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Файл:About Music at the Lessons of English. Хрестоматия по чтению на английском языке для студентов очного и заочного отделений специальностей 070100 «Музы.pdf
His operatic debut in the West was at the Nice Opera in The Queen of
Spades (1989). In Italy he debuted at La Fenice as Eugene Onegin, a success
that sealed his reputation, and made his American operatic debut with the
Lyric Opera of Chicago (1993) in La Traviata.
From the moment he won the Cardiff Singer of the World Competition
in 1989, Dmitri Hvorostovsky has been hailed as one of the great voices of
his, or any, generation. Opera audiences around the world are getting younger,
but it is the beauty of his voice – refined and powerful – that cuts across barri-
ers of age and taste. There is always an audible stir when Dmitri Hvorostovsky
strides on stage at the world’s great opera houses and concert halls where he
now regularly performs. His rare balance of technical command and passion,
coupled with a magnetic presence and expansive vocal instrument, has only
heightened his reputation as the years have passed.
A tall, handsome man with a striking head of prematurely silver hair,
Hvorostovsky has achieved international acclaim as an opera performer as
well as a concert artist. He was cast in People magazine's 50 most beautiful
people, a rare occurrence for a classical musician. His high, medium-weight
voice has the typical liquid timbre of Russian baritones and he is a subtle,
musical artist of outstanding technical accomplishment. His breath control is
unparralled and his musical, intellingent interpretation, combined with a
unique voice is admired across the globe.
His career exploded to take in regular engagements at the world’s major
opera houses and appearances at renowned international festivals, including
the Royal Opera House, Covent Garden, New York’s Metropolitan Opera, the
Paris Opera, the Bavarian State Opera, Teatro alla Scala, the Vienna State Op-
era, and the Chicago Lyric Opera. The New York Times described him as
“born to play the role”.
The singer regularly performs in concert with top orchestras like the
New York Philharmonic and the Rotterdam Philharmonic, and conductors, in-
cluding James Levine, Bernard Haitink, Claudio Abbado, Lorin Maazel, Zubin
Mehta, Yuri Termikanov and Valery Gergiev.
Do not grieve, a symphonic work by Giya Kancheli written for Dmitri
Hvorostovsky and the San Francisco Symphony Orchestra, premiered in May
121
2002. The distinguished Russian composer Georgi Sviridov wrote a song cy-
cle, St Petersburg, especially for the baritone, who often includes it and other
works by Sviridov in his recitals. He has also released the CD Sviridov: A Vo-
cal Poem.
Hvorostovsky retains strong ties to Russia and remains deeply commit-
ted to introducing the wealth of Russian music to audiences around the world.
He was the first opera singer to give a solo concert with orchestra and chorus
at Moscow’s Red Square, which was televised in over 25 countries. In 2005,
at the invitation of President Vladimir Putin, Hvorostovsky gave an historic
tour throughout Russia – from Moscow and St Petersburg, to Krasnoyask,
Samara, Omsk, Kazan, Novosibirsk and Kemerovo – singing to crowds of
hundreds of thousands of people to commemorate WWII soldiers. Today, he
still tours Russian cities annually, playing before packed houses in stadium-
size arenas.
Often singing for heads of state – usually at their request – he appeared
at the July 2006 G8 Summit attended by such world leaders as President
George Bush, Britain’s Tony Blair and Germany’s Angela Merkel.
Dmitri Hvorostovsky’s extensive discography spans recital and aria
discs for Philips Classics and for Delos Records, as well as complete opera
performances on CD and DVD, notably a disc of Verdi arias. His recent re-
leases include 2007’s Heroes and Villains; a disc of Soviet-era songs, Moscow
Nights, accompanied by Constantine Orbelian leading the Moscow Chamber
and a traditional Russian ensemble, the Style of Five.
He made his own film debut in a contemporary adaptation of Mozart's
opera Don Giovanni. In Don Giovanni Unmasked, produced by Rhombus
Films, he took on the demanding dual roles of noble and servant.
Notes:
1. Singer of the World competition – международный конкурс «Певец
мира», который состоялся в Кардиффе в 1989;
2. a song cycle “St.Petersburg” – вокальный цикл Г. Свиридова;
3. Don Giovanni Unmasked – «Дон Жуан без маски», фильм, в котором
снялся Д. Хворостовский;
122
4. Do not grieve – «Не горюй», произведение для симфонического ор-
кестра, написанное Гия Канчелли.
VANESSA-MAE
The beautiful young violinist Vanessa-Mae was just in her mid-teens
when she shattered the mold of the classical virtuoso with the release of her
first fusion album The Violin Player, forging a new style that has made her a
multi-million-selling worldwide phenomenon and the breakthrough artist who
virtually defined the fusion of classical and pop that became known as cross-
over. At the age of 25, she has been a superstar for a decade.
