Rus Articles Journal

Sasha Davydov - “The king of the Russian romances“ of

Sasha Davydov showed high art of the word in amateurish area of the Gipsy singing and... set us thinking on that secret of the recitation... expressiveness which was to it izves ten

the Singer of grief laughed most loudly.

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B the 200 - summer anniversary Alexander Pushkin eclipsed all and all. And therefore other heroes of the anniversary remained in the shadow. Meanwhile, at the same time 150 years were executed to other Alexander - to Sasha Davydov - the favourite of Moscow, “the king of operetta tenors“ and the brilliant performer of “cruel“ romances.

In Russia there were three actors of Davydov and all artificial. Vladimir Nikolaevich played in drama plays and actually Gorelov carried a surname, Alexander Mikhaylovich sang in the opera and since the birth it appeared Levenson. Alexander Davydovich, he is Sasha Davydov, came from the Armenian sort and according to documents was registered as Karapetyan (Arsen Davydovich). Why the surname of the famous hero of 1812 guerrilla Denis Davydov so pleased theatrical brotherhood, it is difficult to answer, but anyway, all of them became Davydov. And in the history the constant confusion who began there is who.

Sasha Davydov was an operetta actor of “the first appeal“. In 1877 in Moscow, on Presnya, in the Botanical office of the Zoo called Family there was an event: the first operetta theater with original singers - soloists, the qualified chorus and an orchestra opened. The famous impresario, the director, the actor and the theatrical figure Mikhail Lentovsky, the pupil M. Shchepkina headed it. To the operetta it had a special addiction. As wrote newspapers, it “the operetta was witty without platitude, juicy without pornography, graceful and cheerful“. In troupe the singers who had not only the good vocal skills but capable by means of a voice to open feelings and experiences were accepted. In this sense Sasha Davydov became the ideal actor for Lentovsky. Though its game on a scene had the mass of shortcomings and without music it was frankly weak, but singing bewitched and fascinated.

To vigorous time - cheerful songs. Among cheerful singers Sasha Davydov was the most cheerful. He sang in Moscow, in St. Petersburg with the constant partner Vera Zorina. “Who wants to live the century happily and not to know grief any, let on everything laughs and laughs loudly, and all life lives, having waved a hand...“. It was invariable zavsegday “skits“ which were held at one of the best comedians of the Russian scene Konstantin Varlamov. Everywhere Davydov`s laughter was heard. He which is perfectly dressed could be met everywhere where have fun.

However it was necessary for destiny that Sasha Davydov was remembered for ages not by the fun, and the fact that caused in the audience of a tear - performance of sad and “cruel“ romances. The original glory came to it after a role of the Gipsy Antipas in the musical operetta - a mosaic “The Gipsy romances in persons“. Davydov in the majority executed romances on verses of the talented poet A. Apukhtin, and “Couple bay“ on S. Donaurov`s words in Apukhtin`s translation made his name the most popular across all Russia.

Here is how it is bright and zrimo Vlas Doroshevich describes a premiere of a performance: “It was cheerful, smart, crowded. Antip, Stesha repeated endlessly. Davydov sang “Cry“ also “Nochenka“. And here it approached a stage. The person became strict, solemn. “Couple bay, harnessed by a dawn...“ First performance of the new romance. And from the second, third verse the hall ceased to breathe. The actress E. Gildebrandt swayed. It was taken away from a scene. Raisova - Stesha - bent to a table and began to cry. Beautiful choristers wiped tears. In the hall a sobbing was distributed. Sobbings expanded. Someone was taken out unconscious. In a bed the opera actress Tilda, from the French opera of Gintsburga which was going on tour then in “Hermitage“ sat. On cheeks at it large tears flew. She did not understand words. But understood tears which the actor sang. Being in theater the French writer Armand Sylvester staying in Moscow, the easy, pleasant writer, the fat, cheerful bourgeois, in an interval made a helpless gesture: “amazing country! Unclear country! At them cry in an operetta“. Davydov finished itself, with the face which is filled in with tears“.

After that Sasha Davydov began to act independently with concerts, executing romances, and also the Russian and Gipsy songs. Entered into repertoire “Growing poor“, “Cry, do not conceal sobbing“, “I do not love it“, “Let I suffer“. At the same time he created the special “davydovsky“ genre which was more similar to a melodeclamation, than to rollicking Gipsy execution. He sang

about disorder of life, about sufferings from unsuccessful love though in destiny there was everything on the contrary. He literally enjoyed glory, and thanks to a bewitching voice and attractive appearance of the woman he was idolized. If Vera Zorina with whom they constantly acted together with romance repertoire was called by “presnensky Patti“ by name by the Italian opera actress Adelina Patti, then Sasha Davydov was compared to other remarkable opera singer, too from Italy, Angelo Masini, the recognized “king of opera tenors“.

Last time Sasha Davydov stepped on the stage in 1906, then wrote down several romances on phonograph records. At the same time, as Vlas Doroshevich remembered, thanks to natural voice training “the second Masini“ “even in old age kept that pleasant sipottsa to which it was pleasant to listen nevertheless.“ And Konstantin Stanislavsky who for the first time heard the singer shortly before his death noted, as then Sasha Davydov, having executed several crown Gipsy romances, “all - forced us to shed tears. He showed high art of the word in amateurish area of the Gipsy singing and besides, set us thinking on that secret of the recitation, a pronunciation and expressiveness which was known to it, and to us - the actors of the drama having constantly business with the word - no!“.


“House of the Russian romance“ of

Zhanna Shanurova.

“Tribune“, 1999.