatic art was especially expressive in the role of Herman in “The Queen of Spades,” which P. Tchaikovsky wrote specifically for Nikolai Nikolaevich. Pyotr Ilyich inscribed the clavier to Nikolai Nikolaevich “ Queen of Spades": "To the creator of the existence of this opera from a grateful author."

Lawyer and public figure A. Koni admitted much later in his memoirs that he was confident in Figner’s genius, who showed a very plausible picture of Herman’s madness with obsessive ideas. From 1890 to 1900, in Russian theaters, according to contemporaries, no one could surpass Figner in the role of Hermann.

According to ESBE, “while not possessing a voice of outstanding beauty, Figner [was] gifted with great talent for conveying what he sang.”

FIGNER Nikolai Nikolaevich (9(21).2.1857, Mamadysh, Kazan province - 13(26).12.1918, Kyiv) - opera singer (lyric-dramatic tenor), entrepreneur, vocal teacher. Husband of singer M.I. Figner.

Figner Medea Ivanovna (née May) (April 4 (16), 1859, Florence - July 8, 1952, Paris) - Russian singer (dramatic soprano). Italian by nationality. Soloist of His Imperial Majesty. (1894).

N. Figner received an excellent education in cadet corps in St. Petersburg, upon graduation he served in the navy. He studied singing for a short time at the St. Petersburg Conservatory. He continued to improve his vocal skills in Italy, where he began his stage activities. In 1887, after numerous performances on European stages, he made his debut at the Mariinsky Theater in St. Petersburg in the main roles in the operas “Aida” by Verdi and “Faust” by Gounod. Since 1904, N. Figner sang in private opera companies in Russia, in the Moscow Bolshoi Theater, performed in his own enterprises ( Nizhny Novgorod, Tbilisi). In 1910-15 soloist, artistic director and director of the St. Petersburg Opera Company people's house. In 1891 he organized a charity concert in St. Petersburg, conducted by P.I. Tchaikovsky. Since 1915 he was engaged pedagogical activity, including the Kyiv Conservatory.

The creative biography of M. Figner consists of two chapters: the first is connected with Italy, the second with Russia. My passion for singing and theater began in childhood. At the age of 14, M. May entered the Florence Conservatory. After a few months, classes were interrupted - young singer lost her voice, and a year later she again appeared before her teacher. At the age of 16, M. May made her debut as Azucena (Il Trovatore). Delighted listeners released a flock of white doves into the hall - this was the customary greeting in the homeland of opera. rising star. She triumphantly tours the cities of Italy, Spain, and countries South America, sings in an ensemble with luminaries opera stage. During her touring wanderings, M. May met the Russian singer N. N. Figner. In 1887, she came to St. Petersburg, and “an incomprehensible fate made dear Russia my second homeland,” the singer wrote. She conquered theatrical St. Petersburg.

At first M. May performed under her maiden name. In 1889, having connected her life with N.N. Figner, she adopted her husband’s surname. This is how the “inseparable Figner couple” emerged, shining on stage and in life, which was destined to make up an entire era in the history of Russian opera. And, although the marriage of the Figner singers subsequently fell apart, Medea bore the surname Figner until the end of her life, under which she entered the history of Russian opera. M. Figner finished her stage career alone. She sang on the stage of the Mariinsky Theater until 1912. After leaving the stage, she continued to give concerts until old age preserving the beauty of her unique voice. In the 30s, the singer moved to France, where she was engaged in teaching and occasionally performed.

The names of the Figner spouses are associated with two latest operas Tchaikovsky - "Queen of Spades" And "Iolanta". They were the main performers, one might say that Tchaikovsky wrote these works for them, and with their vocal and stage capabilities in mind. When composing “The Queen of Spades,” the composer wrote the part of Herman in relation to Figner’s talent. And even in opera sketches he often wrote “Figner” instead of Herman’s name. IN Last year Tchaikovsky dedicated his life to Figner cycle of 6 romances, op.73(on poems by Rathaus). On the clavier of the opera "The Queen of Spades" Tchaikovsky made a dedicatory inscription, naming N. Figner as the culprit behind the origin of this opera.

The parts of Herman and Lisa were learned under the direction of P.I. Tchaikovsky. Your impressions of visiting the Figner family on their Lobynskoye estate ( Tula province) in July 1890 he outlined in a letter to M.I. Tchaikovsky: “I returned on the evening of the third day from a trip to Figner. He is delighted with the game, talks about it with tears in his eyes - good sign! Partly he already knows the game, and I was convinced how smart and understanding he is. All his intentions fully correspond to my desires." "I went to Figner to play the game of Herman with him. He will be magnificent," Tchaikovsky wrote in a letter to A.I.Ziloti. According to the memoirs of M. Figner, classes with Tchaikovsky were a real pleasure for her. The composer, taking into account the wishes of the first performer, made changes to Lisa’s part in accordance with individual characteristics her voices. M. Figner was a success in the role of Lisa both dramatically and vocally. At the premiere of “The Queen of Spades,” which took place on December 7, 1890, “the spell of M. Figner’s strong, fresh voice” had a “magical effect” on everyone present in the hall.

