St. Sofia Cathedral in Tobolsk
Russia 2011
Tobolsk & Tyumen, Russia ???? Travel Vlog 15 ???????? History & Culture
Tobolsk & Tyumen: ???? UK Vlogger of the Year finalist 2019 and 2018 explores Tobolsk & Tyumen, Russia and the Siberian Tatars, Siberian Cats, and Rasputin. Join the Modern Grand Tour (travel vlogs for history-culture geeks ????) in Tobolsk & Tyumen, Russia! ⬇️ More info below ⬇️
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-----------------------------In this episode-----------------------------
DAY 1 - TOBOLSK
Episode Intro = 0:48
Tobolsk Intro = 1:06
St Sophia Cathedral inside the Kremlin = 1:47
Grigori Rasputin = 2:49 ????
View from the Kremlin = 4:00
Deputy's Palace Museum (Siberian Tatars) = 4:36 ????
Russian Age of Motherhood = 7:41
Russian vs European Family Values = 8:15
DAY 2 - TYUMEN
Tyumen Intro = 8:48
City Park = 9:36
Tyumen Philharmonic = 9:59
Siberian Cats Park = 10:21 ????
Riverside Embankment = 11:28
Conclusion = 12:39
Next Episode = 13:11
--------------------------------The series--------------------------------
EUROPE
Ep1 ???????? ???????? Brussels, Ghent, and Bruges:
Ep2 ???? ???????? Amsterdam:
Ep3 ☠️ ???????? Berlin:
Ep4 ???? ???????? Hamburg:
Ep5 ???? ???????? Aarhus:
Ep6 ????♀️ ???????? Copenhagen:
Ep7 ???? ???????? Stockholm:
Ep8 ???? ???????? Helsinki:
RUSSIA
Ep9 ????️ ???????? Saint Petersburg:
Ep10 ???? ???????? Moscow:
Ep11 ???? ???????? Vladimir and Suzdal:
Ep12 ???? ???????? Nizhny Novgorod: (most fun)
Ep13 ☠️ ???????? Perm:
Ep14 ???? ???????? Yekaterinburg:
Ep15 ???? ???????? Tobolsk and Tyumen:
Ep16 ???? ???????? Novosibirsk:
Ep17 ???? ???????? Irkutsk and Olkhon Island:
Ep18 ???? ???????? Ulan-Ude:
Ep19 ???? ???????? Trans-Siberian Train: (most practically useful)
Ep20 ???? ???????? Khabarovsk:
Ep21 ???? ???????? Vladivostok:
ASIA & AUSTRALIA
Ep22 ???? ???????? Seoul: (most educative)
Ep23 ???? ???????? Osaka:
Ep24 ???? ???????? Kyoto:
Ep25 ???? ???????? Tokyo: (most awesome city)
Ep26 ???? ???????? Melbourne:
Ep27 ???? ???????? Sydney: (most jokes)
---------------------------------Welcome---------------------------------
Welcome keen traveller!
I hope you've come to join me on this Modern Grand Tour exploring history and culture.
- The first leg of the journey takes us through Europe ????????
- The second leg crosses Russia ???????? via the Trans-Siberian Railway ???? and Couchsurfing ????
- The third and final leg concludes in Asia ???? and Australia ????????
Here's the series playlist:
I promise you, by the end, we'll all be dancing like a room without a roof...
Your new travel partner, Garlen ????
