Statsenko Boris biography

He has long become a welcome guest of our city. In the year, the singer received a press prize as the best performer of the festival. Why the career of the promising Komsomol activist Boris Statsenko was interrupted, was born in the town of Korkino, thirty -five kilometers from Chelyabinsk. In the year, a large deposit of coal was opened near it, after which the former village received the status of the first working village, and then the city.

In many photographs of the opened Korkinsky section, you can notice smoke from coal burning. At the same time, very toxic gas was released into the atmosphere. Therefore, in February, the Statsenko family moved to the village of Bagaryak, the Chelyabinsk region. Boris was fourteen then. In a new place there was a club, it has a piano, guitars, brass instruments. Boris attended the game on them, and in the incomplete sixteen years he had already led the vocal and instrumental ensemble "White Rook".

And he even went to the neighboring Shaburovo to work with the team at the House of Culture, which was told by the local newspaper under the heading “Cultural Life of the village”. After the army, he was active in the district committee of the Komsomol. In the year, he took place in Chelyabinsk advanced training courses of Komsomol workers.

Listeners of the courses lived near the opera theater, where they then gave the “Seville Barber” Rossini. Boris went to the performance - and the theater made such a strong impression on him that he quit from all his work and entered the music school. This is how the career of a promising Komsomol activist ended overnight. Years later at creative meetings, Boris Alexandrovich spoke to beginner vocalists: if there is even a little doubt about the choice of the path, you must immediately close the topic of singing and devote yourself to something else.

The profession of a singer is like a microbe, he hit - that's it! You can’t think of another for yourself, all life is subordinated only to singing. If you walk from its hostel to the educational building, then the Mayakovsky Academic Theater will be closest along the way. Boris simply adored Mayakovka, reviewed everything that was there. And he constantly went to other theaters on a student ticket.

He looked at how the actors lead dialogs, tried to understand why some you believe at once, and others did not. Since the third year, he began to sing in the troupe of the Chamber Theater under the leadership of Boris Pokrovsky. He was busy in the opele of the Handel of Gimena, she was immediately ordered for execution abroad. In the opera of Mozart, Don Juan performed the title party.

The theater of Pokrovsky acted in the semi -basement of the building of the former cinema. This is where the real school of acting! Boris Alexandrovich Pokrovsky is a famous operator, a man who selflessly loved music, patiently worked with performers, explained, convinced! Yes, but it is necessary! He turned towards the girls: - No actor will become Don Zhuan if you do not play for the public!

Your eyes that look at him should tell: who is this hero? After all, communication with him is poison, it leads to death. And you still want him to pay attention to you. And this is not the hero of the hero, but your scene. If the aria fails, you will be to blame for this! And Boris took note of the director’s words: he bought himself a mandolin and a quiet sapa, saying anything to anyone, learned to play her.

And when he sang on rehearsals, accompanying himself on Mandolin, Pokrovsky, of course, appreciated this. He just hinted - and the young singer took and did! Shortly before the premiere of Don Zhuan, Boris wanted to try strength in the Glinka International Vocalist Competition, which was supposed to be held in Baku. The next morning, having rehearsed, Boris flew by plane into Baku, plunged the program - and vice versa.

In the evening, he called a concertmaster from the capital of Azerbaijan: he went to the second round! And again, Baku ... On the third round, only 0.17 points were not enough before the victory - the tension affected, the flights there and back. He was awarded the jury prize for artistry. In March, Boris decided to participate in the international competition named after Maria Callas in Athens.

There were no draws on the first round, they sang on the list, Boris was one of the first. He was not at all worried, but when he went to the second round, he listened to his opponents - he was very worried: all the baritones, everyone sings well. But Boris recalled the words of his teacher Pokrovsky: “The excitement on the stage must be conveyed by the excitement of his hero! On the second round there was such an episode: usually the audience was allowed to greet the contestant with applause only after the completion of the program.

And then in the middle of the performance, the singer performed the monologue of Shchelkalov from the opera of the Mussorgsky Boris Godunov. And suddenly in the hall there was an exclamation: Bravo! And the audience exploded with applause ... The final decision on the last competitive day was waiting for a long time, until one in the morning. And then, finally, they announced the result: the jury decided not to award the first award to the male voices, the second went to the baritone from South Korea, and the third was handed to Boris!

