A life Milia Alekseevich Balakirev(12/21/1836 - 05/16/1910) - a famous composer, pianist, conductor, head of the creative association of Russian composers, called by V.V. Stasov "The Mighty Handful", was rich in events. Years of study in Nizhny Novgorod and Kazan, moving to St. Petersburg and brilliant performances here as a concert pianist, meeting with M. I. Glinka, organizing a Free Music School, creating a community of musicians who showed the world a new direction in musical art, and much more.
One of the "pages" of his biography was connected with Court Choir.
According to N. A. Rimsky-Korsakov, the appointment of Mily Alekseevich as the manager of the Capella, and himself as an assistant manager, was "unexpected". Moreover, initially in the text of the manuscript “Chronicle of my musical life", now stored in the Russian national library, it was written: "The mysterious thread of such a destination." Later, with a pencil on the right margin of the sheet, Nikolai Andreevich inserted the word "unexpected", thereby drawing special attention to the unforeseen nature of the event.
Here, in the Chronicle, he listed the names of people in whose hands, according to the author, there was a "mysterious thread", which led to a significant increase in Balakirev's social status. Traces of some "knots" connecting the "thread" are found in the manuscript collections of the Russian National Library.
Mily Alekseevich served as manager of the Court Choir for more than 10 years. In the "Formal list on the service of the Manager of the Court Chapel of the State Councilor Mily Alekseevich Balakirev" it is indicated: “According to the highest command, announced by the Minister of the Imperial Court in the order of February 3, 1883, No. 240, he was appointed manager of the Court Chapel on the third of February, one thousand eight hundred and eighty-three”. And after the entry dated April 17, 1894 on awarding him the Order of St. Stanislav, 2nd degree, we read: “By the highest order of the Civil Department of December 20, 1894, No. 5 from the service, according to a petition due to illness, he was dismissed from December 20, 1894” .
The appointment of M. A. Balakirev to such a significant Russian Empire government agency must have had very serious grounds. courtier singing chapel was at that time not only the center of sacred music in Russia. Founded in 1479 by the decree of Grand Duke Ivan III, the choir of the sovereign's clerks, from which the history of the Chapel began, remained "sovereign" for more than 400 years. And although its names changed (“Court Singing Choir” or “Singing Houses of His Majesty” - “Cappella of Court Singers” or “Court Capelia” - “Court Singing Chapel” - “Court Singing Chapel of His Majesty's Court”), they all reflected the dependence of the activities of the Capella on the ideological attitudes and artistic taste of the first person of the state.
The period of time during which the service of M. A. Balakirev in the Chapel falls refers to the reign Alexander III. The emperor ascended the throne on March 2, 1881, and his coronation took place on May 15, 1883. A month before this event, Balakirev took up his duties. Celebrations on the occasion of the coronation took place in Moscow, where the imperial couple, arriving from St. Petersburg, were greeted with great solemnity.
The Russian National Library has a watercolor unknown artist"Entrance of Emperor Alexander III to Red Square".
Here we see both the triumphal gates with the monogram of the emperor and empress, built specifically for the coronation ceremony, and a large crowd of people in the square, greeting Alexander Alexandrovich and Maria Feodorovna. However, it cannot be stated with certainty that this watercolor actually reflects the events that took place on May 10, 1883. On that day, in accordance with the descriptions of contemporaries, the emperor entered Moscow on horseback, and not in a cab. Perhaps this was the reason for the appearance of a pencil entry in the lower part of the picture: “on a horse”. In addition, the date is written next to it in the same handwriting: “May 12, 1893”, which is 10 years away from the coronation celebrations. Perhaps the artist depicted the arrival of the imperial couple in Moscow to celebrate the tenth anniversary of the coronation.
As for the events that took place in Moscow in 1883, there in in full force, including the manager - M. A. Balakirev and his assistant - N. A. Rimsky-Korsakov, the Court Singing Chapel also left. "Covered in the uniforms of the court department, - Rimsky-Korsakov recalled in his Chronicle, - we were present at the coronation in the Assumption Cathedral, standing on kliros: Balakirev on the right, I on the left.<…>The ceremony was performed solemnly ... " .
The subsequent activities of the Capella directly depended on the worldview and interests of Alexander III. The characteristic of this representative of the reigning dynasty was most succinctly formulated by I. S. Turgenev: “He is only Russian. He loves and patronizes only Russian art, Russian music, Russian literature, Russian archeology.<...>. For the same reason he is a zealous Orthodox; his piety is sincere and unfeigned". N. F. Findeisen noted in his Diaries that "Alexander III exalted the Russian musicians and recognized them as artists, not vagabonds." According to S. D. Sheremetev, Alexander III loved "Russian epic and Russian song, ancient church singing and iconography, handwritten facial images and our ancient architecture, because he passionately loved Russia ...".
The basis of the worldview of the ruling emperor was the ideology of monarchical statehood and Russian national identity. The commitment of Alexander Alexandrovich to these ideals led to changes that took place in various areas Russian life including sacred music.
"Unraveling" the "mysterious thread" that led Balakirev to the Court Singing Chapel, Rimsky-Korsakov names T. I. Filippov, K. P. Pobedonostsev and S. D. Sheremetev. Further, to these persons, he adds V.K. Sabler, D.F. Samarin, M.N. Katkov. Nikolai Andreevich calls them all "the ancient foundations of autocracy and Orthodoxy." Despite some irony present in the musician's statement, it is generally true. The persons named by Rimsky-Korsakov were not absolute like-minded people, and sometimes became antagonists, but united them national identity, love for the fatherland and commitment to its historical roots.
Almost each of the listed figures had their social status and/or social position changed after Alexander III came to power. State Comptroller Terti Ivanovich Filippov in 1881 he became a senator - a member of the highest government agency subordinate to the emperor. Chief Procurator of the Holy Synod Konstantin Petrovich Pobedonostsev(1827-1907), tutor of Grand Duke Alexander Alexandrovich, after his accession to the throne, the most senior person in government, retaining his influence on the former pupil.
With the accession to the throne of Alexander III, other figures listed by N. A. Rimsky-Korsakov also acquire a higher status. Publisher, publicist, editor of the Moskovskie Vedomosti newspaper Mikhail Nikiforovich Katkov(1818-1887), who formulated the principle of state nationality as the basis of the country's unity, the man who was called the creator of the Russian political press, in 1882 received the rank of state councilor, despite the fact that he was not in the public service. Graph Sergei Dmitrievich Sheremetev(1844-1918), who belonged to the retinue of the imperial family, a personal friend of Emperor Alexander, in 1881 was promoted to the rank of officer (became an aide-de-camp) and appointed head of the Court Choir.