#ThankYouAllaAndTobolskTyumen #RussiaTravelVlog #ModernGrandTour
Tobolsk history | Tobolsk culture | Tobolsk travel | Tobolsk vlog | Tobolsk Trans-Siberian | Tobolsk Couchsurfing | Russia history | Russia culture | Russia travel | Russia vlog | Russia Trans-Siberian | Russia Couchsurfing | Couchsurfing in Russia | Тобольск | Тюмень | Тобольск vlog | vlog Тобольск | Тюмень vlog | vlog Тюмень
#13. 100 Чудес России. Тобольский кремль
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Тобольский кремль — единственный каменный кремль в Сибири, уникальный образец сибирского зодчества. В ансамбль Тобольского кремля входит Софийско-Успенский собор с ризницей, колокольня, Архиерейский дом, башня и стены, Рентерея, комплекс здания бывшего дворца Наместника, Гостиный двор. Тюремный замок и подгорные стены Прямского взвоза — сооружения XVIII. Все перечисленные выше здания и сооружения являются памятниками истории и культуры федерального значения. Город Тобольск был основан в 1587 году. В XVII века он стал столицей Сибири, в XVIII столетии — центром самой большой в России Тобольской губернии. Первый тобольский острог был выстроен из разобранных казачьих стругов. Москва всячески поощряла здесь каменное строительство. В 1683-1686 году присланными из Москвы и Великого Устюга каменщиками с подмастерьями Герасимом Шарыпиным и Гаврилой Тютиным создается каменный Софийско-Успенский собор. К началу XVIII века были возведены каменные стены и башни кремля, а также ряд не дошедших до нашего времени построек, стоявших на одной западной линии с Софийским собором. Переезд в 1925 году в Архиерейский дом краеведческого музея благотворно сказалось на сохранении памятников кремля. В 1939 году Тобольский кремль был признан архитектурно историческим памятником, подлежащим государственной охране. В 1952 году было выявлено прогрессирующее разрушение кладки и составлен проект реставрационных работ. В 1961 году Тобольский музей получил статус историко-архитектурного музея-заповедника. Ему на баланс были переданы все памятники кремля и города.
Welcome to Tobolsk
GoEast, the project made by the Siberian Times and myself sets off for a 3 month journey through Siberia and the Russian Far East. Here's the first destination - Tobolsk!
Russia Tobolsk Kremlin summer Тобольский Кремль летом
Russia Tobolsk Kremlin summer
Археологические исследования по ул. Ремезова.
Сюжет об аварийных археологических исследованиях в исторической части г. Тобольска, проводимых при реконструкции улицы Ремезова в 2006 г.
Тобольская археологическая экспедиция
nice and calm evening outside Tobolsk ( Russia )
paramotoring around Tobolsk ( Russia ) on 15.05.2013
Best Attractions and Places to See in Vologda , Russia
Vologda Travel Guide. MUST WATCH. Top things you have to do in Vologda. We have sorted Tourist Attractions in Luxembourg City for You. Discover Vologda as per the Traveller Resources given by our Travel Specialists. You will not miss any fun thing to do in Isle of Skye.
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List of Best Things to do in Vologda
Vologodskaya Oblast Architecture and Ethnography Museum
Lace Museum
Spaso-Prilutsky monastery
Bell Tower of the Vologda Kremlin
Vologda Kremlin
St Sophia cathedral
Letter 'O' Monument
The World of The Forgotten Things Museum
Monument to a lamppost
Monument K.N.Batyushkovu
Andrei Labinskiy - The Snow Maiden
Andrei Labinskiy (1871-1941) was a Siberian born Russian tenor who enjoyed a quarter century career as a principal artist with Eastern European theaters. Labinskiy began his career as a church musician, singing in the choirs of the Saint Sofia Cathedral in Tobolsk and the Znamensky Cathedral in Tyumen. Upon his graduation from high school, the young tenor joined the prestigious Moscow Synodal Choir, where he remained for several years. At the relatively late age of 24, Labinskiy enrolled in the St. Petersburg Conservatory, concentrating on vocal studies. In 1896, he auditioned and was accepted into the chorus of the Mariinsky Theater. Following three years as a chorister, Labinskiy made his solo debut as Tsar Berendey in Rimsky-Korsakov’s The Snow Maiden in 1899. The tenor sang with the Mariinsky uninterruptedly for the next thirteen seasons, becoming one of the company’s most popular artists. Labinskiy’s popularity with female operagoers (affectionately nicknamed “Labinistki” by the press) bordered on mania. The Mariinsky’s management took full advantage of this phenomenon, charging greatly inflated prices for tickets to Labinskiy’s performances. This adulation nearly cost the tenor his life, however, when the infuriated husband of one of the tenor’s female fans attempted to shoot Labinskiy during a concert. Luckily, the vindictive gunman’s aim was off, and he narrowly missed the tenor.
