RUSSIAN TENOR NIKOLAI ROSTOVSKY (1873-1949) CDR

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NIKOLAI ROSTOVSKY (THE PROVINCE OF THE DON COSSACK HOST, RUSSIA, 25 MARCH, 1873 – ST. PETERSBURG, RUSSIA, 25 JULY, 1949)         Nokhim Frumson, known on stage by a different name, was a distinguished tenor born into a Jewish family. He began his musical education at the College of Music in Rostov, where…

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NIKOLAI ROSTOVSKY (THE PROVINCE OF THE DON COSSACK HOST, RUSSIA, 25 MARCH, 1873 – ST. PETERSBURG, RUSSIA, 25 JULY, 1949)

 

 

 

 

Nokhim Frumson, known on stage by a different name, was a distinguished tenor born into a Jewish family. He began his musical education at the College of Music in Rostov, where he studied under the renowned tenor Eugene Ryadnov (1853-1925). His early training led him to make his professional debut in 1902 as Eleazar in La Juive at the prestigious Mariinsky Theatre in St. Petersburg.

To further refine his vocal technique, Frumson studied in Paris with two prominent vocal coaches, Paul Lhérie and Giovanni Sbriglia. His dedication to his craft paid off, as he became a soloist at the Mariinsky Theatre, where he performed from 1902 to 1904 and again from 1911 to 1920.

Throughout his career, Frumson also sang at other major venues. During the 1904-1905 season, he appeared at the Opera in Kiev, followed by performances at the National House in St. Petersburg from 1907 to 1908 and at the Kazan Opera during the 1907-1909 seasons. His talent led to international guest appearances, including a performance at the Teatro San Carlo in Lisbon in 1909 and a probable engagement at Covent Garden in London around 1910.

Frumson’s repertoire was both vast and varied, showcasing his versatility as a tenor. He excelled in roles such as Hermann in Tchaikovsky’s The Queen of Spades, Almaviva in Rossini’s Il Barbiere di Siviglia, Raoul in Meyerbeer’s Les Huguenots, Eleazar in Halévy’s La Juive, Enzo in Ponchielli’s La Gioconda, the Duke in Verdi’s Rigoletto, and Don José in Bizet’s Carmen.

His performances were known for their emotional depth and technical precision, and he left a lasting impact on the Russian and international opera scenes.

 

Chronology of some appearances

 

1902-1904 St. Petersburg Mariinsky Theatre

1904-1905 Kiev Opera

1907-1908 St. Petersburg National House

1907-1909 Kazan Opera

1909 Lisbon Teatro San Carlo

1911-1920 St. Petersburg Mariinsky Theatre

 

TRACKLIST

 

 

  1. A Life for the Tzar (Glinka) Vasili Petrov and Maria Tsybuschenko Beka 45341
  2. Carmen (Bizet) Il fior Beka 45335
  3. Dubrovsky (Napravnik) O give me oblivion G&T 22599 439x 1901
  4. Eugene Onegin (Tchaikovsky) I love you, Olga G&T 22801 441x 1901
  5. Eugene Onegin (Tchaikovsky) Kuda, Kuda G&T 22802 442x 1901
  6. Faust (Gounod) Mais ce Dieu, que peut-il pour moi? with Vasili Petrov Beka 45339
  7. Faust (Gounod) Salut demeure chaste et pure Rebikoff and Co. 471
  8. Mignon (Thomas) Ah! non, credevi tu Berliner 22702 1749B 1901
  9. Night has come (Dlussky) Beka 45336
  10. Serenade of Don Juan (Tchaikovsky) Beka 45346
  11. Song of spring (Bleichmann) Berliner 22691 1745g 1901
  12. Sweet lilac´s smell, romance (Plotnikov) Beka 45332
  13. The evening’s golden clounds (Dargomyzhsky) with Maria Tsybuschenko Beka 45340
  14. The Queen of Spades (Tchaikovsky) What is our life Rebikoff and Co. 470
  15. Torna (When your sleep) Denza Beka 45338

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