P.Tchaikovsky / Invocation To Sleep Op. 27 No. 1 ( N.Krasnaya / V.Fedorovtsev)

P.Tchaikovsky
Invocation To Sleep Op. 27 No. 1
Words by N. Ogarev

People’s artist of Russia - Nadezhda Krasnaya ( soprano )

Vadim Fedorovtsev ( piano )

Nadezhda Krasnaya is laureate of Moscow prize 2002 year for rendition of 106 romances by P. Tchaikovsky

Listen and buy albums by Nadezhda Krasnaya :

Nadezhda Krasnaya, People’s artist of Russia, first appeared in 1970, when being a student of Izmailova at the
Moscow Conservatoire, she became a winner of the IV International Tchaikovsky Competition. In 1972 N. Krasnaya
won Grand Prix at the International Vocalists Competition in Toulouse. In 1972 — 1976 she was a probationer at
the Bolshoi Theatre where she performed such parts as of Tatiana in P. Tchaikovsky’s «Eugene Onegin», Marguerite
in Gounod’s «Faust», Francesca in Rachmaninov’s «Francesca da Rimini». N. Krasnaya won recognition both from
the public and critics in Bratislava in 1974. when she performed Tatiana in «Eugene Onegin». Since 1977 the singer
has been concertizing. She performs solo parts in many symphonies and oratorios, such as L. van Beethoven’s 9th
Symphony, G. Mahler’s 2nd and 4th Symphonies, J.S. Bach’s Mass in В minor, Requiems by Mozart, Verdi, Brahms;
Shaporin’s «On the Kulikovo Field», Boiko’s «Vasili Terkin», Rachmaninov’s «Bells», «Stabat Mater» by Dvorak and
Rossini. The singer’s chamber repertoire is extremely rich (25 concert programmes) including music of various
styles and ages.
In 1983 N. Krasnaya’s performing art was continued and developed by creative cooperation with the pianist V.
Fedorovtsev, enlightened musician and excellent ensemble player.
The singer’s possibilities are boundless. Pier singular soprano is equally warm and beautiful in all registers.
She possesses both wonderful cantilena and coloratura. Her performing art is distinguished by clear mudulating,
versatile tone-colours and dynamic variety. In particular, she is a master of marvelous pianissimo and at the same
time her sound though tender is always supported; her fortissimo is never forced or shrilled. N. Krasnaya’s mastership
is impressive and vivid. Her instrumental manner is typical of the 17th — 18th centuries’ music and she has rare for
opera singer gift of performing chamber music.
N. Krasnaya and V. Fedorovtsev were the first interpreters who realized and restored the entity of romances
opuses by P. TChaikovsky. It has turned out that mary romances were more impressive when performed not as a
separate piece but as cycle parts.
N. Krasnaya and V. Fedorovtsev’s deep understanding of Tchaikovsky’s work includes researches as well. It’s
concerned textology: studying manuscripts kept in Tchaikovsky’s House-Museum in Klin, which helped the musicians
to avoid mistakes in music which are found in all publications.
N. Krasnaya and V. Fedorovtsev’s performance of all Tchaikovsky’s romances in succession gives to the listeners
the better idea of the great composer’s heritage.