In 1912, Labinskiy left the Mariinsky to accept a lucrative offer from Moscow’s celebrated Bolshoi Opera, but returned to in 1919. After five seasons in St. Petersburg, the tenor was lured back to the Bolshoi, where he remained until 1926. Although he still remained quite popular throughout Russia, Labinskiy began to curtail his operatic appearances in the mid to late 1920s. By now, he was a professor of vocal studies at the Moscow Conservatory and a well respected member of the city’s artistic circles. Although the advent of the Second World War made life rather precarious in Russia’s major cities, the elderly tenor refused to leave his home in Moscow. This proved to be a fatal decision. On August 8, 1941, just two weeks shy of his 70th birthday, Andrei Labinskiy was killed during a German air raid.
With the exception of a handful of tours throughout the Russian and Eastern European provinces (not to mention a few well received appearances in Japan), Andrei Labinskiy’s career was essentially divided between St. Petersburg and Moscow. Although he was never considered the equal of Sobinov or Smirnov, Labinskiy was a highly regarded and extremely popular artist who was at his best in such roles as Almaviva in Il Barbiere di Siviglia, Sinodal in The Demon, Lensky in Yevgeny Onegin, Herman in Pique Dame, Bayan in Ruslan and Lyudmila, The Prince in Rusalka, Lykov in The Tsar’s Bride, Bogdan Sobinin in A Life For the Tsar, Vsevolod in The Legend of the Invisible City of Kitezh (a role he created at the world premiere of Rimsky-Korsakov’s opera at the Mariinsky in 1907) and the title roles in Sadko, Faust and Roméo et Juliette. Although his was essentially a lighter grained lyric instrument, he also sang a few heavier roles such as Wagner’s Lohengrin, Don José in Carmen, Raoul in Les Huguenots and even Radames in Aïda. Labinskiy’s recordings, made for G&T, Berliner and The Gramophone Company between 1901 and 1908, reveal an attractive, well produced voice and impeccable artistry. In this recording, Labinskiy sings Might Nature is Full of Wonders from Rimsky-Korsakov's The Snow Maiden. This was recorded in St. Petersburg for The Gramophone Company in 1908.
Kremlin de Tobolsk // Тобольский кремль
El Kremlin de Tobolsk es el único Kremlin de piedra en Siberia. Se encuentra en Tobolsk, Rusia.Tobolsk fue fundada en 1587.
A principios del siglo XVIII las paredes de piedra y las torres del Kremlin fueron construidas, así como una serie de edificios que no han sobrevivido hasta nuestros días, de pie en una línea hacia el oeste de Catedral de la asunción de Santa Sofía: la Santísima Trinidad Catedral, Casa del Obispo, la Puerta Santa de la Iglesia de San Sergio de Radonezh y el campanario.
Se continuó con el final de los trabajos de construcción del siglo XVII en el Kremlin por Semyon Remezov, un cartógrafo que fue también el primer historiador de Siberia. Tenía el Palacio Departamental (1699-1704) construido sobre el acantilado sur de la colina y las arcadas de Comercio (1702-1706) en la esquina noroeste del Kremlin.
Knyaz M. Gagarin, nombrado en 1708 primer gobernador de la provincia de Siberia, prevé la creación de edificios en el Kremlin impresionante para uso militar administrativos y comerciales, que deberían haber constituido, junto con el tribunal de Sofía un centro monumental. En las obras de construcción fueron empleados los prisioneros de guerra sueco que se encontraban en el exilio en Tobolsk.
Para evitar la erosión de la montaña, el río Tobol se trasladó hacia el sur por dos vertientes. En 1712, por el proyecto de Remezov se construyó la torre de piedra Demetrio puerta y junto a ella, en el borde de la montaña, la iglesia de Ascensión (destruido en 1717).
A pesar de la prohibición de 1714 de construcción de piedra, se continuó trabajando hasta 1718. Después de la ejecución del gobernador de Gagarin, la puerta de Demetrio quedó sin terminar. Muros y las torres fueron destruidas poco a poco. En 1799 se construyeron los muros de piedra del barranco de Santa Sofía y un nuevo campanario múltiple, el edificio más alto de la ciudad.