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State Academic Chapel of St. Petersburg- the oldest domestic professional musical institution, which determined by its activities the formation and development of the entire Russian professional musical culture. Here, for the first time in Russia, all the main directions of musical performance and music education.
The date of birth of the Chapel is considered to be August 12, 1479, when the Choir of Sovereign Singers deacons, founded by the Grand Duke of Moscow Ivan III, took part in the consecration service of the Assumption Cathedral, the first stone church of the Moscow Kremlin.
The singers were constantly with the sovereign and provided for the various needs of the court: participation in divine services, accompanying the sovereigns on pilgrimages, on guest visits and military campaigns, singing at solemn receptions and dinners, at the naming of the kingdom, on namesake days and christenings. In addition to music, the singers were taught literacy and sciences. Initially, only men sang in the choir, but from the middle of the 17th century. with the development of polyphonic singing, boys appeared in the choir.
Ivan the Terrible brought from Novgorod to Alexandrovskaya Sloboda two remarkable masters-singers - Fyodor Krestyanin and Ivan Nos, the founders of the first Russian singing school. The choir singers were also creators of new musical works. Among the choristers were well-known theorists, composers and regents of the 16th-17th centuries: Jan Kolenda, Nikolai Bavykin, Vasily Titov, Mikhail Sifov, Stefan Belyaev and others.
Upbringing in the sovereign family obliged to know the church service thoroughly, and therefore, to own musical diploma and be able to sing in the choir. Ivan the Terrible, for example, not only sang, but also composed music. Two of them have survived own works- stichera in honor of Metropolitan Peter and the Vladimir Icon of the Mother of God.
In 1701, Peter I renamed the Choir of the Sovereign's Singing Deacons into the Court Choir. The singers constantly accompanied the sovereign on his trips and military campaigns. The court choir visited the banks of the Neva even before the founding of St. Petersburg and participated in a prayer service in honor of the victory of Peter's troops at Nyenschantz. And on May 16 (27), 1703, the sovereign's choristers took part in the celebrations on the occasion of the founding of the new capital (history has preserved for us the names of all 28 choristers). The entire subsequent biography of the choir is already connected with St. Petersburg.
Peter I spent a lot of time in the company of his singers, took care of their way of life, he himself monitored the timely replenishment creative staff, often performed bass in the choir. Evidence of this is the numerous entries in the travel journal, the decrees of the emperor, the preserved musical choral parts, corrected by the hand of Peter.
On September 21, 1738, by decree of Empress Anna Ioannovna, the first special school was opened in the Ukrainian city of Hlukhiv for the needs of the Court Choir. From January 10, 1740, by her own decree, the training of juvenile singers to play orchestral instruments was introduced.
Being the only artistically and organizationally established state choir, the Court Choir participated in all musical events held in the capital. Court singers were indispensable participants in solemn festivities, assemblies and masquerades. Since the 30s of the 18th century, the Court Choir has been involved in the performances of the Court Theater. The choir gave the opera stage many soloists who were widely known in the musical circles of their time. Among them are Maxim Sozontovich Berezovsky and Mark Fedorovich Poltoratsky, who adorned Italian and Russian opera performances with their participation. Dmitry Stepanovich Bortnyansky, while still a boy, performed solo in an opera by the Italian composer Francesco Araya.
The variety of activities of the choir required an increase in its composition, and by decree of Empress Elizaveta Petrovna of May 22, 1752, it was staffed with 48 adults and 52 juvenile singers.
On October 15, 1763, the Court Choir was renamed by Catherine II into the Imperial Court Singing Chapel. Mark Poltoratsky became its first director.
During its activity, the Capella has become the most important source of musical education in Russia, a major professional school that has educated many generations of conductors, composers, singers and performers on orchestral instruments. Many years of life and work of outstanding musical figures - Glinka, Rimsky-Korsakov, Balakirev, Bortnyansky, Arensky, Lomakin, Varlamov and others - were associated with the Capella.
In the very first concerts of the St. Petersburg Musical Club, opened in 1772, the Choir Choirs and Orchestra performed cantatas and oratorios by Pergolese, Graun, Iomelli, and others.
For several decades, the management of the Chapel has been carried out by Italian maestros. These are Baltazar Galuppi, Bortnyansky's teacher (1765-1768); Tommaso Traetta (1768-1775); Giovanni Paisiello, who composed his famous Barber of Seville (1776-1784) for the Petersburg stage; Giuseppe Sarti (1784-1787). In the same years, Domenico Cimarosa worked in the Chapel. Outstanding composers of their time, they were wonderful mentors. With their support, young Russian musicians mastered the highest skills of the European musical school.
In 1796, Dmitry Stepanovich Bortnyansky became the director of the Chapel. Under him, the choir of the Imperial Chapel gains European fame. Dmitry Stepanovich focuses all his attention on improving the choir and composing works for it.
In 1808, at the initiative of Bortnyansky, a plot with two houses, a large garden and a courtyard between them was purchased for the Chapel. Here and now are the buildings of the Chapel. Thanks to the neighborhood with the Singing Chapel, the Singing Bridge got its name.
Since the establishment in 1802 of the St. Petersburg Philharmonic Society, the Capella has participated in all of its concerts. Thanks to the performances of the Capella, the capital got acquainted with the outstanding creations of classical music for the first time. The first performance in Russia of Mozart's Requiem by Capella with a symphony orchestra took place on March 23, 1805, Beethoven's Missa solemnis on March 26, 1824 ( world premiere); Masses in C major by Beethoven - March 25, 1833, Beethoven's Ninth Symphony - March 7, 1836, Berlioz's Requiem - March 1, 1841, Haydn's oratorios "The Creation of the World" and "The Seasons", four masses by Cherubini, etc.
Choir concerts in the Capella Hall and even “trials” (general rehearsals) conducted by Bortnyansky have always attracted many listeners.
After Bortnyansky's death in 1826, Fyodor Petrovich Lvov headed the chapel. Under him, the traditions of the main Russian choir were firmly preserved.
In 1829, the Prussian King Friedrich Wilhelm III sent Captain of the 2nd Prussian Guards Regiment Paul Einbeck to St. Petersburg to get acquainted with the state of affairs in the Chapel. The king wanted to reorganize the regimental (Protestant) choirs and the choir of the Berlin Cathedral ("Domkhor") on the model of the St. Petersburg Chapel. Einbeck speaks in his reports about the state of affairs in the Chapel with great praise. According to Einbeck, the boys studied not only music, but also general education subjects, and, when they fell out of their voices, if they did not develop a good male voice, they entered either the civil service or the military service in an officer's rank.
