Notes and Editorial Reviews
Arias, duets, romances, and songs by CARISSIMI, CALDARA, CONTI, PERGOLESI, TCHAIKOVSKY, MUSSORGSKY, RACHMANINOFF, DARGOMYZHSKY, ROSSINI, GIORDANI, NIEDERMEYER, VERDI, MOZART, BEETHOVEN, BRAHMS, SCHUMANN, SCHUBERT, LISZT, OFFENBACH, DELIBES, BIZET, CARDILLO, RAVEL, WOLF, R. STRAUSS, BRITTEN, CUI, TANEYEV, ARENSKY, SCRIABIN, AND MEDTNER
Zara Dolukhanova (b. 1918) was one of the Soviet artists that attained an almost legendary status in the West in the 1960s. That her recordings were nearly impossible to find only increased her reputation, lending it an air of mystery. When the mystery gradually lifted years later, thanks to the occasional tour and an increase over time in Soviet LP distribution, the aura of something both
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distinctive and valuable remained. Sadly, the fall of the Soviet Union has also put an end to its state-funded recording and distribution facilities, including the re-release of valued archival material. An occasional Dolukhanova recording has resurfaced since then, but nothing on the scale of this latest four-CD release, focusing upon her recordings of the late 1940s and 1950s. It’s not quite a broad retrospective, for reasons that I’ll explain later, but it is as close to one as has ever been attempted.
A key element of Dolukhanova’s success was the memorable sound of her voice. It was a dark mezzo, reflecting her contralto origins, but retaining that coloration evenly throughout its wide range. From personal accounts, I gather it wasn’t a large voice when heard live, but it was sufficient for piano-accompanied recitals and radio use, which was what mattered. It was also a beautiful instrument with an unforgettably mournful, delicate sound—ready-made for those endless scores of Russian romances whose emotional clock was invariably set to the soul’s midnight of depression.
There’s no question Dolukhanova was very fine in this material, as more than a CD’s worth of this set demonstrates. Medtner’s When roses fade (oddly enough, original language titles are provided for all the songs except those in Russian) is as intimately and variously shaded and graceful as anyone could desire, while the mezzo delivers Cui’s serene Evening glow with a conviction borne of a great executive talent, one in complete control of all its resources. Her innately melancholy tone perfectly complements the 16 included songs of Tchaikovsky, but she lacks the velvet required for the ideal Rachmaninoff voice. Still, Dolukhanova delivers powerful, emotionally varied readings in nine numbers that include The Prayer, op. 8/6, Lilacs, op. 21/5, and A Dream, op. 38/5. To the other side, there’s a brief, impishly lighthearted piece by Arensky called Mutual Guarantee, which Dolukhanova delivers with understated charm and a great deal of face.
If the sheer sound of the voice was unforgettable in the best way possible, its lyrical deployment was every bit as good. In Conti’s Quella fiamma che m’accende, she makes room for turns, phrases imaginatively, and shifts her dynamics to match the emotional content of the text; but the greatest satisfaction is derived from hearing the way her voice glides smoothly, effortlessly, at a moderate tempo. As much can be said for her treatment of Ridente la calma, attributed to both Mozart and his friend, Josef Myslive?ek. It’s a deceptively simple piece, but requires each note to be given its full value under the spotlight. Some of Dolukhanova’s slurs would draw a raised eyebrow today, but she sings with a wonderfully even, unpressurized tone, and a fine sense of line. The greater dramatics of Mozart’s Als Luise die Briefe confirm this impression, with an added touch of bloom on the voice as Dolukhanova encompasses its greater dramatic values. Bringing up Conti and Dolukhanova’s arie antiche recordings automatically raises the question of authenticity in Baroque music. There can be no question that this material is treated anachronistically here, just as it was in the 1930s by Beniamino Gigli: lack of major embellishments, string-heavy orchestrations, etc. But, whereas Gigli viewed it all with affectionate sentimentality, Dolukhanova is more emotionally restrained. In this respect, she more closely resembles the British school of oratorio singing from the 1920s and 1930s, as exemplified by the likes of Walter Widdop, rather than many of the Romantically influenced Germans and Italians of her period, who indulged their need for 19th-century theatrics. There is a musical scrupulousness to Dolukhanova’s work in this respect that bespeaks an artist of integrity, in whatever age.