Andrei Labinskiy - The North Star
Andrei Labinskiy (1871-1941) was a Siberian born Russian tenor who enjoyed a quarter century career as a principal artist with Eastern European theaters. Labinskiy began his career as a church musician, singing in the choirs of the Saint Sofia Cathedral in Tobolsk and the Znamensky Cathedral in Tyumen. Upon his graduation from high school, the young tenor joined the prestigious Moscow Synodal Choir, where he remained for several years. At the relatively late age of 24, Labinskiy enrolled in the St. Petersburg Conservatory, concentrating on vocal studies. In 1896, he auditioned and was accepted into the chorus of the Mariinsky Theater. Following three years as a chorister, Labinskiy made his solo debut as Tsar Berendey in Rimsky-Korsakov’s The Snow Maiden in 1899. The tenor sang with the Mariinsky uninterruptedly for the next thirteen seasons, becoming one of the company’s most popular artists. Labinskiy’s popularity with female operagoers (affectionately nicknamed “Labinistki” by the press) bordered on mania. The Mariinsky’s management took full advantage of this phenomenon, charging greatly inflated prices for tickets to Labinskiy’s performances. This adulation nearly cost the tenor his life, however, when the infuriated husband of one of the tenor’s female fans attempted to shoot Labinskiy during a concert. Luckily, the vindictive gunman’s aim was off, and he narrowly missed the tenor.
In 1912, Labinskiy left the Mariinsky to accept a lucrative offer from Moscow’s celebrated Bolshoi Opera, but returned to in 1919. After five seasons in St. Petersburg, the tenor was lured back to the Bolshoi, where he remained until 1926. Although he still remained quite popular throughout Russia, Labinskiy began to curtail his operatic appearances in the mid to late 1920s. By now, he was a professor of vocal studies at the Moscow Conservatory and a well respected member of the city’s artistic circles. Although the advent of the Second World War made life rather precarious in Russia’s major cities, the elderly tenor refused to leave his home in Moscow. This proved to be a fatal decision. On August 8, 1941, just two weeks shy of his 70th birthday, Andrei Labinskiy was killed during a German air raid.
With the exception of a handful of tours throughout the Russian and Eastern European provinces (not to mention a few well received appearances in Japan), Andrei Labinskiy’s career was essentially divided between St. Petersburg and Moscow. Although he was never considered the equal of Sobinov or Smirnov, Labinskiy was a highly regarded and extremely popular artist who was at his best in such roles as Almaviva in Il Barbiere di Siviglia, Sinodal in The Demon, Lensky in Yevgeny Onegin, Herman in Pique Dame, Bayan in Ruslan and Lyudmila, The Prince in Rusalka, Lykov in The Tsar’s Bride, Bogdan Sobinin in A Life For the Tsar, Vsevolod in The Legend of the Invisible City of Kitezh (a role he created at the world premiere of Rimsky-Korsakov’s opera at the Mariinsky in 1907) and the title roles in Sadko, Faust and Roméo et Juliette. Although his was essentially a lighter grained lyric instrument, he also sang a few heavier roles such as Wagner’s Lohengrin, Don José in Carmen, Raoul in Les Huguenots and even Radames in Aïda. Labinskiy’s recordings, made for G&T, Berliner and The Gramophone Company between 1901 and 1908, reveal an attractive, well produced voice and impeccable artistry. Here, Labinskiy sings Glinka's Wedding Song, The North Star. This recording was made for G&T in St. Petersburg in 1901.
Andrei Labinskiy - Les Huguenots
Andrei Labinskiy (1871-1941) was a Siberian born Russian tenor who enjoyed a quarter century career as a principal artist with Eastern European theaters. Labinskiy began his career as a church musician, singing in the choirs of the Saint Sofia Cathedral in Tobolsk and the Znamensky Cathedral in Tyumen. Upon his graduation from high school, the young tenor joined the prestigious Moscow Synodal Choir, where he remained for several years. At the relatively late age of 24, Labinskiy enrolled in the St. Petersburg Conservatory, concentrating on vocal studies. In 1896, he auditioned and was accepted into the chorus of the Mariinsky Theater. Following three years as a chorister, Labinskiy made his solo debut as Tsar Berendey in Rimsky-Korsakov’s The Snow Maiden in 1899. The tenor sang with the Mariinsky uninterruptedly for the next thirteen seasons, becoming one of the company’s most popular artists. Labinskiy’s popularity with female operagoers (affectionately nicknamed “Labinistki” by the press) bordered on mania. The Mariinsky’s management took full advantage of this phenomenon, charging greatly inflated prices for tickets to Labinskiy’s performances. This adulation nearly cost the tenor his life, however, when the infuriated husband of one of the tenor’s female fans attempted to shoot Labinskiy during a concert. Luckily, the vindictive gunman’s aim was off, and he narrowly missed the tenor.