According to Captain Einbeck, in 1829 the Chapel consisted of 90 people: 40 adults (18 tenors and 22 basses, including 7 octavists) and 50 boys - 25 trebles and altos each.
Einbeck names the following reasons for the high perfection of the choir: 1) all singers have exclusively good voices; 2) all voices are delivered according to the best Italian method; 3) both the whole ensemble and its solo parts are superbly learned; 4) as being in the public service specifically as church choristers, the choir of the Chapel forms one whole and does not depend on various accidents, and the singers do not devote their activities to extraneous matters.
After Fyodor Lvov, the leadership of the Capella passed to his son Alexei Fedorovich, a world-famous violinist, composer, author of the music for the anthem of the Russian Empire “God Save the Tsar!”, as well as an outstanding engineer of communications. Alexei Lvov, major general, privy councillor, close to the emperor and all royal family, became an excellent organizer of professional music education. He was manager of the Court Chapel from 1837 to 1861.
On January 1, 1837, at the initiative of the sovereign, Mikhail Ivanovich Glinka was appointed bandmaster of the Capella, who served in it for three years. The historic conversation between Emperor Nicholas I and Glinka took place on the evening of the successful premiere of A Life for the Tsar. In his Notes, the composer recalls: “On the same day, behind the scenes, the sovereign emperor, seeing me on stage, approached me and said:“ Glinka, I have a request for you and I hope that you will not refuse me. My choristers are known all over Europe and, therefore, are worthy of you to take care of them. I only ask that they not be Italians with you.
An outstanding connoisseur of vocal art, Glinka quickly achieved high results in the development of the Capella's performing skills. He was zealous in the selection and training of choristers. So, in the summer of 1838, Glinka made a trip to Ukraine and brought back 19 exceptionally gifted juvenile choristers and two basses. One of them was Semyon Stepanovich Gulak-Artemovsky , Opera singer, composer, dramatic artist, playwright, author of the first Ukrainian opera.
In 1846, under the Chapel, regency classes were opened to train leaders of church choirs. Since 1858, the work of orchestral classes was finally established in the Chapel.
This brought great practical results: young singers got the opportunity to extend their lives in music. At the age when the breaking of the voice occurs, the boys were expelled from the choir and transferred, depending on their natural abilities, to instrumental or regency classes. Some singers attended both classes at the same time.
Outstanding Russian musicians Gavriil Yakimovich Lomakin and Stepan Aleksandrovich Smirnov made their contribution to the improvement of the choir's performing skills.
A great contribution to the musical education of Russia was the 32-year activity of the Concert Society organized by Lvov in 1850 at the Court Chapel. Dmitry Stasov was the chief administrator of the society. The place of activity of the society was the concert hall of the Chapel, and the performers were its choir, which consisted of 70 singers, and the orchestra of the Imperial Opera. The soloists were the most prominent vocalists and instrumentalists. The Choir of the Capella, which performed at every concert of the society, was regarded by Vladimir Stasov as "a wonderful rarity of our fatherland, which has no analogues in Europe."
In 1861, Nikolai Ivanovich Bakhmetev, major general, took the post of manager of the Court Choir. famous composer and a musician, a great connoisseur of the traditions of Russian church singing.
On July 16, 1882, at the initiative of Alexander III, the temporary position and staff of the first Russian symphony orchestra- Court musical choir. This act completed the creation of one of the world's largest musical centers. The court singing chapel now included big choir, music school, instrumental classes, school theater arts(gentry corps), regency classes and, finally, the first symphony orchestra in Russia.
In 1883, Mily Alekseevich Balakirev was appointed manager of the Court Chapel, and Nikolai Andreevich Rimsky-Korsakov was appointed his assistant. The latter taught an orchestral class at a music school and did it so well that gradually the graduates of the school became the leading musicians of the orchestra. The joint work of Balakirev and Rimsky-Korsakov for 10 years is a whole era in the development of performing, educational and educational work in the Chapel.
Since 1884, studies at the Capella school began to take place according to the programs of the conservatory, with the issuance of a certificate of a free artist to graduates, confirming their higher musical education.
Under Balakirev, a major restructuring of all the buildings of the Chapel was carried out according to the project of Leonty Nikolaevich Benois.
TO late XIX century, the Imperial Court Singing Chapel has developed as a unique, unparalleled in the world, creative, performing and educational musical center, where the process of training and education of young musicians was organically combined with concert and performance activities. It was here that the best personnel in Russia were born in all musical specialties.
The 20th century was the most difficult test for Russia and Russian culture. After October revolution In 1917, the structure of the Chapel was destroyed: the regency classes and the gentry corps were annulled, where the boys, "sleeping from the voice", were taught theatrical skills. Subsequently, a symphony orchestra was withdrawn from the structure of the Capella, which became the basis of the first Soviet philharmonic society, and then a school (Choir School).
The former court choir and orchestra continued active concert activity. Most of the concerts were given at work, student and military club venues, as well as in their own hall. The repertoire included works by Glinka, Dargomyzhsky, Tchaikovsky, Mussorgsky, Rimsky-Korsakov, Lyadov, Rachmaninov, folk and revolutionary songs.
In 1918, the Capella was renamed the Petrograd Folk Choir Academy. In 1921, the Petrograd State Philharmonic Society was founded on the basis of the Court Choir and Orchestra. The former Court Orchestra is now known as the Honored Collective of Russia Academic Symphony Orchestra of the St. Petersburg Philharmonic.
Until 1920, the choir consisted of 30-35 men and 40-50 boys - pupils of the choir school. In the spring of 1920, the choir was reorganized: for the first time, it included a group of 20 female voices.
In 1922, the choir was separated into an independent organization and the entire educational and production complex, consisting of a choir, a choir technical school and a choir school, and was renamed the State Chapel. In October 1922, it was renamed the Academic Chapel.
In 1923, girls were admitted to the choir school at the Chapel for the first time. Since 1925, the Capella's choir has consisted of 30 men, 28 women, 40 boys and 30 girls.
In 1928, an organ of the firm was installed in the Chapel. E. F. Walker, previously located in the Dutch Reformed Church on Nevsky Prospekt.
The highest creative achievements of the Capella in the first half of the 20th century are largely associated with the names of Pallady Andreevich Bogdanov and Mikhail Georgievich Klimov.