"A guide in the management of the opera, Figner in the role of Hermann surpassed himself and, undoubtedly, contributed more than anyone else huge success opera,” wrote M.I. Tchaikovsky about the 1st performance of “The Queen of Spades” on December 7, 1890.

On December 6, 1892, the Figner couple successfully sang the title roles in Tchaikovsky's opera Iolanta. M. Figner embodied the role of the blind girl so truthfully that she was asked whether she had experienced such a terrible illness in her life. On February 17 and 22, 1894, the Figner couple took part in performances dedicated to memory P.I. Tchaikovsky, the collection from which was directed towards the construction of a monument at the composer’s grave and at the St. Petersburg Conservatory.

Nikolai Nikolaevich (9 (21) II 1857, Mamadysh, Kazan province - 13 (26) XII 1918, Kyiv) - Russian. singer (lyric-dramatic tenor). He graduated from the Naval Cadet Corps in St. Petersburg (1878), served in the navy, and retired in 1881 with the rank of lieutenant. In 1879 he studied briefly in St. Petersburg. conservatory at V. M. Samus; He also took singing lessons from I.P. Pryanishnikov and J. Everardi (the wife of C. Everardi). He improved his skills in Italy with F. Lamperti, E. de Roxas and other teachers. In 1882 he made his debut in Naples (in Gounod's operas Philemon and Baucis and Faust). In 1882-87 he successfully toured in Western countries. Europe and South America. In 1887 he made his debut in the roles of Radames; Faust; Raoul: ("Huguenots") on stage Mariinsky district in St. Petersburg, where he worked until the 1903/04 season. Then he performed on private opera stages in different cities Russia, to Moscow Bolshoy t-re, in its own. enterprises (Nizhny Novgorod, Tbilisi), as well as in concerts. In 1907 he returned to the Mariinsky Theater, where his farewell benefit performance took place that same year (he sang the role of Romeo in the opera Romeo and Juliet by Gounod). In 1910-15, soloist, artistic director. hands and director of the Petersburg opera troupe. adv. at home (under his direction the operas “Boris Godunov”, “Snow Maiden”, “Prince Igor” were staged). Striving for a high production culture of the performance, for coherence of the stage. ensemble, attracted the famous director to work in the troupe. A. A. Sanina. In 1915 he left the stage and became a teacher. activities. In 1917 he settled in Ukraine, in 1918 he taught at the Kyiv Conservatory (taught an opera class). F.'s creativity is a bright page in the history of Russians. opera theater. His voice was not distinguished by its beauty and strength (it had a somewhat dry timbre), however, thanks to its excellent vocals. At school F. was a first-class singer. He perfectly mastered the art of bel canto: wide, free breathing, excellent mezzo voce, thinning, the finest gradations of sound from light piano to powerful forte, cantilena. He knew how to form and diversify timbres, to give his voice either softness and tenderness, or severity and courage. His singing was distinguished by precision of intonation, flexibility and elegance of phrasing, clear diction. F. paid great attention not just a wok. side of the party, but also its stage. embodiment. Expressiveness and bright temperament were combined in his performance with art. tact. Striving for a truthful disclosure of images, F., however, was not free from opera cliches. The singer did not achieve complete transformation; he emphasized only the predominant feature of the created image.
F. was the first performer of the plural. parties in Russian operas, including Herman (1890, learned the part under the direction of P. I. Tchaikovsky), Vaudemont (1892), Vladimir Dubrovsky (1895). For a long time was the best Lensky (before the classic image of Lensky created by L.V. Sobinov). Other parties include Synodal, Pretender, John of Leiden, Fra Diavolo, Jose, Werther, Alfred, Duke, Lohengrin. G. Verdi highly appreciated F.'s performance in the role of Othello. Tchaikovsky dedicated a cycle of romances to him, op. 73. F. translated into Russian. language libretto of a number of foreign oper.
Literature: Twenty-five years of glory in opera, comp. Fignerist, St. Petersburg, 1907, "Russian Musical Newspaper", 1912, No. 1 (dedicated to F.); Stark E. (Siegfried), St. Petersburg Opera and its Masters, L.-M., 1940; Levik S., Notes opera singer. From the history of the Russian opera stage, M., 1955, 1962; Figner M., Brother and Sister, "Theater", 1964, No. 1; H. N. Figner. Memories. Letters. Materials, L., 1968; Gozenpud A., Russian Opera theatre XIX century. 1873-1889, L., 1973; his, Russian Opera House on turn of XIX-XX centuries and F.I. Chaliapin. 1890-1904, L., 1974. A. P. Grigorieva.

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"Figner N.N." in books

Vera Figner

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