As the Mozart and arie antiche indicate, Dolukhanova’s tastes were unusually broad for a Soviet recitalist. She also recorded several songs by Robert Schumann; and after the surprise of the Russian language, her interpretations come across as attractive and relatively idiomatic. The varying faces she brings to Du Ring an meinem Finger display a level of ease with the German classical repertoire that Vinogradov lacks. The opening to Süsser Freund, du blickest lingers exquisitely, without ever losing its way. The rest of that song has a softly glowing, inner warmth not usually associated with Russian sopranos and mezzos. Her halftones in Nun hast du mir den ersten Schmerz getan have an eerily rapt quality, which recalls Khovanshchina’s Marfa rather than Schumann’s maid; still, it’s highly effective. In Schubert’s Die Forelle, Dolukhanova’s trout swims too swiftly, but her Ave Maria (sung in German) strikes just the right pace and proceeds with a legato line, rich tone, and elegant restraint.
The list of Dolukhanova’s vocal flaws on record is short. Her few trills tend to degenerate into a forced vibrato, which, in Dolukhanova’s case, they probably always had been. Occasionally, she slurs an interval, as noted above, but with about the same frequency as Schipa sobs—which is to say, hardly at all, and probably at gunpoint. There are also instances where she audibly runs out of breath, as she does once in Mozart’s An Chloë; but the delicate turns and movement of the voice in this piece are an unfailing delight. (And at other times, as in a Russian language version of Bizet’s Douce mer, she spins out her breath in such a magical fashion, with evocative phrasing, that it turns a charming but slender song into a lambent jewel.) Tempos sometimes edge towards the frantic, but that’s as much a matter of contemporary understanding in the Soviet for 19th-century and 18th-century non-Russian music, where scholarship on these matters often lagged as much as 40 years or more behind the West.
The worst that can be said of Dulokhanova is that she sounds too reticent at times in music that calls for vibrant commitment, as though hesitant to commit her full emotional and verbal resources to a piece; and this is most noticeable in opera. That this isn’t a linguistic issue is clear from many selections in this fine set. Her Latin in Verdi’s Ave Maria and her Italian and German, elsewhere, are competent to good. She generally emphasizes the proper syllables, articulates consonants correctly, and enunciates vowels that seldom shade over to Slavic diphthongs. She sounds comfortable and confident in these languages in a manner that many of her colleagues, including such a superb recitalist as her friend, baritone Pavel Lisitsian, never quite managed.
No, the problem would appear to be related to her performance background. Like Georgi Vinogradov, if not quite to the same extent, Dolukhanova performed little live opera. She sang mainly secondary roles as a contralto in Yerevan’s Spendiarov Opera and Ballet Company from 1939 to 1944, and then had a very short and undistinguished engagement at the Bolshoi. Whatever the reasons for that (and the lengthy, excellent liner notes by Larry Friedman are quiet on this point), Dolukhanova then worked her voice into the mezzo range, and spent her subsequent public career entirely on the recital stage and as a soloist for All-Union Radio.
(In her forties, Dolukhanova decided to move her range upwards again, and become a dramatic soprano. Those recital accounts I’ve heard suggest this wasn’t successful, but the only recording I have of hers in this fach is as soloist in Shostakovich’s Symphony No. 14. As that was made in 1976, the deterioration of her voice could just as easily be due to any number of other factors.)
One of the opera selections on this release demonstrates all too obviously her limitations in this vein. It’s a duet from act II of Offenbach’s Les contes d’Hoffmann, with Ivan Kozlovsky. While the husky, white coloration of Kozlovsky’s voice will alienate some, his incandescent fervor, vocal production, and word painting (apparent even in Russian) ultimately wins through. His is a magnificent reading, particularly of “O Dieu! De quelle ivresse.” The tenor never upstages his colleague and scales down his voice to match hers when singing together, but Dolukhanova sounds emotionally cool and vocally tentative in comparison. Perhaps that’s the reason this new four-CD set has only one other “modern” (as in non-Baroque) operatic selection to offer.
(Curiously, it’s from Mozart’s Così fan tutte, rather than the mezzo’s celebrated complete recordings of Rossini’s La cenerentola and L’italiana in Algeri. Both of these lack a measure of the flexibility and dramatic variety of modern Rossini recordings, much less an understanding of style that has grown through the years; but they have spirit, beauty, and great facility at coloratura. I’m surprised something wasn’t chosen from these once-popular releases, which continued to sell in Europe and the US until LPs gave way to compact discs.)