Pallady Bogdanov is an outstanding musician and teacher, Balakirev's student, composer, People's Artist of the RSFSR. For a short time, Pallady Andreevich was the senior singing teacher (chief conductor) of the Court Singing Chapel. At the beginning of the Great Patriotic War, the choir school, headed by Bogdanov, was evacuated to the Kirov region. When returning from evacuation in 1943, the school was delayed in Moscow, and on its basis Alexander Sveshnikov created the Moscow Choral School. In 1944-1945. in as soon as possible Pallady Bogdanov restores the activities of the school within the walls of the Leningrad Chapel. For many years he led the school's boys' choir, bringing up a brilliant galaxy of musicians.
Mikhail Klimov is an outstanding conductor and teacher who made a tremendous contribution to the improvement of the first Russian choir, its preservation, development in new conditions and bringing it to the heights performing arts. Every year Klimov replenished the Capella's repertoire with fundamental works of world classics and formed new choral programs. Large cantata-oratorio works of Russian and Western European music were regularly performed in the concerts.
In 1928, the Capella, under the direction of Klimov, went on a big tour around the countries Western Europe: Latvia, Germany, Switzerland, Italy. The tour was an exceptional success. Subsequently, the famous conductor Dimitrios Mitropoulos called the Klimov Chapel "the eighth wonder of the world."
After Klimov's death in 1937, in the pre-war period, Nikolai Danilin and Alexander Sveshnikov, an outstanding choir specialist and talented organizer, led the Capella for a short time.
Great Patriotic War changed the nature of the activities of the Chapel. Some of the choir artists went to the front. The rest of the Capella and its choir school were evacuated to the Kirov region in 1941.
The chief conductor at this difficult time was Elizaveta Petrovna Kudryavtseva, an outstanding teacher, the first female conductor of a professional choir in Russia. Having rebuilt the repertoire, the Capella, consisting of 50-60 artists, gave concerts in military units, hospitals, factories and plants, in concert halls many cities. From September 1941 to July 1943 the Capella gave 545 concerts.
In the autumn of 1943, Georgy Alexandrovich Dmitrevsky, an outstanding master, one of the greatest Soviet choirmasters, was appointed artistic director of the Capella. He made a huge contribution to the development of the performing and educational activities of the Capella. His name is associated with the brilliant revival of the Chapel in the postwar years.
In November 1944 the Capella returned to Leningrad. The composition of the choir doubled from 60 people. By the end of 1945, the activities of the Chapel resumed almost to the pre-war level.
In the period from 1946 to 1953, the Capella first performed and resumed Taneyev's John of Damascus, Bach's Mass in B Minor, Verdi's Requiem, Haydn's The Four Seasons, Rimsky-Korsakov's From Homer, Mozart's Requiem, choirs from Wagner's operas, and many other works. There were premieres of a number of major works by Soviet composers.
In 1954, in connection with the 150th anniversary of the birth of M.I. Glinka The Academic Chapel and the Choir School were named after Mikhail Ivanovich Glinka.
For two decades, the Capella experienced a serious creative crisis. The frequent change of leaders, conductors, choirmasters, the instability of the singing staff, the lack of creative unity within the team adversely affected the sound of the choir. Work on new works has slowed down.
In 1974, the Capella was headed by her pupil Vladislav Chernushenko. Endowed with great talent, brilliant professional knowledge and organizational energy, he managed to return the oldest choir in Russia to its historical positions. Under his leadership, the world fame of the famous Russian choir is being revived.
The name of Vladislav Chernushenko is also associated with a return to concert life the country of a huge layer of Russian sacred music, which was banned for a long time. It was the choir of the Leningrad Chapel, conducted by Chernushenko, who in 1982, after a 54-year pause, performed Rachmaninov's All-Night Vigil. Spiritual works of Grechaninov, Bortnyansky, Tchaikovsky, Arkhangelsky, Chesnokov, Berezovsky, Vedel sounded again.
With the advent of Vladislav Chernushenko, the wide range of music performed, characteristic of the Capella, was gradually restored; an important place in the repertoire was occupied by compositions of large vocal and instrumental forms - oratorios, cantatas, requiems, masses. The Capella pays special attention to the music of contemporary composers, as well as rarely performed compositions.
On November 1, 1991, the Symphony Orchestra was recreated in the structure of the Chapel, which won the recognition and sympathy of the wide audience of the most different countries peace. Collaborate with the team outstanding conductors and performers of our time.
The Choir and Symphony Orchestra of the Capella toured extensively and with great success both in Russia and abroad. As in the old days, critics consider the Capella to be one of the best musical groups in the world.
- (see the Glinka Chapel). Saint Petersburg. Petrograd. Leningrad: Encyclopedic reference book. Moscow: Great Russian Encyclopedia. Ed. collegium: Belova L. N., Buldakov G. N., Degtyarev A. Ya. and others. 1992 ... St. Petersburg (encyclopedia)
Court Singing Chapel- Court Singing Chapel, see the Glinka Chapel ... Encyclopedic reference book "St. Petersburg"
See Leningrad Academic Chapel. M. I. Glinka ... Great Soviet Encyclopedia
See the Leningrad Academic Chapel... Music Encyclopedia
See St. Petersburg Academic Chapel… encyclopedic Dictionary
Court singing chapel- is a choir of singers in the palace churches of the Royal House. Scanty information does not allow us to establish in detail the beginning and the initial period of its existence. But it is established that the beginning of its Cap. adv. chanter takes from the sovereign's chorister clerks ... Complete Orthodox Theological Encyclopedic Dictionary
SINGING CAPELLA, COURT- See Chapel... Music dictionary Riemann
Chapel building in 2004 State Academic Chapel Saint Petersburg concert organization of St. Petersburg, including the oldest professional choir in Russia (founded in the 15th century) and a symphony orchestra and having its own ... ... Wikipedia
Capella building in 2004 The State Academic Chapel of St. Petersburg is a concert organization of St. Petersburg, including the oldest professional choir in Russia (founded in the 15th century) and a symphony orchestra and having its own ... ... Wikipedia
The State Academic Chapel of St. Petersburg is the oldest domestic professional musical institution, which determined the formation and development of the entire Russian professional musical culture through its activities. Here, for the first time in Russia, all the main directions of musical performance and musical education consistently arose.
The date of birth of the Chapel is considered to be August 12, 1479, when the Choir of Sovereign Singers deacons, founded by the Grand Duke of Moscow Ivan III, took part in the consecration service of the Assumption Cathedral, the first stone church of the Moscow Kremlin.