Vanessa-Mae has collaborated with such pop legends as Janet Jackson
and Prince, performed on the soundtrack of the Disney animated feature Mu-
lan, played Bach for the British Royal Family on the 250th anniversary of the
composer's death, fiddled as she modeled a wedding dress on the runway of a
Jean-Paul Gualtier fashion show in Paris, and reached out to the children of
the South African township of Soweto, the first international artist to be in-
vited to its music school. Her stunning presence only adds to her appeal. Peo-
ple magazine has voted Vanessa-Mae one of the "50 Most Beautiful People in
the World," and FHM named her one of "The World's 100 Most Beautiful
Women".
Born in Singapore on October 27, 1978 – she shares a birthday with the
first international violin superstar, Niccolò Paganini – Vanessa-Mae moved to
London with her family when she was four, began classical violin studies the
following year and made her professional debut on the international stage at
the 1988 Schleswig-Holstein Festival in 1988, the same year she made her
concerto debut in the U.K. with London's Philharmonia Orchestra. Her classi-
cal career was a prodigy's dream – the youngest violinist ever to record the
Tchaikovsky and Beethoven violin concertos, a world tour with the London
Mozart Players during the Mozart bicentennial year, great reviews from inter-
national critics – and she had three classical albums to her credit when she was
only 13 years old. It was her interest in new arrangements for violin of her fa-
vorite classical melodies that led Vanessa-Mae to seek more than the tradi-
123
tional repertoire could offer. The result of that quest was The Violin Player
and the string of successful crossover discs that followed.
An explosive live performer, Vanessa-Mae stars in an intensive touring
program that has taken her around the world several times over. She has vis-
ited over 50 countries, including performances in many spectacular venues
such as the Kremlin Palace in Moscow, the Acropolis in Athens, an outdoor
pyrotechnic extravaganza in Dubai, and stadiums in Beijing and Shanghai.
She has performed at the Ajax arena in Amsterdam to a football crowd num-
bering 60,000, provided the climax to the International Go-Karting champion-
ships in Helsinki, and performed at the opening race of the F1 Grand Prix sea-
son in Melbourne. She also performed as featured artist at the opening cere-
mony of the 2002 Para Olympics in Salt Lake City, Utah.
Vanessa-Mae also has appeared in many rock festivals, including shows
with Michael Jackson, one of which saw her carried aloft by the ecstatic
crowd at the end of her performance. She made her U.S. debut in Times
Square, when she hopped spontaneously onto a passing yellow taxi, in the
climax to a live performance seen all over the world. She gave the first-ever
concert on the famed frozen lake of St. Moritz in Switzerland, making a spec-
tacular entrance by delta-gliding down to the stage from a 2400m mountain.
She performed exclusively for the 26 heads of Asian-European governments
as well as Queen Elizabeth II and other members of the Royal Family at the
official closing of the Conference at Buckingham Palace.
Vanessa-Mae was the only foreign artist invited by the Chinese to per-
form at the pivotal moment of Reunification of Hong Kong to China at mid-
night. She also opened the first ever Classical Brit Awards as well as the MTV
Asia Awards. She is passionately involved in charity work as well. Through
her close links with the Red Cross, Vanessa-Mae has visited the organization's
field units in Kenya and Cambodia, participated in one of its TV ad campaigns
and given several fund-raising performances.
The worldwide embrace of Vanessa-Mae is a compliment returned in
her new Sony Classical album Choreography. The music draws its inspiration
from the rhythms and pulses of dance cultures from around the world – the
Argentinean tango, the Spanish bolero, the tribal dances of Africa, the com-
124
plex allure of Indian music – and creates a new challenge for the remarkable
young beauty who changed forever the way audiences hear the violin.
DISCOGRAPHY
the violin player (1995)
Vanessa-Mae's debut pop album established her as a world star, racing
up the pop charts in over 25 countries, as well as breaking new ground for in-
strumental music.
the classical album 1 (1996)
Proving her determination not to turn her back on her classical roots,
this release couples core repertoire by German composers Bach, Brahms, Bee-
thoven and Bruch. It instantly became the fastest-selling classical recording
ever, and won Vanessa-Mae the World Music Award for 'Best-Selling Classi-
cal Artist'.
storm (1997)
Following in the vein of The Violin Player, Storm takes the violin on an
even greater adventure of styles, including rock, disco, acid jazz and flamenco
influences.