But there’s plenty to enjoy here without opera: a treasure trove of songs that demonstrate a naturally attractive voice, well trained and fluent, used with intelligence and rare skill. Listen to how she floats the opening phrases of Verdi’s Ave Maria, for instance, and takes the sudden, brief flight upwards with unaffected but devastating simplicity. Or try Strauss’s “Heimliche Aufforderung” for its fearless passion, and Gebet (in Russian, from 1952) for sensuous yearning. The music is by Liszt, but the singer’s persona could be Konchakovna out of Borodin’s Prince Igor; and it works, too.
Sound quality is extremely variable, as in the previous set of this series. There are occasional knocks that could have come from defective equipment, and a very few selections (such as Ridente la calma) sport many poorly made tape splices. The first piano chord in Schumann’s Seit ich ihn gesehen runs up to a pitch, indicating a sloppy transfer from originals to tape. Several selections were never equalized for the RIAA curve, which became a standard in Western Europe and the US but not in the Soviet; consequently, Exsultate, jubilate lacks midrange, and sounds both tinny and bass heavy. Finally, Dolukhanova’s voice in “Oh, guarda sorella” (from Mozart’s Così fan tutte) sounds brighter, the vibrato slightly quicker, than in other selections, here; and the recording runs a quarter tone higher than several other versions of the full opera that I possess. That said, I have no hesitation in recommending this release. Zara Dolukhanova’s recorded output is a cherishable legacy, one of the most distinctive from a period of great music-making in the Soviet Union. It’s good to see such attention being paid to a neglected artist of this stature.
Barry Brenesal, FANFARE
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Works on This Recording
1.
Vittoria, vittoria, mio core by Giacomo Carissimi
Performer:
Zara Dolukhanova (Soprano)
Conductor:
Rudolf Barshai
Orchestra/Ensemble:
Moscow Chamber Orchestra
Period: Baroque
Written: 17th Century; Italy
Length: 3 Minutes 36 Secs.
Language: Italian
2.
La costanza in amor vince l'inganno: Come raggio di sol by Antonio Caldara
Performer:
Zara Dolukhanova (Soprano)
Conductor:
Rudolf Barshai
Orchestra/Ensemble:
Moscow Chamber Orchestra
Period: Baroque
Written: by 1711; Italy
Length: 3 Minutes 16 Secs.
Language: Italian
3.
Quella fiamma che m'accende by Benedetto Marcello
Performer:
Zara Dolukhanova (Soprano)
Conductor:
Rudolf Barshai
Orchestra/Ensemble:
Moscow Chamber Orchestra
Period: Baroque
Written: 18th Century; Italy
Length: 4 Minutes 1 Secs.
Language: Italian
4.
Se tu m'ami by Alessandro Parisotti
Performer:
Zara Dolukhanova (Soprano)
Conductor:
Rudolf Barshai
Orchestra/Ensemble:
Moscow Chamber Orchestra
Period: Romantic
Length: 2 Minutes 34 Secs.
Language: Italian
Notes: This composition was originally attributed to Giovanni Battista Pergolesi.
5.
Caro mio ben by Tommaso Giordani
Performer:
Zara Dolukhanova (Soprano)
Conductor:
Rudolf Barshai
Orchestra/Ensemble:
Moscow Chamber Orchestra
Period: Classical
Length: 3 Minutes 49 Secs.
Language: Italian
6.
Pietà, Signore by Louis Niedermeyer
Performer:
Zara Dolukhanova (Soprano)
Conductor:
Rudolf Barshai
Orchestra/Ensemble:
Moscow Chamber Orchestra
Period: Romantic
Written: Switzerland
Length: 7 Minutes 24 Secs.
Language: Italian
7.
Quattro pezzi sacri: Ave Maria by Giuseppe Verdi
Performer:
Zara Dolukhanova (Soprano)
Conductor:
Rudolf Barshai
Orchestra/Ensemble:
Moscow Chamber Orchestra
Period: Romantic
Written: 1889-1897; Italy
Length: 5 Minutes 45 Secs.
Language: Latin
8.
Exsultate jubilate, K 165 (158a) by Wolfgang Amadeus Mozart
Performer:
Zara Dolukhanova (Soprano)
Conductor:
Rudolf Barshai
Orchestra/Ensemble:
Moscow Chamber Orchestra
Period: Classical
Written: 1773; Milan, Italy
Length: 13 Minutes 46 Secs.