He bought a small tape recorder for his prize, which was simply necessary in work: to learn a musical fragment, write himself down, listen - and again for a grinding of execution.The next year brought another victory: second place at the Tchaikovsky International Competition in Moscow. There are no light opera parties, the opera singer is unprotected without perfect ownership of the voice.

But it will not take place without possession of dramatic art, there are other components of success. The operator of the opera performance must decide the plot in general, but there are many details that the contractor himself can and should be finalized. In Verdi’s opera “Othello” in the second act there is an extremely important Iago monologue, his credo, he talks about the mortality of earthly existence: “You are alive and imagine yourself to the crown of creativity.” And there?

Instead of an answer in the orchestra in a very low register, a sound vibration goes very quietly: - The oblivion of death! .. And suddenly at that moment a small cloud occurs around the ouago ... A variety of thoughts come to my head: in the orchestra party you can hear how they are rolled one after another, and the hero rushes along the stage at that time, on the move of the phrase.

At the same pace, a white smoke moves behind him ... Very impressive! But how does this white cloud arise? Ordinary powder! This was invented by the singer himself. Last year, Boris Alexandrovich began with the premiere of the opera Verdi Rigoletto in Chelyabinsk, his second hometown. The premiere assumes a long rehearsal period during which the singer also held a master class in the Italian language, gave interviews, prepared a young singer for the role of a jester for the future life of the performance in the season.

Boris Alexandrovich talked a lot with the youth group, discussing the difficulties of this profession: “Understand,” he said, “there are no light opera parties, even the smallest party is difficult, because it must be joined in time!” After the premiere in Chelyabinsk on February 2 the next day, Boris Alexandrovich was already participating in the gala concert of the Epiphany festival at the Novaya Opera of the Kolobov Moscow Theater.

The Kazan tour was to be fulfilled during the week at once by three diverse parties in Verdi operates: AIDA AMONASRO, Nabukko in the opera of the same name and Georges Zhermon “Traviata”. Having renounced his, Boris went to listen to another the next day. Then there were two premieres, and also after his artist listened the second. This creative interest has been preserved in the singer since student times.

And he goes to listen with pleasure: another directing, another atmosphere! Abroad, he also attends performances for the same reason. Nowadays, it is customary to sing operas in the original language in all leading opera theaters. In German, Zingshpili Mozart’s comic operas, the stage epics of Wagner are sung. Creations of Bizet, Guno and other French composers are in French.

And the lion's share is in Italian. In the execution of parties and communicating with colleagues, there are no problems with the translation for the singer: Boris Alexandrovich speaks four languages. And here is another impressive figure: in the repertoire of Statsenko ninety -seven repertoire parties! If in the year the opera with the participation of Boris Statsenko, the Chaliapinsky festival opened, then last year, on the contrary, ended with a triad of the opera Verdi in which he sang.

After Aida, when everyone congratulated each other behind the scenes, Boris Alexandrovich Amonasro and Maria Easter, his daughter Aida were with a very dark make -up on his faces. It was unusual to see such a dark maestro. In “Nabukko”, the grimes also tried to fame: the entire lower part of the artist’s face was covered in black to give the effect of the beard of the Assyrian king.

In the “Travate”, Boris Alexandrovich did not have exotic makeup, so after the performance he quickly changed clothes and left the Grimernaya in a road suit: he was in a hurry to the airport for a night flight to Dusseldorf. Boris Alexandrovich’s stay in Kazan flew very quickly in performances, rehearsals, and again in performances. The artist cordially said goodbye to everyone, took a picture for memory, gave autographs in the end and invited all those present to the performance of Verdi’s opera Rigoletto with him in the title party, which was planned to be held in Kazan at the beginning of summer.

Between them were two trips to Moscow to the New Opera. And then, finally, Kazan again: "Rigoletto"! The opera begins with the scene of universal fun at the Ball of the Duke of Mantuansky. Suddenly, in the midst of a feast, the elder Monterone bursts into the palace. He calls the duke to answer for the scolded honor of his daughter. Everyone showers it with ridicule, including Rigoletto.

Monterone curses him. This gloomy nature of the curse of Monterone cements the whole drama of the opera, starting from the very first minutes, returning in the middle and then at the very end. The orchestra entry to the opera is very small in volume, and usually it is played with a closed curtain. And then the curtain opens, and in front of the audience - fun in the palace.