Biography of Nikandra Hanaev

Khanaev was born on June 8, May 27 under Art. Mother - Natalia Filippovna Khanaeva, daughter of a retired ordinary soldier Philip Avdeevich Shchelkunov, - in a legitimate marriage, the wedding on September 28 [2] with Sergey Simonovich Semenovich Khanaev gave birth to six children - Grigory January 21 [3], Paraskeva on October 12 [4], Stephanes on October 24 [5], Pelagia on September 25, September 25, on September 25, on September 25, on September 25, on September 25, on September 25, on September 25, Feodosia May 21 [7], and Ivan January 13 [8].

And in the city of Shilkin [10]. He did not know his father, having lost his mother early, he was brought up in the family of the older brother of G. Khanayev, in which, according to the confession for the city of his childhood, Nikandr Sergeyevich recalled: “I grew up in terrible need, left to myself, from an early age, accustoming to heavy physical work and independence. After the death of my mother, I felt superfluous in the family of an older brother daily, where there was not always enough bread for everyone sitting at the table.

In order to earn the right to meager food, I helped my brother on the household, and went more to the forced work in the Pesochensky official estate for field work, receiving from 12 to 20 kopecks. I had to work from 6-7 in the morning to 7-9 o’clock in the evening, eating only black bread and water, and it was not added to it. He grew lonely, almost without loved ones, without feeling the related warmth and affection of the necessary for the child ”[12].

In a rural school, where N. Hanaev entered, they paid attention to his voice and natural musicality. Soon he was taken among the singing local church choir, and after a while he became a soloist there. Singing in the choir allowed him to get acquainted with a musical diploma and get the skills of owning a voice. Rural life did not promise any prospects, and Nikander Sergeevich dreamed of entering the city school.

He told his brother about his desire, but he was adamant: the family needed working hands and there was no question of the maintenance of a young man in the city. From the memoirs of N. Hanaev: “The stubborn obstacle of my older brother to my further education affected me so much that I firmly decided to flee from home to Moscow, since joint residence with my brother, a drunken booze, became completely unbearable.

To fulfill the plan, I had to accumulate and hide for a long time from all the pits and dumbbells made in the choir to live in an unfamiliar city until the work is found. Finally, the welcome day came in the year of life, taking one shift in linen and a piece of black bread, with a knapsack behind me, I went to the station. Shilovo, located 28 kilometers from the village of Pesochnya.

I had to get to Moscow in various ways. There was nowhere to live in Moscow and nothing. Sometimes he found a temporary refuge from acquaintances of fellow villagers who came there to work, but most often he spent the night at stations and street benches, he was hungry for a long time. After a long search, he settled in a Forethor in the horse park. Soon, the authorities drew attention to his beautiful and clear handwriting and Khanaev transferred to the office to the position of scribes.

Nikandr Sergeyevich understood the importance of education and, brutally saving on everything, began to take private lessons. External passed exams for six classes of the gymnasium. In G. survived all the hardships of those dramatic events: severe trench life, cold, hunger. Bogorodsk of the Moscow province now, Noginsk, Moscow Region. He married Iraid Ilyinichna Vervkina, the daughter of the Bogorodsky tradesman, an employee of the Bogorod-Glukhov manufactory, the actual member of the Bogorodsky society of secondary education, a member of the Bogorod-Glukhov Old Believer community of Ilya Petrovich Shvakin.

At that time, N. Hanaev worked in a county food detachment, performed in amateur concerts, which were arranged quite often in the city. Professional artists from Moscow regularly came on tour. Many of them paid attention to the musicality of Hanaev and advised him to seriously learn singing. But Nikandr Sergeyevich himself could not decide to leave the service, having a wife and a child.

She drew attention to Nikandra Sergeyevich and offered to engage in singing with him. After several months of classes, E. Eldigarova showed her student a music teacher, professor of the Moscow Conservatory, who had previously given the Bolshoi Theater, Lydia Yuryevna Zvyagina. Nikander Sergeevich, entering the conservatory, became her student. Lemeshev recalled: “I met him directly at the entrance exam.

Nikander Sergeevich immediately attracted attention. I do not remember much dramatic tenors, whose voices, like that of Khanaev, would not know the limits in the range, freely rising to the re-aboal of the third octave. Of course, this was a consequence of not only its exceptional vocal giftedness, but also exceptional hard work, self -discipline. From his youth, Khanaev sang in the church choir, and this developed in him the skills of the correct sound of the screamers did not hold there, the plasticity of the voice, the sense of the ensemble.