Language: Latin
9.
Ridente la calma, K 152 (210a) by Wolfgang Amadeus Mozart
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Classical
Written: 1772-1775; Italy
Date of Recording: 1950
Length: 3 Minutes 50 Secs.
Language: Russian
10.
Komm, liebe Zither, K 351 (367b) by Wolfgang Amadeus Mozart
Performer:
N. Rozov (Mandolin),
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Classical
Written: 1780-1781; Munich, Germany
Date of Recording: 1950
Length: 1 Minutes 55 Secs.
Language: Russian
11.
Als Luise die Briefe, K 520 by Wolfgang Amadeus Mozart
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Classical
Written: 1787; Vienna, Austria
Date of Recording: 1950
Length: 1 Minutes 51 Secs.
Language: Russian
12.
An Chloë, K 524 by Wolfgang Amadeus Mozart
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Classical
Written: 1787; Vienna, Austria
Date of Recording: 1950
Length: 2 Minutes 1 Secs.
Language: Russian
13.
Così fan tutte, K 588: Ah guarda, sorella by Wolfgang Amadeus Mozart
Performer:
Galina Sakharova (Soprano),
Zara Dolukhanova (Soprano)
Conductor:
Alexander Kovalev
Orchestra/Ensemble:
Moscow Radio Symphony Orchestra
Period: Classical
Written: 1790; Vienna, Austria
Date of Recording: 1953
Length: 4 Minutes 19 Secs.
Language: Russian
14.
Songs (23) of various nationality, WoO 158a: no 13, In the little woods by Ludwig van Beethoven
Performer:
Zara Dolukhanova (Soprano),
Rostislav Dubinsky (Violin),
Alexander Yeroklin (Piano),
Valentin Berlinsky (Cello)
Period: Classical
Written: Vienna, Austria
Length: 1 Minutes 37 Secs.
Language: Russian
15.
Songs (23) of various nationality, WoO 158a: no 14, Oh, rivers, rivers by Ludwig van Beethoven
Performer:
Valentin Berlinsky (Cello),
Rostislav Dubinsky (Violin),
Alexander Yeroklin (Piano),
Zara Dolukhanova (Soprano)
Period: Classical
Written: 1816; Vienna, Austria
Length: 2 Minutes 18 Secs.
Language: Russian
16.
Frauenliebe und Leben, Op. 42: no 1, Seit ich ihn gesehen by Robert Schumann
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1840; Germany
Date of Recording: 1953
Length: 2 Minutes 42 Secs.
Language: Russian
17.
Frauenliebe und Leben, Op. 42: no 2, Er, der Herrlichste von allen by Robert Schumann
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1840; Germany
Date of Recording: 1953
Length: 2 Minutes 20 Secs.
Language: Russian
18.
Frauenliebe und Leben, Op. 42: no 3, Ich kann's nicht fassen by Robert Schumann
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1840; Germany
Date of Recording: 1953
Length: 1 Minutes 42 Secs.
Language: Russian
19.
Frauenliebe und Leben, Op. 42: no 4, Du Ring an meinem Finger by Robert Schumann
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1840; Germany
Date of Recording: 1953
Length: 2 Minutes 8 Secs.
Language: Russian
20.
Frauenliebe und Leben, Op. 42: no 5, Helft mir, ihr Schwestern by Robert Schumann
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Date of Recording: 1953
Length: 1 Minutes 37 Secs.
Language: Russian
21.
Frauenliebe und Leben, Op. 42: no 6, Süsser Freund by Robert Schumann
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1840; Germany
Date of Recording: 1953
Length: 4 Minutes 28 Secs.
Language: Russian
22.
Frauenliebe und Leben, Op. 42: no 7, An meinem Herzen by Robert Schumann
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1840; Germany
Date of Recording: 1953
Length: 0 Minutes 57 Secs.
Language: Russian
23.
Frauenliebe und Leben, Op. 42: no 8, Nun hast du mir by Robert Schumann
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1840; Germany
Date of Recording: 1953
Length: 3 Minutes 51 Secs.
Language: Russian
24.
Wiegenlied, D 498/Op. 98 no 2 by Franz Schubert
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1816; Vienna, Austria
Date of Recording: 1953
Length: 2 Minutes 19 Secs.
Language: Russian
25.
Die Forelle, D 550 by Franz Schubert
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1817; Vienna, Austria
Date of Recording: 1950
Length: 1 Minutes 36 Secs.