china girl (the classical album 2) (1998)
Vanessa-Mae goes back to her Chinese roots for her second classical al-
bum which features a unique and beautiful mix of eastern and western melo-
dies, including an arrangement of Puccini's favourite Nessun Dorma, and
Happy Valley, a composition commissioned for the re-unification of Hong
Kong to China.
the original four seasons (1998)
Vanessa-Mae's stunning new arrangement of Vivaldi's classic features
Laureate, her own hand-picked orchestra consisting entirely of international
award-winning players.
the classical collection – part 1 (2000)
The long-awaited re-release of Vanessa-Mae's impressive early classical
recordings, made between the ages of 11 and 13. These astonishing perform-
ances of virtuoso classics established her as a prodigious classical star long be-
fore expanding her horizons into the world of pop.
125
subject to change (2001)
An even more radical departure than her previous non-classical albums,
subject to change, as its title suggests presents a new, contemporary, dance-
influenced Vanessa-Mae.
best of (2002)
A taste of Vanessa-Mae's incredible cross-over career to date offering
samples of her most innovative and popular works.
Notes:
1. Crossover – кроссовер – музыкальный стиль, соединяющий разные
направления, например, классику и поп-музыку – для популяризации более серьезных стилей или, наоборот, для "углубления" легких жанров;
2. virtually to define the fusion of classical and pop – фактически задать
(определить) слияние классики и поп-музыки;
3. worldwide phenomenon – всемирный феномен;
4. stunning presence – ошеломляющее присутствие;
5. bicentennial year – двухсотлетие;
6. to draw its inspiration from the rhythms and pulses of dance culture –
брать свое вдохновение из ритмом и мотивов танцевальной культуры.
THE ROLLING STONES
British rock
group, formed in 1962, which drew on Chicago blues styl-
ings to create a unique vision of the dark side of post-1960s counterculture.
The original members were Mick Jagger, Keith Richards, Brian Jones, Bill
Wyman, and Charlie Watts. Later members were Mick Taylor, Ron Wood,
and Darryl Jones.
No rock band has sustained consistent activity and global popularity for
so long a period as the Rolling Stones, still capable, more than 35 years after
their formation, of filling the largest stadiums in the world. Though several of
their mid-1960s contemporaries – notably Bob Dylan, Paul McCartney, Eric
Clapton, and Van Morrison – have maintained individual positions in rock's
126
front line, the Rolling Stones' nucleus of singer Jagger, guitarist Richards, and
drummer
Watts remains rock's most durable ongoing partnership.
In the process, the Stones have become rock's definitive, emblematic
band: a seamless blend of sound, look, and public image. It may be debatable
whether they have actually, at any given moment, been the “greatest rock-and-
roll band in the world,” as their time-honoured onstage introduction has
claimed them to be. In their onstage personae, Jagger and Richards established
the classic rock band archetypes: the preening, narcissistic singer and the hag-
gard, obsessive guitarist.
Formed in London as an alliance between Jagger, Richards, and multi-
instrumentalist Brian Jones along with Watts and bassist
Wyman, the Stones
began as a grubby conclave of students and bohemians playing a then-esoteric
music based on Chicago ghetto blues in pubs and clubs in and around West
London. Their potential for mass-market success seemed negligible at first,
but by 1965 they were second only to the Beatles
in the collective affection of
teenage Britain. However, whereas the Beatles of the mid-1960s had longish
hair, wore matching suits, and appeared utterly charming, the Stones had con-
siderably longer hair, all dressed differently, and seemed thoroughly intimidat-
ing. As the Beatles grew ever more respectable and reassuring, the Stones be-
came correspondingly more rebellious and threatening.
The Stones' early repertoire consisted primarily of recycled gems from
the catalogs of the blues and rock-and-roll titans of the 1950s: their first five
singles and the bulk of their first two albums were composed by others. Then,
spurred on by the example of the Beatles' John Lennon and Paul McCartney,
Jagger and Richards began composing their own songs, which not only en-
sured the long-term viability of the band but also served to place the Jagger-
Richards team firmly in creative control of the group.
Jones had been their
prime motivating force in their early days, and he was the band's most gifted
instrumentalist as well as its prettiest face, but he had little talent for composi-
tion and became increasingly marginalized. His textural wizardry dominated
their first all-original album, Aftermath (1966), which featured him on ma-
rimba, dulcimer, sitar, and assorted keyboards as well as on his customary gui-
tar and harmonica.
127
In 1970-80s produced first by Glyn Johns and Jimmy Miller and then by
Jagger and Richards themselves, their recordings of this period found them
adding country music to their list of influences and – most notably on Beggars
Banquet (1968) – adding more and more acoustic guitar textures to their al-
ready impressive command of musical light and shade.
