Golovanov biography

Golovanov The story of work on the production of the opera Khovanshchina. His father, Semyon Yakovlevich -, originally from the peasants of the Syzran district of the Simbirsk province, worked as a tailor at home. In the last years of his life, he was seriously ill, and the care of family maintenance fell on his mother’s shoulders, Elizabeth Timofeevna - in the year, parents determined Nikolai at the Synodal School of Church Singing.

Here Golovanov was lucky to catch S. Smolensky, an outstanding medical scientist and teacher. Among his mentors were such luminaries of spiritual music as V. Kalinnikov, A. Castalsky, P., in the formation of Golovanov-Dirier, is invaluable and the role of regents of the famous Synodal Choir-V. Orlov and N. It is wonderful that in all his further performing activities Golovanov was largely guided by the foundations that were laid down in the school.

Golovanov "Experience of Autobiography." At the end of the school, Golovanov was enrolled in his state as an assistant regent of the choir and teacher. Then the Grand Duchess Elizaveta Fedorovna invited an eighteen-year-old musician to the post of regent of the chorus of the Marfo-Mariinsky monastery of mercy. The musician combined intensive work in the choir and school with his studies at the Moscow Conservatory - in classes of the theory of music and composition.

His teachers were A. Ilyinsky and S. Subsequently, he gratefully recalled them, as well as S. Taneyev, to whom he showed his works, and M. Ippolitov-Ivanov, whose lessons went "by his own initiative." Golovanov’s thesis was the Opera Yurat Opera, appreciated by S. Vasilenko as “a thing of exceptional beauty and strength”. The Artistic Council of the Conservatory awarded Golovanov with a gold medal with his name on the marble board in the lobby of the small hall of the conservatory and a monetary prize in rubles.

It was also decided to perform the opera in the concert. Subsequently, in years with interruptions, he was a professor of the orchestra and opera classes of the Moscow Conservatory. In the year, Golovanov began to cooperate with the Bolshoi Theater during the summer concerts of the orchestra and soloists of the theater in the Sokolniki park. The young musician was invited to participate in these concerts as a conductor.

His debut was the “Tale of King Saltan” by Rimsky-Korsakov. The conducting gradually replaced the composer plans. Having entered the Bolshoi Theater for a while, in order to practically get acquainted with the specifics of the opera genre, he remained there, in fact, forever, although in his work there were three times in - - years, since May. In the second half of the 10s, the campaign of political persecution, the so -called “Golovanovshchina”, was unleashed against Nikolai Golovanov.

According to the opponents of the conductor, Golovanov sought to “transfer old, bourgeois customs and methods of work to the Soviet theater, was too“ conservative ”, refused to promote young artists, and supported the“ unjustly high ”sizes of the gonorars to leading musicians. The campaign received a great resonance in the media and even attracted the attention of I.

Articles in the press was a “revealing” character: “We need to open the windows and doors of the Bolshoi Theater, otherwise we will suffocate in the atmosphere of Golovanovschina. The theater should become our worker, not in words, but in practice. Without our control over production, there is no Soviet theater. We are reproached with the fact that we are conducting a campaign against one face.

But we know that if you need to destroy something, we should beat in the most sensitive place. Ruby’s head, and only then a disgusting phenomenon will be swept off the face of the earth. The measures taken had successful: in the year Golovanov was fired. In m, he was restored, again dismissed, in m - restored. Not the last role in the forced “resignations” was played by the demands of the conductor, sharpness of statements, hot, and explosive temperament, which did not know compromise.

The artist should always be a passionate prophet of his faith and a completely convinced artist. ” The first years of work in the Bolshoi Theater became the beginning of a long -term union - family and creative - Nikolai Golovanov and the outstanding singer Antonina Nerdanova. Golovanov was a pianist-actor of the artist for more than thirty years.

Golovanov was of great importance for Golovanov with the main artist of the theater F. The sweeping style and the inexhaustible fantasy of this master corresponded to the aspirations of Golovanov himself - his work in the Bolshoi Theater was connected almost exclusively with Russian classic operas. The culmination of his creative path - the last three productions - years: “Boris Godunov”, “Sadko” and “Khovanshchina”.

The tremendous influence on the activities of Golovanov was exerted by the ideas of Stanislavsky and personal communication with Konstantin Sergeyevich. In turn, the great director saw a like -minded person in the young musician. Stanislavsky invited Golovanov to lead the musical part of his opera studio. The conductor agreed and worked both in the studio and in the Musical Theater in - and - years created at its base.

The special page of Golovanov’s life is associated with the large symphonic orchestra of the All -Union Radio Committee.Nikolai Semenovich was one of the first conductors to speak with this team, and from a year until the end of his life he headed this orchestra. During the Great Patriotic War, when the orchestra was evacuated to the rear, the conductor created a new team from the remaining musicians in Moscow, and from November 5, direct broadcasts on the radio resumed.

The repertoire was not only popular works, but also not performed for many years, and premieres. At the beginning of the year, Golovanov revived in his editorial office “Year” by Tchaikovsky, who did not sound in Soviet times due to quoting in the final of the anthem “God, keep the king”. Golovanov replaced him with the melody of the choir “Glory! The numerous performances of the orchestra under the control of Golovanov during the war years played a huge role in strengthening the spirit of the people, his faith in victory.

It is no accident that among many awards of the conductor there are medals “For the Defense of Moscow” and “For Valiant Labor in the Great Patriotic War - Years”. Nikolai Golovanov died in Moscow on August 28. He was buried in the Novodevichy cemetery. Golovanov was awarded many honorary awards, including four Stalinist prizes of the first degree.