Language: Russian
26.
Du bist die Ruh, D 776/Op. 59 no 3 by Franz Schubert
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1823; Vienna, Austria
Date of Recording: 1952
Length: 5 Minutes 17 Secs.
Language: Russian
27.
Die schöne Müllerin, D 795/Op. 25: no 2, Wohin? by Franz Schubert
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1823; Vienna, Austria
Date of Recording: 1952
Length: 1 Minutes 51 Secs.
Language: Russian
28.
Ellens Gesang III, D 839/Op. 52 no 6 "Ave Maria" by Franz Schubert
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1825; Vienna, Austria
Date of Recording: 1953
Length: 6 Minutes 11 Secs.
Language: German
29.
Schwanengesang, D 957: no 9, Ihr Bild by Franz Schubert
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1828; Vienna, Austria
Date of Recording: 1948
Length: 2 Minutes 58 Secs.
Language: Russian
30.
Gebet, S 331 by Franz Liszt
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1878
Date of Recording: 1952
Length: 3 Minutes 23 Secs.
Language: Russian
31.
Oh! quand je dors, S 282 "Élégie Etienne Monnier" by Franz Liszt
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1842/1859; Germany
Date of Recording: 1952
Length: 6 Minutes 4 Secs.
Language: Russian
32.
Der Glückliche, S 334 by Franz Liszt
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: circa 1878; Rome, Italy
Date of Recording: 1952
Length: 1 Minutes 54 Secs.
Language: Russian
33.
Die Loreley, S 273 no 1 (1st version) by Franz Liszt
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1841; Germany
Date of Recording: 1951
Length: 6 Minutes 56 Secs.
Language: Russian
34.
Les contes d'Hoffmann: O Dieu! de quelle ivresse by Jacques Offenbach
Performer:
Ivan Kozlovsky (Tenor),
Zara Dolukhanova (Soprano)
Conductor:
Samuel Samosud
Orchestra/Ensemble:
Moscow Radio Symphony Orchestra
Period: Romantic
Written: 1881; Paris, France
Date of Recording: 1952
Length: 6 Minutes 8 Secs.
Language: Russian
35.
Bonjour, Suzon by Léo Delibes
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1861; France
Date of Recording: 1950
Length: 2 Minutes 25 Secs.
Language: Russian
36.
Douce mer by Georges Bizet
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1866; France
Date of Recording: 1950
Length: 2 Minutes 51 Secs.
Language: Russian
37.
Core 'ngrato by Salvatore Cardillo
Performer:
Zara Dolukhanova (Soprano)
Conductor:
Samuel Samosud
Orchestra/Ensemble:
Moscow Radio Symphony Orchestra
Period: Romantic
Written: 1911; Italy
Date of Recording: 1950
Length: 4 Minutes 44 Secs.
Language: Russian
38.
Duets (4), Op. 28: no 2, Vor der Tür by Johannes Brahms
Performer:
Andrei Ivanov (Baritone),
Georgi Orentlikher (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1860-1862; Germany
Date of Recording: 1953
Length: 2 Minutes 14 Secs.
Language: Russian
39.
Mélodies hébraïques (2): no 1, Kaddisch by Maurice Ravel
Performer:
Nina Svetlanova (Piano),
Zara Dolukhanova (Soprano)
Period: 20th Century
Written: 1914-1919; France
Date of Recording: C1950
Length: 5 Minutes 2 Secs.
Language: Aramaic
40.
Canciones populares españolas (7): no 1, El paño moruno by Manuel de Falla
Performer:
Nina Svetlanova (Piano),
Zara Dolukhanova (Soprano)
Period: 20th Century
Written: 1914-1915; Spain
Date of Recording: C1950
Length: 1 Minutes 14 Secs.
Language: Spanish
41.
Canciones populares españolas (7): no 2, Seguidilla marciana by Manuel de Falla
Performer:
Nina Svetlanova (Piano),
Zara Dolukhanova (Soprano)
Period: 20th Century
Written: 1914-1915; Spain
Date of Recording: C1950
Length: 1 Minutes 29 Secs.
Language: Spanish
42.
Canciones populares españolas (7): no 3, Asturiana by Manuel de Falla
Performer:
Zara Dolukhanova (Soprano),
Nina Svetlanova (Piano)
Period: 20th Century
Written: 1914-1915; Spain
Date of Recording: C1950
Length: 2 Minutes 38 Secs.
