Sergei Larin

Biography

Born: March 9, 1953; Daugavpils, Latvia   Died: January 13, 2008  
One of a number of former Soviet block tenors to have achieved fame in the West, Sergei Larin ranked with the best. Although his instrument was somewhat light for certain of the heroic roles he undertook, it nonetheless demonstrated a shine and absence of throatiness setting him apart from most of his contemporaries. His gifts did not go unrecognized by major conductors; he was engaged by such maestros as Claudio Abbado and Zubin Mehta for Read more productions presented both live and on recording. His youthful good looks gave an additional impetus to his career, affording him an advantage where video recording was an issue. In addition to stage work, Larin became a persuasive recitalist; several programs of songs have been preserved on disc.

After studying languages in Gorky and undergoing voice training in his native country, Larin made his debut at Lithuania's opera and ballet theater in 1981, singing Alfredo in La traviata. Nearly a decade of performances at various Soviet venues passed before Larin made his debut in the West. Although his introductory role was Lensky in Yevgeny Onegin, Larin elected not to specialize in the Russian repertory, but announced himself as a good fit for Italian, French, and German roles as well. Indeed, it was as Don José that he made his London debut in 1991 while Cavaradossi served for his debuts at both Paris and the Metropolitan Opera.

Still, the prevailingly lyric impact of his strong tenor made him the choice for important Russian roles at several theaters. His experience with Boris Godunov began with the Fool, took him next to the role of the wily Shuisky, and finally to the False Dmitri. The Metropolitan Opera heard his first performances of the Pretender when the Kirov visited in 1992. In 1994, Larin sang Dmitri with Abbado at the Salzburg Festival, a production recorded and honored critically as an important achievement by all participants. Salzburg audiences heard Larin's Don Carlos in 1998.

Another Italian role in which Larin received both positive attention and no small celebrity was Calaf, sung in a production of Puccini's Turandot mounted in China and recorded, video taped, and distributed globally. Within the respectable cast, Larin received the most consistently complimentary notices and benefited (as did other cast members) from the extensive publicity surrounding the event.

In addition to Boris Godunov and Turandot, two other recordings feature noteworthy work by Larin in the company of other commendable singers. His Andrei in Neeme Järvi's recording of Tchaikovsky's Mazeppa placed him in the company of Sergei Leiferkus, Galina Gorchakova, Anatoly Kotcherga, and Larissa Diadkova, the top Russian singers in the 1990s. Similarly, his Sergei in Shostakovich's Lady Macbeth of the Mtsensk District cast him with exemplary singers save for a somewhat over-parted protagonist.

Larin recorded several discs of Russian songs for the Chandos label, exploring Rachmaninov and Tchaikovsky in discs entirely devoted to their works and offering another recital devoted to songs of "The Mighty Handful" (Rimsky-Korsakov, Cui, Balakirev, Borodin, and Mussorgsky) as well as two discs of miscellany, including Medtner, Grechaninov, Rubinstein, and Kalinnikov. His accompanist in this project was Eleonora Bekova. Read less