The singers were constantly with the sovereign and provided for the various needs of the court: participation in divine services, accompanying the sovereigns on pilgrimages, on guest visits and military campaigns, singing at solemn receptions and dinners, at the naming of the kingdom, on namesake days and christenings. In addition to music, the singers were taught literacy and sciences. Initially, only men sang in the choir, but from the middle of the 17th century. with the development of polyphonic singing, boys appeared in the choir.
Ivan the Terrible brought from Novgorod to Alexandrovskaya Sloboda two remarkable masters-singers - Fyodor Krestyanin and Ivan Nos, the founders of the first Russian singing school. The choir singers were also the creators of new musical works. Among the choristers there were well-known theorists, composers and regents of the 16th-17th centuries: Jan Kolenda, Nikolai Bavykin, Vasily Titov, Mikhail Sifov, Stefan Belyaev and others.
Growing up in the sovereign's family required a thorough knowledge of the church service, and therefore, to be literate in music and be able to sing in the choir. Ivan the Terrible, for example, not only sang, but also composed music. Two of his own works have survived - stichera in honor of Metropolitan Peter and the Vladimir Icon of the Mother of God.
In 1701, Peter I renamed the Choir of the Sovereign's Singing Deacons into the Court Choir. The singers constantly accompanied the sovereign on his trips and military campaigns. The court choir visited the banks of the Neva even before the founding of St. Petersburg and participated in a prayer service in honor of the victory of Peter's troops at Nyenschantz. And on May 16 (27), 1703, the sovereign's choristers took part in the celebrations on the occasion of the founding of the new capital (history has preserved for us the names of all 28 choristers). The entire subsequent biography of the choir is already connected with St. Petersburg.
Peter I spent a lot of time in the company of his singers, took care of their life, he himself monitored the timely replenishment of the creative staff, often performed the bass part in the choir. Evidence of this is numerous entries in the travel journal, decrees of the emperor, preserved musical choral parts, ruled by the hand of Peter. On September 21, 1738, by decree of Empress Anna Ioannovna, the first special school was opened in the Ukrainian city of Glukhov for the needs of the Court Choir. From January 10, 1740, by her own decree, training of juvenile singers to play orchestral instruments was introduced. Being the only artistically and organizationally established state choir, the Court Choir participated in all musical events held in the capital. Court singers were indispensable participants in solemn festivities, assemblies and masquerades. Since the 30s of the 18th century, the Court Choir has been involved in the performances of the Court Theater. The choir gave the opera stage many soloists who were widely known in the musical circles of their time. Among them are Maxim Sozontovich Berezovsky and Mark Fedorovich Poltoratsky, who adorned Italian and Russian opera performances with their participation. Dmitry Stepanovich Bortnyansky, while still a boy, performed solo in an opera by the Italian composer Francesco Arai.
The variety of activities of the choir required an increase in its composition, and by decree of Empress Elizabeth Petrovna of May 22, 1752, it was staffed with 48 adults and 52 minor singers. On October 15, 1763, the Court Choir was renamed by Catherine II into the Imperial Court Singing Chapel. Mark Poltoratsky became its first director.
During its activity, the Capella has become the most important source of musical education in Russia, a major professional school that has educated many generations of conductors, composers, singers and performers on orchestral instruments. Many years of life and work of outstanding musical figures - Glinka, Rimsky-Korsakov, Balakirev, Bortnyansky, Arensky, Lomakin, Varlamov and others - were associated with the Capella.
In the very first concerts of the St. Petersburg Musical Club, opened in 1772, the Choir Choirs and Orchestra performed cantatas and oratorios by Pergolese, Graun, Iomelli, and others.
For several decades, the management of the Chapel has been carried out by Italian maestros. These are Baltazar Galuppi, Bortnyansky's teacher (1765–1768); Tommaso Traetta (1768–1775); Giovanni Paisiello, who composed his famous Barber of Seville (1776-1784) for the Petersburg stage; Giuseppe Sarti (1784-1787). In the same years, Domenico Cimarosa worked in the Chapel. Outstanding composers of their time, they were wonderful mentors. With their support, young Russian musicians mastered the highest skills of the European musical school.
In 1796, Dmitry Stepanovich Bortnyansky became the director of the Chapel. Under him, the choir of the Imperial Chapel gains European fame. Dmitry Stepanovich focuses all his attention on improving the choir and composing works for it.
In 1808, at the initiative of Bortnyansky, a plot with two houses, a large garden and a courtyard between them was purchased for the Chapel. Here and now are the buildings of the Chapel. Thanks to the neighborhood with the Singing Chapel, the Singing Bridge got its name.
Since the establishment in 1802 of the St. Petersburg Philharmonic Society, the Capella has participated in all of its concerts. Thanks to the performances of the Capella, the capital got acquainted with the outstanding creations of classical music for the first time. The first performance in Russia of Mozart's Requiem by the Chapel with a symphony orchestra took place on March 23, 1805, Beethoven's Missasolemnis on March 26, 1824 (world premiere); Masses in C major by Beethoven - March 25, 1833, Beethoven's Ninth Symphony - March 7, 1836, Berlioz's Requiem - March 1, 1841, Haydn's oratorios "Creation of the World" and "The Seasons", Cherubini's four masses, etc.
Choir concerts in the Capella Hall and even "trials" (general rehearsals) conducted by Bortnyansky always attracted many listeners. After the death of Bortnyansky, the Choir was headed by Fyodor Petrovich Lvov in 1826. Under him, the traditions of the main Russian choir were firmly preserved.
In 1829, the Prussian King Friedrich Wilhelm III sent Captain of the 2nd Prussian Guards Regiment Paul Einbeck to St. Petersburg to get acquainted with the state of affairs in the Chapel. The king wanted to reorganize the regimental (Protestant) choirs and the choir of the Berlin Cathedral ("Domkhor") on the model of the St. Petersburg Chapel. Einbeck speaks in his reports about the state of affairs in the Chapel with great praise. According to Einbeck, the boys studied not only music, but also general education subjects, and, when they fell out of their voices, if they did not have a good male voice, they entered either the civil service or the military service in the officer rank. According to Captain Einbeck, In 1829, the chapel consisted of 90 people: 40 adults (18 tenors and 22 basses, including 7 octavists) and 50 boys - 25 trebles and altos each.
Einbeck names the following reasons for the high perfection of the choir: 1) all singers have exceptionally good voices; 2) all voices are delivered according to the best Italian method; 3) both the whole ensemble and its solo parts are superbly learned; 4) as being in the public service specifically as church choristers, the choir of the Chapel forms one whole and does not depend on various accidents, and the singers do not devote their activities to extraneous matters.