Language: Spanish
43.
Canciones populares españolas (7): no 4, Jota by Manuel de Falla
Performer:
Nina Svetlanova (Piano),
Zara Dolukhanova (Soprano)
Period: 20th Century
Written: 1914-1915; Spain
Date of Recording: C1950
Length: 3 Minutes 22 Secs.
Language: Spanish
44.
Canciones populares españolas (7): no 5, Nana by Manuel de Falla
Performer:
Zara Dolukhanova (Soprano),
Nina Svetlanova (Piano)
Period: 20th Century
Written: 1914-1915; Spain
Date of Recording: C1950
Length: 1 Minutes 39 Secs.
Language: Spanish
45.
Canciones populares españolas (7): no 6, Canción by Manuel de Falla
Performer:
Zara Dolukhanova (Soprano),
Nina Svetlanova (Piano)
Period: 20th Century
Written: 1914-1915; Spain
Date of Recording: C1950
Length: 1 Minutes 21 Secs.
Language: Spanish
46.
Canciones populares españolas (7): no 7, Polo by Manuel de Falla
Performer:
Nina Svetlanova (Piano),
Zara Dolukhanova (Soprano)
Period: 20th Century
Written: 1914-1915; Spain
Date of Recording: C1950
Length: 1 Minutes 42 Secs.
Language: Spanish
47.
Goethe Lieder: no 9, Mignon "Kennst du das Land" by Hugo Wolf
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Date of Recording: C1950
Length: 5 Minutes 42 Secs.
Language: Russian
48.
Goethe Lieder: no 11, Der Rattenfänger by Hugo Wolf
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1888; Vienna, Austria
Date of Recording: C1950
Length: 2 Minutes 37 Secs.
Language: Russian
49.
Mörike Lieder: no 12, Verborgenheit by Hugo Wolf
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1888; Vienna, Austria
Date of Recording: C1950
Length: 2 Minutes 50 Secs.
Language: Russian
50.
Spanisches Liederbuch: no 13, Seltsam ist Juanas Weise by Hugo Wolf
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1889; Vienna, Austria
Date of Recording: C1950
Length: 2 Minutes 18 Secs.
Language: Russian
51.
Spanisches Liederbuch: no 16, Wenn du zu den Blumen gehst by Hugo Wolf
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1889; Vienna, Austria
Date of Recording: C1950
Length: 1 Minutes 25 Secs.
Language: Russian
52.
Lieder (8), Op. 10: no 8, Allerseelen by Richard Strauss
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1885; Germany
Date of Recording: C1950
Length: 2 Minutes 51 Secs.
Language: Russian
53.
Lieder (4), Op. 27: no 2, Cäcilie by Richard Strauss
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1894; Germany
Date of Recording: C1950
Length: 2 Minutes 17 Secs.
Language: Russian
54.
Lieder (4), Op. 27: no 3, Heimliche Aufforderung by Richard Strauss
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1894; Germany
Date of Recording: C1950
Length: 2 Minutes 41 Secs.
Language: Russian
55.
Lieder (4), Op. 27: no 4, Morgen by Richard Strauss
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1894; Germany
Date of Recording: 1953
Length: 3 Minutes 11 Secs.
Language: Russian
56.
Lieder (3), Op. 29: no 1, Traum durch die Dämmerung by Richard Strauss
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Written: 1895
Date of Recording: C1950
Length: 2 Minutes 45 Secs.
Language: Russian
57.
Lieder (4), Op. 36: no 3, Hat gesagt, bleibts nicht dabei by Richard Strauss
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1898; Germany
Date of Recording: C1950
Length: 1 Minutes 52 Secs.
Language: Russian
58.
A Charm of Lullabies, Op. 41: no 5, Nurse's Song by Benjamin Britten
Performer:
Nina Svetlanova (Piano),
Zara Dolukhanova (Soprano)
Period: 20th Century
Written: 1947; England
Date of Recording: C1950
Length: 2 Minutes 29 Secs.
Language: English
59.
A Charm of Lullabies, Op. 41: no 4, A Charm by Benjamin Britten
Performer:
Zara Dolukhanova (Soprano),
Nina Svetlanova (Piano)
Period: 20th Century
Written: 1947; England
Date of Recording: C1950
Length: 1 Minutes 33 Secs.
Language: English
60.