In 1912, Labinskiy left the Mariinsky to accept a lucrative offer from Moscow’s celebrated Bolshoi Opera, but returned to in 1919. After five seasons in St. Petersburg, the tenor was lured back to the Bolshoi, where he remained until 1926. Although he still remained quite popular throughout Russia, Labinskiy began to curtail his operatic appearances in the mid to late 1920s. By now, he was a professor of vocal studies at the Moscow Conservatory and a well respected member of the city’s artistic circles. Although the advent of the Second World War made life rather precarious in Russia’s major cities, the elderly tenor refused to leave his home in Moscow. This proved to be a fatal decision. On August 8, 1941, just two weeks shy of his 70th birthday, Andrei Labinskiy was killed during a German air raid.
With the exception of a handful of tours throughout the Russian and Eastern European provinces (not to mention a few well received appearances in Japan), Andrei Labinskiy’s career was essentially divided between St. Petersburg and Moscow. Although he was never considered the equal of Sobinov or Smirnov, Labinskiy was a highly regarded and extremely popular artist who was at his best in such roles as Almaviva in Il Barbiere di Siviglia, Sinodal in The Demon, Lensky in Yevgeny Onegin, Herman in Pique Dame, Bayan in Ruslan and Lyudmila, The Prince in Rusalka, Lykov in The Tsar’s Bride, Bogdan Sobinin in A Life For the Tsar, Vsevolod in The Legend of the Invisible City of Kitezh (a role he created at the world premiere of Rimsky-Korsakov’s opera at the Mariinsky in 1907) and the title roles in Sadko, Faust and Roméo et Juliette. Although his was essentially a lighter grained lyric instrument, he also sang a few heavier roles such as Wagner’s Lohengrin, Don José in Carmen, Raoul in Les Huguenots and even Radames in Aïda. Labinskiy’s recordings, made for G&T, Berliner and The Gramophone Company between 1901 and 1908, reveal an attractive, well produced voice and impeccable artistry. In this recording, Labinskiy gives a thrilling performance of Plus blanche que la blanche hermine (in Russian) from Meyerbeer's Les Huguenots. This was recorded in St. Petersburg for the Gramophone Company in 1905.
Holy Patron's Day at Russian Orthodox Church
The Russian Orthodox Church in Jacksonville, FL celebrated the 50th anniversary of their Patron Saint, St. John of Shanghai & San Francisco. It was a special event for this church, the ceremony included Bishop Mitrophan, visiting from New Jersey. The event also included an exhibition of the works of photo artist Ivan Zhuk. This event started on the evening of July 1st (Friday evening) and continued on Saturday July 2nd.
A Brief Bio on St John of Shanghai & San Francisco
St. John was born Mikhail Borisovich Maximovitch in 1896 in the village of Adamovka in the Kharkov Governorate (in present-day southern Ukraine). He came from the same family of Serbian origin as that of St. John of Tobolsk, whom he was said to resemble in several respects. From 1907 to 1914 he attended Poltava Military School. He received a degree in law from Kharkov Imperial University in 1918. His family brought him to Belgrade in 1921, where in 1925 he graduated from Belgrade University with a degree in theology.
In 1926 he was tonsured a monk and ordained a hierodeacon by Russian Metropolitan Anthony (Khrapovitsky), who gave him the name of John after his saintly relative. Later that same year, he was ordained to the priesthood by Rusiian Bishop Gabriel of Chelyabinsk. For several years afterward he worked as an instructor and tutor in Yugoslavia. He worked as a religious teacher in the Gymnasium of Velika Kikinda between 1925 and 1927. In 1929, Holy Synod of the Serbian Orthodox Church appointed him a teacher of the seminary in Bitola. The principal of the seminary was Nikolaj Velimirović. In 1934 he was ordained a bishop of the Russian Orthodox Church Outside Russia by Metropolitan Anthony and assigned to the diocese of Shanghai.