After Fyodor Lvov, the leadership of the Capella passed to his son Alexei Fedorovich, a world-famous violinist, composer, author of the music for the anthem of the Russian Empire “God Save the Tsar!”, as well as an outstanding engineer of communications. Alexei Lvov, major general, privy councillor, close to the emperor and the entire royal family, became an excellent organizer of professional musical education. He was manager of the Court Chapel from 1837 to 1861.
On January 1, 1837, at the initiative of the sovereign, Mikhail Ivanovich Glinka was appointed bandmaster of the Capella, who served in it for three years. The historic conversation between Emperor Nicholas I and Glinka took place on the evening of the successful premiere of A Life for the Tsar. In his Notes, the composer recalls: “On the same day, behind the scenes, the sovereign emperor, seeing me on stage, approached me and said:“ Glinka, I have a request for you and I hope that you will not refuse me. My choristers are known all over Europe and, therefore, are worth your attention. I only ask that they not be Italians with you.
An outstanding connoisseur of vocal art, Glinka quickly achieved high results in the development of the Capella's performing skills. He was zealous in the selection and training of choristers. So, in the summer of 1838, Glinka made a trip to Ukraine and brought back 19 exceptionally gifted juvenile choristers and two basses. One of them was Semyon Stepanovich Gulak-Artemovsky, an opera singer, composer, dramatic artist, playwright, author of the first Ukrainian opera.
In 1846, under the Chapel, regency classes were opened to train leaders of church choirs. Since 1858, the work of orchestral classes was finally established in the Chapel.
This brought great practical results: young singers got the opportunity to extend their lives in music. At the age when the breaking of the voice occurs, the boys were expelled from the choir and transferred, depending on their natural abilities, to instrumental or regency classes. Some singers attended both classes at the same time.
Outstanding Russian musicians Gavriil Yakimovich Lomakin and Stepan Aleksandrovich Smirnov made their contribution to the improvement of the choir's performing skills. Dmitry Stasov was the chief administrator of the society. The place of activity of the society was the concert hall of the Chapel, and the performers were its choir, which consisted of 70 singers, and the orchestra of the Imperial Opera. The soloists were the most prominent vocalists and instrumentalists. The Choir of the Capella, which performed at every concert of the society, was regarded by Vladimir Stasov as "a remarkable rarity of our fatherland, which has no analogues in Europe." an expert on the traditions of Russian church singing. On July 16, 1882, on the initiative of Alexander III, the temporary position and staff of the first Russian symphony orchestra, the Court Musical Choir, were approved. This act completed the creation of one of the world's largest musical centers. The court choir now included a large choir, a music school, instrumental classes, a theater arts school (gentry building), regency classes and, finally, the first symphony orchestra in Russia. In 1883, Mily Alekseevich Balakirev was appointed manager of the court choir and Nikolai Andreevich Rimsky-Korsakov was approved as his assistant. The latter taught an orchestral class at a music school and did it so well that gradually the graduates of the school became the leading musicians of the orchestra. The joint work of Balakirev and Rimsky-Korsakov for 10 years is a whole era in the development of performing, educational and educational work in the Capella. Since 1884, studies at the Capella school began to take place according to the programs of the conservatory with the issuance of a certificate of a free artist to graduates, confirming higher musical education.
Under Balakirev, a major restructuring of all the buildings of the Chapel was carried out according to the project of Leonty Nikolayevich Benois. By the end of the 19th century, the Imperial Court Singing Chapel had developed as a unique, unparalleled in the world, creative, performing and educational musical center, where the process of training and education of young musicians organically combined with concert and performing activities. It was here that the best personnel in Russia were born in all musical specialties.
The 20th century was the most difficult test for Russia and Russian culture. After the October Revolution of 1917, the structure of the Chapel was destroyed: the regency classes and the gentry corps were annulled, where the boys, "sleeping from the voice", were taught theatrical skills. Subsequently, a symphony orchestra was withdrawn from the structure of the Capella, which became the basis of the first Soviet philharmonic society, and then a school (Choir School).
The former court choir and orchestra continued active concert activity. Most of the concerts were given at work, student and military club venues, as well as in their own hall. The repertoire included works by Glinka, Dargomyzhsky, Tchaikovsky, Mussorgsky, Rimsky-Korsakov, Lyadov, Rachmaninov, folk and revolutionary songs.
In 1918, the Capella was renamed the Petrograd Folk Choir Academy. In 1921, the Petrograd State Philharmonic Society was founded on the basis of the Court Choir and Orchestra. The former Court Orchestra is now known as the Honored Collective of Russia Academic Symphony Orchestra of the St. Petersburg Philharmonic.
In the spring of 1920, the choir was reorganized: for the first time, a group of 20 female voices was included in it.
In 1922, the choir was separated into an independent organization and the entire educational and production complex, consisting of a choir, a choir technical school and a choir school, and was renamed the State Chapel. In October 1922, it was renamed the Academic Chapel.
In 1923, girls were admitted to the choir school at the Chapel for the first time. Since 1925, the Capella's choir has consisted of 30 men, 28 women, 40 boys and 30 girls.
In 1928, an EFWalcker organ was installed in the Chapel, previously located in the Dutch Reformed Church on Nevsky Prospekt. , student of Balakirev, composer, People's Artist of the RSFSR. For a short time, Pallady Andreevich was the senior singing teacher (chief conductor) of the Court Singing Chapel. At the beginning of the Great Patriotic War, the choir school, headed by Bogdanov, was evacuated to the Kirov region. When returning from evacuation in 1943, the school was delayed in Moscow, and on its basis Alexander Sveshnikov created the Moscow Choral School. In 1944–1945 in the shortest possible time, Pallady Bogdanov restores the activities of the school within the walls of the Leningrad Chapel. For many years he led the school's boys' choir, bringing up a brilliant galaxy of musicians.
Mikhail Klimov is an outstanding conductor and teacher who made a colossal contribution to the improvement of the first Russian choir, its preservation, development in new conditions and bringing it to the heights of the performing arts. Every year Klimov replenished the Capella's repertoire with fundamental works of world classics and formed new choral programs. Large cantata-oratorio works of Russian and Western European music were regularly performed at the concerts. In 1928, the Capella, under the direction of Klimov, went on a big tour of Western Europe: Latvia, Germany, Switzerland, Italy. The tour was an exceptional success. Subsequently, the famous conductor Dimitrios Mitropoulos called the Klimov Chapel "the eighth wonder of the world." After Klimov's death in 1937, in the pre-war period, Nikolai Danilin and Alexander Sveshnikov, an outstanding choir specialist and talented organizer, led the Capella for a short time. The Great Patriotic War changed the nature of the Capella's activities. Some of the choir artists went to the front. The rest of the Capella and its choir school were evacuated to the Kirov region in 1941. The chief conductor at that difficult time was Elizaveta Petrovna Kudryavtseva, an outstanding teacher, the first female conductor of a professional choir in Russia. Having rebuilt the repertoire, the Capella, consisting of 50-60 artists, gave concerts in military units, hospitals, factories and factories, in concert halls in many cities. From September 1941 to July 1943 the Capella gave 545 concerts.