Poems (25) by Pushkin, Op. 57: no 8, Confidant by César Cui
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1899; Russia
Date of Recording: 1950
Length: 0 Minutes 54 Secs.
Language: Russian
61.
I remember the evening by César Cui
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1857; Russia
Date of Recording: 1951
Length: 1 Minutes 54 Secs.
Language: Russian
62.
Mélodies (5), Op. 54: no 5, Ici-bas by César Cui
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: circa 1890; Russia
Date of Recording: C1950
Length: 2 Minutes 37 Secs.
Language: Russian
63.
Duets (6), Op. 46: no 4, In the garden, near the ford by Peter Ilyich Tchaikovsky
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1880; Russia
Date of Recording: 1950
Length: 1 Minutes 50 Secs.
Language: Russian
64.
Romances (10), Op. 17: no 3, Let it sound no more by Sergei Taneyev
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1895/1903; Russia
Date of Recording: 1947
Length: 2 Minutes 28 Secs.
Language: Russian
65.
Children' s Songs, Op. 59: no 2, Mutual responsibility by Anton Arensky
Performer:
Zara Dolukhanova (Soprano)
Conductor:
Leonid Piatigorsky
Orchestra/Ensemble:
Moscow Radio Symphony Orchestra
Period: Romantic
Written: Russia
Date of Recording: C1950
Length: 1 Minutes 14 Secs.
Language: Russian
66.
Romance by Alexander Scriabin
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1894; Russia
Date of Recording: 1952
Length: 1 Minutes 27 Secs.
Language: Russian
67.
Poems (2), Op. 13: no 1, Winterabend by Nikolai Medtner
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: 20th Century
Written: 1903-1907; Russia
Date of Recording: C1950
Length: 3 Minutes 11 Secs.
Language: Russian
68.
Poems (6), Op. 36: no 3, When roses fade by Nikolai Medtner
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: 20th Century
Date of Recording: C1950
Length: 1 Minutes 54 Secs.
Language: Russian
69.
Pushkin Songs (7), Op. 52: no 5, Spanische Romanze by Nikolai Medtner
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: 20th Century
Written: 1929-1930; France
Date of Recording: C1950
Length: 1 Minutes 54 Secs.
Language: Russian
70.
Take my heart away by Peter Ilyich Tchaikovsky
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1873; Russia
Date of Recording: C1950
Length: 1 Minutes 53 Secs.
Language: Russian
71.
Songs (6), Op. 6: no 2, Not a word, O my friend by Peter Ilyich Tchaikovsky
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1869; Russia
Date of Recording: C1950
Length: 3 Minutes 10 Secs.
Language: Russian
72.
Songs (6), Op. 6: no 3, Both painfully and sweetly by Peter Ilyich Tchaikovsky
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1869; Russia
Date of Recording: C1950
Length: 2 Minutes 15 Secs.
Language: Russian
73.
Songs (6), Op. 27: no 2, Look, yonder cloud by Peter Ilyich Tchaikovsky
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1875; Russia
Date of Recording: C1950
Length: 3 Minutes 23 Secs.
Language: Russian
74.
Songs (6), Op. 27: no 3, Do not leave me by Peter Ilyich Tchaikovsky
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1875; Russia
Date of Recording: C1950
Length: 2 Minutes 29 Secs.
Language: Russian
75.
Songs (6), Op. 38: no 2, It was in early spring by Peter Ilyich Tchaikovsky
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1878; Russia
Date of Recording: C1950
Length: 2 Minutes 43 Secs.
Language: Russian
76.
Songs (7), Op. 47: no 3, Dusk fell on the earth by Peter Ilyich Tchaikovsky
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1880; Russia
Date of Recording: C1950
Length: 4 Minutes 42 Secs.
Language: Russian
77.
Songs (7), Op. 47: no 4, Sleep, poor friend by Peter Ilyich Tchaikovsky
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1880; Russia
Date of Recording: C1950
Length: 4 Minutes 0 Secs.
Language: Russian
78.
Songs (7), Op. 47: no 6, Does the day reign? by Peter Ilyich Tchaikovsky
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1880; Russia
Date of Recording: C1950
Length: 3 Minutes 13 Secs.
Language: Russian
79.
Songs (6), Op. 57: no 1, Tell me, what in the shade of the branches by Peter Ilyich Tchaikovsky
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1884; Russia
Date of Recording: C1950
Length: 3 Minutes 13 Secs.
Language: Russian
80.