They even briefly disbanded in the late 1980s after a public spat be-
tween Jagger and Richards. Both leaders recorded solo albums that performed
relatively poorly in the marketplace, though Richards's work was significantly
more favourably reviewed than Jagger's.
Disputes settled, the Stones reconvened in 1989 for their Steel Wheels
album and tour. Jagger, Richards, Watts, and Wood continue to trade as the
Rolling Stones, and, whenever they tour, audiences flock in the thousands to
discover if the old lions can still roar. The general consensus is that they can.
In their late middle age the ultimate rebels became the ultimate institution, and
to many they remain the ultimate rock band.
Notes:
1. to draw on – использовать;
2. styling – художественное оформление; (style – манера, стиль, на-
правление);
3. counterculture – контркультура – контркультура родилась как соци-
альный протест молодежи из среднего класса против существовавшего образа жизни и политических ценностей общества в 50-
60-х годах XX в.;
4. esoteric music – музыка, известная или понятная лишь посвящен-
ным.
ULSTER ORCHESTRA
Based in Belfast, Northern Ireland, the Ulster Orchestra was formed in
1996 and has established itself as one of the major symphony orchestras in the
United Kingdom. The orchestra's varied activities include participation in the
Belfast Festival at Queen's and the Belfast Proms, accompaniment to Opera
128
Northern Ireland, educational work and concerts throughout Northern Ireland.
The internationally acclaimed Dmitry Sitkovetsky is the orchestra's Principal
Conductor and Artistic Advisor, while Takuo Yuasa is Principal Guest Con-
ductor.
Gallaher is one of the Ulster Orchestra's major funding bodies and has
been its largest commercial sponsor since 1981. The company has sponsored a
wide range of the orchestra's activities, including concerts, community arts
events and a tour of England and Wales. This long running support by Gal-
laher, one of the largest manufacturing industry employers in Northern Ire-
land, demonstrates the company's commitment to the cultural life of the Prov-
ince.
The orchestra records and broadcasts extensively for the BBC and has
acquired a high profile through its frequent television appearances. In January
1997 the orchestra gave the first public performance at Belfast's new major
performance venue, the Waterfront Hall. This concert preceded the broadcast
on network television of the orchestra's performance at the official opening
concert together with Dame Kiri Те Kanawa, in the presence of HRH the
Prince of Wales. The Ulster Orchestra has made over fifty commercial re-
cordings, several of which have received prestigious British awards. Success-
ful tours of Europe, Asia and America have added to the growing international
reputation of the orchestra, as have its regular appearances at the BBC Henry
Wood Promenade Concerts.
Notes:
1. Gallaher – "Галлахер" – крупная табачная компания; выпускает си-
гареты и сигары и основана в 1896 году.
129
SUPPLEMENTS
LIST OF PROPER NAMES
1. Amati – семья Амати, выдающиеся мастера изготовления скрипок,
жили в 16-17 вв.
2. Aristotle (384 BC – 332) – Аристотель, древнегреческий ученый и
философ.
3. Armstrong, Louis (1901-1971) – Армстронг, Луи – американский вы-
дающийся трубач, тромбонист, певец; один из самых влиятельных
артистов в истории джаза.
4. Bach, Johann Sebastian (1685-1750) – Бах, Иоганн Себастьян – не-
мецкий композитор и органист.
5. Balakirev, Mily (1836-1910) – Балакирев, Милий – русский компози-
оркестровой музыки, фортепианной музыки и песен.
тор
6. Bartok, Bela (1881-1945) – Барток, Бела – венгерский композитор,
пианист, этномузыковед и педагог.
7. Bashmet, Yuri (р. 1953) – Башмет, Юрий – российский альтист и ди-
рижер. Разносторонний виртуоз и обладатель необычайно красивого
тона; завоевал международную известность в 1970-х; внес значительный вклад в популяризацию альта как сольного инструмента.
8. Basie, Count (1904-1984) – Бейси, Каунт –
американский джазовый
пианист и руководитель джаз-бэндов.
9. Beecham, Thomas (1879-1961) – Бичем, Томас – английский дири-
жер, импресарио, композитор.
10. Bennett, Richard Rodney (р. 1936) – Беннетт, Ричард Родни – англий-
ский композитор и пианист.
11. Berg, Alban (1885-1935) – Берг, Альбан – австрийский композитор.
12. Berlin, Irving (1888-1989) – Берлин, Ирвинг – самый успешный аме-
риканский композитор-песенник; написал слова почти ко всем своим песням.
13. Bernstein, Leonard (1918-1990) –
Бернстайн, Леонард – американский
дирижер, композитор и пианист.