In the autumn of 1943, Georgy Alexandrovich Dmitrevsky, an outstanding master, one of the greatest Soviet choirmasters, was appointed artistic director of the Capella. He made a huge contribution to the development of the performing and educational activities of the Capella. His name is associated with the brilliant revival of the Chapel in the postwar years.
In November 1944 the Capella returned to Leningrad. The composition of the choir doubled from 60 people. By the end of 1945, the activities of the Chapel resumed almost to the pre-war level.
In the period from 1946 to 1953, the Capella first performed and resumed Taneyev's John of Damascus, Bach's Mass in B Minor, Verdi's Requiem, Haydn's The Four Seasons, Rimsky-Korsakov's From Homer, Mozart's Requiem, choirs from Wagner's operas, and many other works. There were premieres of a number of major works by Soviet composers.
In 1954, in connection with the 150th anniversary of the birth of M.I. Glinka The Academic Chapel and the Choir School were named after Mikhail Ivanovich Glinka.
For two decades, the Capella experienced a serious creative crisis. The frequent change of leaders, conductors, choirmasters, the instability of the singing staff, the lack of creative unity within the team adversely affected the sound of the choir. Work on new works slowed down. In 1974, the Capella was headed by her pupil Vladislav Chernushenko. Endowed with great talent, brilliant professional knowledge and organizational energy, he managed to return the oldest choir in Russia to its historical positions. Under his leadership, the world fame of the famous Russian choir is being revived. The name of Vladislav Chernushenko is also associated with the return to the concert life of the country of a huge layer of Russian sacred music, which was banned for a long time. It was the choir of the Leningrad Chapel, conducted by Chernushenko, who in 1982, after a 54-year pause, performed Rachmaninov's All-Night Vigil. Spiritual works by Grechaninov, Bortnyansky, Tchaikovsky, Arkhangelsky, Chesnokov, Berezovsky, Vedel sounded again. With the advent of Vladislav Chernushenko, the wide range of music performed, characteristic of the Capella, was gradually restored; an important place in the repertoire was occupied by compositions of large vocal and instrumental forms - oratorios, cantatas, requiems, masses. The Capella pays special attention to the music of contemporary composers, as well as rarely performed compositions.
On November 1, 1991, the Symphony Orchestra was recreated in the structure of the Capella, which won the recognition and sympathy of a wide audience of listeners from all over the world. Outstanding conductors and performers of our time collaborate with the ensemble. The choir and the Capella Symphony Orchestra tour a lot and with great success both in Russia and abroad. As in the old days, critics consider the Capella to be one of the best musical groups in the world.
Singing Chapel of St. Petersburg traces its history back to 1479, when, by decree of Grand Duke Ivan III, the Choir of the Sovereign's Singing Deacons was established in Moscow, which became the first professional choir in Russia and the cradle of Russian choral art. In 1701, the choir was renamed the Court Choir, and on May 16 (27), 1703, it took part in the celebrations on the occasion of the founding of St. Petersburg by Peter the Great. In 1763, by decree of Catherine II, the Court Choir was renamed into the Imperial Court Singing Chapel.
At various times, the main choir of Russia worked on improving the professional skills outstanding musicians, composers and teachers: M.I. Glinka, M.A. Balakirev, N.A. Rimsky-Korsakov, D.S. Bortnyansky, M.F. Poltoratsky, A.F. Lvov, A.S. Arensky, G.Ya. Lomakin, M.G. Klimov, P.A. Bogdanov, G.A. Dmitrevsky and others. Currently, the Capella is headed by People's Artist of the USSR Vladislav Chernushenko.
For several centuries now, the first Russian professional choir has never ceased to amaze and delight with its mastery. Robert Schumann wrote in his diary: "The chapel is the most beautiful choir that we have ever heard: the basses at times resemble the sounds of an organ, and the trebles sound magical...". Franz Liszt and Adolf Adam speak enthusiastically about the Court Choir. The impressions of Hector Berlioz are interesting: “It seems to me that the choir of the Capella<…>surpasses all existing of its kind in Europe. Compare the same choral performance Sistine Chapel in Rome with the performance of these miraculous choristers - it's like opposing an insignificant composition of barely squealing musicians of a third-rate Italian theater Orchestra of the Paris Conservatoire. V.V. Stasov wrote: “Where is there such a choir today as the choir of the Court Russian Chapel?... Only here we meet such skill...”.
Already in the 20th century, the Greek conductor Dimitrios Mitropoulos spoke enthusiastically about the art of the Choir Choir: “... Not only have I never heard anything like the performance of the Choir. But I never imagined that the choir could sing like that. The chapel is the eighth wonder of the world. “The concert of the Russian State Choir showed samples of choral art, standing at an unattainable height,” the Swiss press wrote in 1928 after the triumphal tour of the Capella Choir in Europe.
During its activity, the Capella had a huge impact on the development of Russian musical culture and was the most important source of musical education in Russia. On samples of her artistic performance the traditions of Russian singing art took shape. With its creative practice, the Capella contributed to the creation of new choral works and was a large professional school that trained numerous cadres of conductors and artists.
Initially, only men sang in the choir, but from the middle of the 17th century. The boys were in the choir. In 1738, by decree of Empress Anna Ioannovna, the first special school was opened in Glukhov for the needs of the Court Choir. In 1740, by her own decree, the training of juvenile singers to play orchestral instruments was introduced. In 1846, under the Chapel, regency classes were opened to train leaders of church choirs.
Being the only artistically and organizationally established state choir, the Court Choir participated in all musical events held in the capital. Court singers were indispensable participants in solemn festivities, assemblies and masquerades. Since the 30s of the 18th century, the Court Choir has been involved in the performances of the Court Theater. The choir gave the opera stage many soloists who were widely known in the musical circles of their time.
In 1796, Dmitry Stepanovich Bortnyansky became the director of the Chapel. Under him, the choir of the Imperial Chapel gains European fame. Dmitry Stepanovich focuses all his attention on improving the choir and composing works for it.