Songs (6), Op. 57: no 3, Do not ask by Peter Ilyich Tchaikovsky
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1884; Russia
Date of Recording: C1950
Length: 3 Minutes 51 Secs.
Language: Russian
81.
Songs (6), Op. 63: no 4, The first meeting by Peter Ilyich Tchaikovsky
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1887; Russia
Date of Recording: C1950
Length: 3 Minutes 9 Secs.
Language: Russian
82.
Songs (6), Op. 63: no 5, The fires in the rooms were already out by Peter Ilyich Tchaikovsky
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1887; Russia
Date of Recording: C1950
Length: 2 Minutes 33 Secs.
Language: Russian
83.
Songs (6), Op. 63: no 6, O child, beneath thy window by Peter Ilyich Tchaikovsky
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1887; Russia
Date of Recording: C1950
Length: 2 Minutes 57 Secs.
Language: Russian
84.
Zemfira's Song by Peter Ilyich Tchaikovsky
Performer:
Zara Dolukhanova (Soprano),
Alexander Dolukhanian (Piano)
Period: Romantic
Written: circa 1855-1860; Russia
Date of Recording: 1948
Length: 1 Minutes 34 Secs.
Language: Russian
85.
Mezza notte by Peter Ilyich Tchaikovsky
Performer:
Alexander Dolukhanian (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: circa 1855-1860; Russia
Date of Recording: 1948
Length: 1 Minutes 52 Secs.
Language: Italian
86.
Songs (6), Op. 4: no 2, Morning by Sergei Rachmaninov
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1892; Russia
Date of Recording: 1949
Length: 2 Minutes 26 Secs.
Language: Russian
87.
Songs (6), Op. 8: no 1, The waterlily by Sergei Rachmaninov
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1893; Russia
Date of Recording: 1951
Length: 1 Minutes 40 Secs.
Language: Russian
88.
Songs (6), Op. 8: no 6, Prayer by Sergei Rachmaninov
Performer:
Alexander Dolukhanian (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1893; Russia
Date of Recording: 1948
Length: 3 Minutes 30 Secs.
Language: Russian
89.
Songs (12), Op. 14: no 5, These summer nights by Sergei Rachmaninov
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1896; Russia
Date of Recording: 1951
Length: 1 Minutes 40 Secs.
Language: Russian
90.
Songs (12), Op. 14: no 8, Oh, do not grieve by Sergei Rachmaninov
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1896; Russia
Date of Recording: 1949
Length: 3 Minutes 27 Secs.
Language: Russian
91.
Songs (12), Op. 21: no 4, They answered by Sergei Rachmaninov
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1902; Russia
Date of Recording: 1949
Length: 1 Minutes 41 Secs.
Language: Russian
92.
Songs (12), Op. 21: no 5, Lilacs by Sergei Rachmaninov
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1902; Russia
Length: 1 Minutes 48 Secs.
Language: Russian
Notes: 1948 - 1953
93.
Songs (14), Op. 34: no 1, The muse by Sergei Rachmaninov
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1912; Russia
Date of Recording: 1952
Length: 3 Minutes 41 Secs.
Language: Russian
94.
Songs (6), Op. 38: no 5, A dream by Sergei Rachmaninov
Performer:
Zara Dolukhanova (Soprano),
Berta Kozel (Piano)
Period: Romantic
Written: 1916; Russia
Date of Recording: 1953
Length: 3 Minutes 20 Secs.
Language: Russian
95.
Les soirées musicales: no 9, La regata veneziana by Gioachino Rossini
Performer:
Zara Dolukhanova (Soprano),
Anton Ossipovich Bernard (Piano),
Nadezhda Kazantseva (Soprano)
Period: Romantic
Written: circa 1830-1835; Italy
Length: 3 Minutes 15 Secs.
Language: Russian
96.
Les soirées musicales: no 10, La pesca by Gioachino Rossini
Performer:
Nadezhda Kazantseva (Soprano),
Anton Ossipovich Bernard (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: circa 1830-1835; Italy
Length: 4 Minutes 4 Secs.
Language: Russian
97.
Rusalka: Ah, you young girls "Miller's Aria" by Alexander Dargomizhsky
Performer:
Berta Kozel (Piano),
Zara Dolukhanova (Soprano)
Period: Romantic
Written: 1848-1855; Russia
Date of Recording: 1950
Length: 1 Minutes 46 Secs.
Language: Russian
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