Biography

Born: March 9, 1953; Daugavpils, Latvia   Died: January 13, 2008  
One of a number of former Soviet block tenors to have achieved fame in the West, Sergei Larin ranked with the best. Although his instrument was somewhat light for certain of the heroic roles he undertook, it nonetheless demonstrated a shine and absence of throatiness setting him apart from most of his contemporaries. His gifts did not go unrecognized by major conductors; he was engaged by such maestros as Claudio Abbado and Zubin Mehta for Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Introduction
No. 1 Girl's Chorus and Scene
No. 2 Scene, Arioso and duet
No. 3 Scene
No. 4 Chorus and Dance
No. 4: Hopak
No. 5 Scene and Arioso
No. 6 Quarrel Scene
No. 7 Chorus and Mother's Lament
No. 8 Finale
No. 9 Prison Scene
No. 10 Mazeppa's Monologue and Scene with Orlik
No. 10a Mazeppa's Arioso
No. 11 Mazeppa's Scene with Maria
No. 12 Scene between Maria and her Mother
No. 13 Crowd Scene
No. 14 Finale
No. 15 The Battle of Poltava
No. 16 Scene and Andrey's Aria
No. 17 Scene and Duet
No. 18 Scene - Appearance of the Demented Maria
No. 19 Finale
1. Lento
2. Allegro dramatico
3. Lento
4. Vivace
5. Allegro
6. Andante
1. Lento
2. Allegro dramatico
3. Lento
4. Vivace
5. Allegro
6. Andante
Prologue, Scene 1, Introduction
Prologue, Scene 1: "Well then, what's wrong with you?"
Prologue, Scene 1: "Who are you adandoning us to"
Prologue, Scene 1: "Who are you adandoning us to"
Prologue, Scene 1: "True believers! The boyar is implacable."
Prologue, Scene 1: "Glory to Thee, Creator on high"
Prologue, Scene 1: "Did you hear what the holy pilgrims said?"
Prologue, Scene 2, Introduction
Prologue, Scene 2: "Long live Tsar Boris Fyodorovich!"
Prologue, Scene : "My soul is sad"
Prologue, Scene 2: "Glory!"
Act I, Scene 1, Introduction
Act I, Scene 1: "Just one final story"
Act I, Scene 1: "O Lord, strong and righteous"
Act I, Scene 1: "Do not complain, brother"
Act I, Scene 1: "For alLong time, honoured father"
Act I, Scene 1: "I arrived at night"
Act I, Scene 1: "How old was the murdered Tsarevich?"
Act 1, Scene 1: "They are ringing for matins"
Act I, Scene 2: Introduction
Act I, Scene 2: "I caught a grey drake"
Act I, Scene 2: "Give me some fun"
Act I, Scene 2, "Why are you so pensive, comrade?"
Act I, Scene 2: "Here's what happened at the town of Kazan"
Act I, Scene 2: "Why don't you sing along?"
Act I, Scene 2: "We are humble elders, honest monks"
Act I, Scene 2: "What are you staring at me like that for"
Act I, Scene 2: "And his age... and his age..."
Act II: "Where are you, my Betrothed"
Act II: "Oh, that's enough, Princess, my dear!"
Act II: "A gnat was chopping wood"
Act II: "My little tale is about this and that"
Act II: "What's the matter? Has a wild beast surprised a sitting hen?"
Act II: "I have achieved absolute power"
Act II: "Hey, Pss!"
Act II: "Our little parrot was with the Nannies"
Act II: "Ah, it's you, glorious orator"
Act II: "In Uglich, in the cathedral, in front of all the people"
Act II: "Phew! I feel terrible! Let me catch my breath"
Act III, Scene 1: "By the sky-blue waters of the vistula, under a shady willow"
Act III, Scene 1: "Enough! The beautiful lady is grateful"
Act III, Scene 1: "Marina is bored. Oh, how bored!"
Act III, Scene 1: "Ah! Oh, it's you, my father"
Act III, Scene 1: "With tender, ardent words of love"
Act III, Scene 1: "What? You impudent liar!"
Act III, Scene 2: "At midnight, in the garden, by the fountain"
Act III, Scene 2:"Tsarevich!"
Act III, Scene 2:"Can a humble and sinful man, praying for his dear ones"
Act III, Scene 2:"Tsarevich, hide!"
Act III, Scene 2: Polonaise - "I do not believe in your passion, sir"
Act III, Scene 2:"That crafty Jesuit, he has got me firmly in the grip"
Act III, Scene 2: "How long and agonizing"
Act III, Scene 2: "Oh, Tsarevich, I beg you"
Act III, Scene 2:"Oh, my turtledoves!"
Act IV, Scene 1 (1869 Version): Introduction
Act IV, Scene 1 (1869 Version): "What, is Mass Finished Already?"
Act IV, Scene 1 (1869 Version): "Trrr, trrr - Iron cap"
Act IV, Scene 1 (1869 Version): "Aaah! Boris"
Act IV, Scene 1 (1874 Version): Introduction
Act IV, Scene 1 (1874 Version):"Exalted boyars!"
Act IV, Scene 1 (1874 Version):"Well, then? Let's go and vote, Boyars"
Act IV, Scene 1 (1874 Version):"What a shame that prince Shuisky isn't here"
Act IV, Scene 1 (1874 Version):"He was whispering: keep away, keep away"
Act IV, Scene 1 (1874 Version):"Here, by the front entrance"
Act IV, Scene 1 (1874 Version): "A Humble Monk"
Act IV, Scene 1 (1874 Version): "Once, in the Evening"
Act IV, Scene 1 (1874 Version):"The Tsarevich - Quickly!"
Act IV, Scene 1 (1874 Version):"Farewell, My Son!"
Act IV, Scene 1 (1874 Version):"A bell! A Funeral Knell!"
Act IV, Scene 2 (1874 Version): Introduction
Act IV, Scene 2 (1874 Version):"Bring Him Over Here!" (Tramps)
Act IV, Scene 2 (1874 Version): "It's Not a Falcon Flying in the Heavens" (Tramps)
Act IV, Scene 2 (1874 Version): "The sun and moon have grown dark"
Act IV, Scene 2 (1874 Version): "Hey Ho!"
Act IV, Scene 2 (1874 Version): "Domine, Domine, salvum fac"
Act IV, Scene 2 (1874 Version): March - "Glory to You, Tsarevich"
Act IV, Scene 2 (1874 Version): "We, Dimitri Ivanovich"
Act IV, Scene 2 (1874 Version): "Flow, Flow, Bitter Tears"


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