Since the organization in 1802 of the St. Petersburg Philharmonic Society, the Capella has participated in all of its concerts. Thanks to the performances of the Chapel, the capital got acquainted for the first time with outstanding works of musical classics, such as Mozart's Requiem, Beethoven's Missa solemnis (world premiere), Beethoven's Mass in C major, Beethoven's Ninth Symphony, Berlioz's Requiem, Haydn's oratorios The Creation of the World and The Seasons, etc. .
From 1837 to 1861, the manager of the Court Chapel was Alexei Fedorovich Lvov, the author of the music for the anthem “God Save the Tsar!”, a world-famous violinist, composer, and also an outstanding engineer of communications. Alexei Lvov, major general, privy councillor, close to the royal family, became an excellent organizer of professional music education.
On January 1, 1837, at the initiative of the sovereign, Mikhail Ivanovich Glinka was appointed bandmaster of the Capella, who served in it for three years. An outstanding connoisseur of vocal art, Glinka quickly achieved high results in the development of the Capella's performing skills.
In 1850, Lvov organized the Concert Society at the Court Chapel, which played a huge role in music education Russia. The place of activity of the Society was the concert hall of the Chapel, and the performers were its choir, which consisted of 70 singers, and the orchestra of the Imperial Opera.
In 1882, after the founding of the first Russian symphony orchestra - the Court Musical Choir - the formation of the structure of the Court Choir as one of the world's largest musical centers was completed. The chapel included a choir, a symphony orchestra, a music school, instrumental classes, regency classes and a school of theatrical arts (the gentry corps).
In 1883, Mily Alekseevich Balakirev was appointed manager of the Court Chapel, and Nikolai Andreevich Rimsky-Korsakov was appointed his assistant. The joint work of Balakirev and Rimsky-Korsakov for 10 years is a whole era in the development of performing, educational and educational work in the Chapel.
After the October Revolution of 1917, the regency classes and the gentry corps were annulled, and subsequently the symphony orchestra and the school (Choir School) were removed from the structure of the Capella. The choir continued active concert activity. Significant changes have taken place in the choir's repertoire. Programs of numerous performances of the Capella 1917-1920. included works by Arensky, Balakirev, Cui, Lyadov, Rimsky-Korsakov, Taneyev, Tchaikovsky, Scriabin, Glazunov. In addition, the choir's repertoire included the best examples of world classics: Mozart's Requiem, Handel's Samson, Schumann's Paradise and Peri, Beethoven's Ninth Symphony and Mass, choirs a cappella Schubert and Mendelssohn and others. Russian folk and revolutionary songs were widely represented in the Capella's repertoire.
In 1921, the Petrograd State Philharmonic Society was founded on the basis of the Court Choir and Orchestra. In 1922, the choir was separated into an independent organization, and the entire educational and production complex, consisting of the choir, the choir technical school and the choir school, was renamed the State Chapel, and then the Academic Chapel.
In 1920, for the first time, a group of 20 female voices was included in the choir of the Capella, and in 1923, girls were admitted to the choir school at the Capella for the first time.
The highest creative achievements of the Capella in the first half of the 20th century are largely associated with the names of outstanding choirmasters and teachers - Mikhail Klimov and Pallady Bogdanov. In 1928, the Capella, under the direction of Klimov, went on a big tour of the countries of Western Europe: Latvia, Germany, Switzerland, Italy. The tour of the choir was an exceptional success.
The Great Patriotic War changed the nature of the Capella's activities. Some of the choir artists went to the front, the rest of the Capella and its choir school were evacuated to the Kirov region. Under the direction of the chief conductor Elizaveta Kudryavtseva, the Capella gave 545 concerts in military units, hospitals, factories and factories, in concert halls in many cities.
In 1943 Georgy Dmitrevsky, one of the greatest Soviet choirmasters, was appointed artistic director of the Capella. His name is associated with the brilliant revival of the Chapel in the postwar years.
The last decades have been marked by a new upsurge in the performing and concert life of the Singing Chapel. In 1974, Vladislav Chernushenko became artistic director and chief conductor of the Capella. Since that time, the revival of the historical traditions of the oldest choir in Russia begins.
The choir carefully preserves and restores the "golden fund" of its classical repertoire. Vladislav Chernushenko and the Singing Chapel brought back to life the most valuable layer national culture- creations of Russian sacred music. In 1982, for the first time, after a break of more than half a century, Rachmaninov's Vigil was performed. Spiritual works of Grechaninov, Bortnyansky, Arkhangelsky, Tchaikovsky, Rimsky-Korsakov, Chesnokov, Berezovsky, Vedel sounded again. The beauty and richness of Russian singing culture is demonstrated by partes concerts of the 17th-18th centuries, cants of the Petrine era, choral arrangements of the Russian folk song. An important place in the Capella's repertoire is occupied by works by contemporary composers.
Throughout its centuries-old history, the Singing Chapel has been an ensemble, with equal skill, performing both works for the choir a cappella, and large oratorio-cantata compositions with orchestra accompaniment. It is this broad range that defines today creative face Singing chapel. With the re-establishment of the symphony orchestra in the Chapel in 1991, major vocal and symphonic works such as Mozart's Requiem and Grand Mass began to sound regularly from the Chapel's stage, Magnificat and Bach's Mass in B minor, Beethoven's Ninth Symphony and Mass in C major, Verdi's Requiem, Taneyev's cantatas John of Damascus, Orff's Carmina Burana and many other works.
Working on improving the vocal skills of the choir, artistic director Capella Vladislav Chernushenko attaches great importance to the direction of the performed works, the compositional completeness of their stage embodiment. Thanks to this, each concert number turns into the brightest artistic canvas in terms of psychological depth and figurative expression.
The Singing Chapel leads an active concert life. The choir's performances in many cities of Russia, neighboring countries, Germany, France, Ireland, Spain, Greece, Slovenia, Serbia, Austria, Korea, and the USA were highly appreciated by the audience and the press. Enthusiastic responses are accompanied by the performances of the choir on international festivals. In November 2001, at the invitation of His Holiness Patriarch Alexy II of Moscow and All Russia, the St. Petersburg Singing Chapel took part in the largest international action - charity concert"Sanctuaries of Russia", which gathered under the arches Bolshoi Theater the best creative powers.
Foreign media during the tour of the Choir of the Capella invariably publish reviews in enthusiastic tones, determining its place among the best singing ensembles in the world.
The Singing Chapel of St. Petersburg, preserved during the years of great trials, confirmed the glory of Russian singing art. Chapel led by People's Artist the USSR Vladislav Chernushenko throughout for long years is a real keeper of the traditions of Russian music and a majestic monument of Russian culture.