Having arrived to study, he completely surrendered to his studies, although he, who began at thirty -one years, was much more difficult than my peers.

He already had a family who lived near Moscow.Nikander Sergeyevich had to look for a “corner” in the city-then the funds with the suburbs were not at all like now, and it was unthinkable to come to classes from under Moscow every day. In the end, Hanaev sheltered a conservative teacher L. he lived in a small room, which was almost not heated, there was not enough firewood - after all, it was difficult years.

In winter, I remember, it was so cold that water froze. I could not use the piano. Therefore, almost every day he had a doseran woman at the conservatory in order to work out a little on his own. Nevertheless, unbearable conditions did not prevent him from working a lot at home. My respect for him increased a hundred times when I found out that he was engaged in solfeggio without an instrument, using only a tuning fork in this, of course, he was helped by the skills of choral singing.

He read the notes from the sheet so freely that he learned romances and Aria at home, although, undoubtedly, this required a lot of time, attention and effort. For example, I worked for the tool and was convinced that I mastered reading from a sheet no worse. But, alas, I soon presented me to be disappointed. Once, Khanaev and I went to the musical store, and he, looking at vocal literature, sang a melody from a sheet freely-I gasped ...

This is an example when the need to overcome difficulties tempers a person, develops genuine professionalism in him. This is exactly how Nikandr Sergeyevich came to the theater, and this strong hardening and enormous disability provided him for many years with a leading place in the brilliant troupe of the Moscow stage ”[14]. Studying at the conservatory, N. Khanaev sang on a professional scene more than once: in the theater Aquarium and at the former opera Zimin performed the party of Faust.

From at the same time in the city of Mussorgsky on March 19, Khanaev went to all the performances of the Bolshoi Theater, endlessly listening to the amazing sound of soloists, choir and orchestra. Huge work capacity, a constant desire to deepen their skill - both vocal and acting, the ability to adopt the invaluable wealth from the theater that the classic traditions of Russian opera and fulfillment, quickly gave tangible results, and all this soon nominated Nikandra Sergeyevich among the leading soloists of the main theater of the country.

Critics immediately noted his rare in beauty, strength and range of voice, high vocal and acting skills. Orfenova: “At the end of the twenties, the Bolshoi Theater really needed the responsible performer of the Parties of the Dramatic Tenor ... It was natural in the first row of Khanaev, which had the voice of the full range, was a very professional singer and artist. At least such a fact testifies to how professional artist was at least such a fact: once he was present at the Carmen Opera sphere.

The performer of the party of Hose did not come. The conductor asked - would anyone go? Khanaev agreed and sang the whole spit. And the conductor remembered this, and when there was no performer for the performance, he offered to sing Khanaev without a rehearsal! Khanaev sang thirty -six parties, creating a gallery of wonderful images. A considerable place in it is occupied by the most difficult parties of Russian classic operas: Sadko in the same name by N.

Rimsky-Korsakov, Herman in the “Peak Lady” by P. Tchaikovsky and Shuisky in “Boris Godunov” by M. Mussorgsky and others. The artist’s performances in the opera of Soviet composers were no less brilliant. In the Bainstock Potemkin, O. Chishko, he successfully performed the party of the sailor Matyushenko. In the opera of I. Dzerzhinsky, “Quiet Don” Nikandr Sergeyevich sang the main part - Grigory Melekhov, creating a colorful image of the Don Cossack.

In the opera of Yu. Shaporin, the Decembrists brilliantly performed one of the central roles - the Decembrist of Kakhovsky. Although Khanaev was considered the creator of uniquely bright images in Russian operas, his foreign repertoire was no less extensive. This is Radamor in Aida and Othello in the opera of the same name J. Verdi, Hoza in Carmen J. Bizet, Sigmund in Valkyrie R.

Wagner and many other Baturin wrote: “... I was always amazed and delighted by N. Khanaev’s exacting attitude towards himself, conscientiousness and a sense of great responsibility in combination with creative concentration. Having developed a good vocal technology, the artist sought to penetrate the very creature of the composer’s plan, sought to reveal in his performance the vocal and stage essence of the image.

In each of his role, N. Khanaev was unique, thought each and honed to the smallest details, and each deserves to go down in the history of world opera art.