In Shanghai, Bishop John found an uncompleted cathedral and an Orthodox community deeply divided along ethnic lines. Making contact with all the various groups, he quickly involved himself in the existing charitable institutions and personally founded an orphanage and home for the children of indigents. Here he first became known for miracles attributed to his prayer. As a public figure it was impossible for him to completely conceal his ascetic way of life. Despite his actions during the Japanese occupation, when he routinely ignored the curfew in pursuit of his pastoral activities, the Japanese authorities never harassed him. As the only Russian hierarch in China who refused to submit to the authority of the Soviet-dominated Russian Orthodox Church, he was elevated to archbishop by the Holy Synod of ROCOR in 1946.
When the Communists took power in China, the Russian colony was forced to flee, first to a refugee camp on the island of Tubabao in the Philippines and then mainly to the United States and Australia. Archbishop John travelled personally to Washington, D.C. to ensure that his people would be allowed to enter the country.
In 1951 John was assigned to the archdiocese of Western Europe with his see first in Paris, then in Brussels. Thanks to his work in collecting lives of saints, a great many pre-Schism Western saints became known in Orthodoxy and continue to be venerated to this day. His charitable and pastoral work continued as it had in Shanghai, even among a much more widely scattered flock.
In 1962 John was once again reassigned by the Holy Synod to the see of San Francisco. Here too, he found a divided community and a cathedral in an unfinished state. Although he completed the building of Holy Virgin Cathedral and brought some measure of peace to the community he became the target of slander from those who became his political enemies, who went so far as to file a lawsuit against him for alleged mishandling of finances related to construction of the cathedral. He was exonerated, but this was a great cause of sorrow to him in his later life.
Deeply revering St. John of Kronstadt, John Maximovitch played an active role in preparation of his canonization.
The Relics of St. John
On July 2, 1966 (June 19 on the Julian calendar), St. John died while visiting Seattle at a time and place he was said to have foretold. He was entombed in a sepulchre beneath the altar of the Holy Virgin Cathedral he had built in San Francisco dedicated to the Theotokos, Joy of all who Sorrow, on Geary Boulevard in the Richmond district. In 1994 he was solemnly glorified on the 28th anniversary of his death. His unembalmed relics now occupy a shrine in the cathedral's nave. His feast day is celebrated on the Saturday nearest to July 2. He is beloved and celebrated worldwide, with portions of his relics located in Serbia, Russia, Mount Athos, Greece (Church of Saint Anna in Katerini) Bulgaria, Romania, United States, Canada (Holy Trinity Serbian Orthodox Church, Kitchener), England (Dormition Cathedral of the Russian Orthodox Church, London) and other countries of the world.
Andrei Labinskiy - The Demon
Andrei Labinskiy (1871-1941) was a Siberian born Russian tenor who enjoyed a quarter century career as a principal artist with Eastern European theaters. Labinskiy began his career as a church musician, singing in the choirs of the Saint Sofia Cathedral in Tobolsk and the Znamensky Cathedral in Tyumen. Upon his graduation from high school, the young tenor joined the prestigious Moscow Synodal Choir, where he remained for several years. At the relatively late age of 24, Labinskiy enrolled in the St. Petersburg Conservatory, concentrating on vocal studies. In 1896, he auditioned and was accepted into the chorus of the Mariinsky Theater. Following three years as a chorister, Labinskiy made his solo debut as Tsar Berendey in Rimsky-Korsakov’s The Snow Maiden in 1899. The tenor sang with the Mariinsky uninterruptedly for the next thirteen seasons, becoming one of the company’s most popular artists. Labinskiy’s popularity with female operagoers (affectionately nicknamed “Labinistki” by the press) bordered on mania. The Mariinsky’s management took full advantage of this phenomenon, charging greatly inflated prices for tickets to Labinskiy’s performances. This adulation nearly cost the tenor his life, however, when the infuriated husband of one of the tenor’s female fans attempted to shoot Labinskiy during a concert. Luckily, the vindictive gunman’s aim was off, and he narrowly missed the tenor.
In 1912, Labinskiy left the Mariinsky to accept a lucrative offer from Moscow’s celebrated Bolshoi Opera, but returned to in 1919. After five seasons in St. Petersburg, the tenor was lured back to the Bolshoi, where he remained until 1926. Although he still remained quite popular throughout Russia, Labinskiy began to curtail his operatic appearances in the mid to late 1920s. By now, he was a professor of vocal studies at the Moscow Conservatory and a well respected member of the city’s artistic circles. Although the advent of the Second World War made life rather precarious in Russia’s major cities, the elderly tenor refused to leave his home in Moscow. This proved to be a fatal decision. On August 8, 1941, just two weeks shy of his 70th birthday, Andrei Labinskiy was killed during a German air raid.
With the exception of a handful of tours throughout the Russian and Eastern European provinces (not to mention a few well received appearances in Japan), Andrei Labinskiy’s career was essentially divided between St. Petersburg and Moscow. Although he was never considered the equal of Sobinov or Smirnov, Labinskiy was a highly regarded and extremely popular artist who was at his best in such roles as Almaviva in Il Barbiere di Siviglia, Sinodal in The Demon, Lensky in Yevgeny Onegin, Herman in Pique Dame, Bayan in Ruslan and Lyudmila, The Prince in Rusalka, Lykov in The Tsar’s Bride, Bogdan Sobinin in A Life For the Tsar, Vsevolod in The Legend of the Invisible City of Kitezh (a role he created at the world premiere of Rimsky-Korsakov’s opera at the Mariinsky in 1907) and the title roles in Sadko, Faust and Roméo et Juliette. Although his was essentially a lighter grained lyric instrument, he also sang a few heavier roles such as Wagner’s Lohengrin, Don José in Carmen, Raoul in Les Huguenots and even Radames in Aïda. Labinskiy’s recordings, made for G&T, Berliner and The Gramophone Company between 1901 and 1908, reveal an attractive, well produced voice and impeccable artistry. In this recording, Labinskiy sings On Desire's Soft, Fleeting Wings from Rubinstein's The Demon. This was recorded in St. Petersburg for The Gramophone Company in 1905.
Consegnata al sindaco Decaro la chiave della chiesa Russa
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Custodita dalla famiglia Fiore per anni, dopo che il papà ha eseguito dei lavori nell'edificio, Saverio ha consegnato nelle mani del sindaco Antonio Decaro la chiave della chiesa russa.
Brutal Execution of the Romanovs | History
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BARI, FDL: IL RETTORE DELLA CHIESA RUSSA IN FIERA PER VISITARE IL PADIGLIONE DEDICATO A S.NICOLA
BARI, FDL: IL RETTORE DELLA CHIESA RUSSA IN FIERA PER VISITARE IL PADIGLIONE DEDICATO A S.NICOLA
Andrei Labinskiy - I Love You, Olga
Andrei Labinskiy (1871-1941) was a Siberian born Russian tenor who enjoyed a quarter century career as a principal artist with Eastern European theaters. Labinskiy began his career as a church musician, singing in the choirs of the Saint Sofia Cathedral in Tobolsk and the Znamensky Cathedral in Tyumen. Upon his graduation from high school, the young tenor joined the prestigious Moscow Synodal Choir, where he remained for several years. At the relatively late age of 24, Labinskiy enrolled in the St. Petersburg Conservatory, concentrating on vocal studies. In 1896, he auditioned and was accepted into the chorus of the Mariinsky Theater. Following three years as a chorister, Labinskiy made his solo debut as Tsar Berendey in Rimsky-Korsakov’s The Snow Maiden in 1899. The tenor sang with the Mariinsky uninterruptedly for the next thirteen seasons, becoming one of the company’s most popular artists. Labinskiy’s popularity with female operagoers (affectionately nicknamed “Labinistki” by the press) bordered on mania. The Mariinsky’s management took full advantage of this phenomenon, charging greatly inflated prices for tickets to Labinskiy’s performances. This adulation nearly cost the tenor his life, however, when the infuriated husband of one of the tenor’s female fans attempted to shoot Labinskiy during a concert. Luckily, the vindictive gunman’s aim was off, and he narrowly missed the tenor.
In 1912, Labinskiy left the Mariinsky to accept a lucrative offer from Moscow’s celebrated Bolshoi Opera, but returned to in 1919. After five seasons in St. Petersburg, the tenor was lured back to the Bolshoi, where he remained until 1926. Although he still remained quite popular throughout Russia, Labinskiy began to curtail his operatic appearances in the mid to late 1920s. By now, he was a professor of vocal studies at the Moscow Conservatory and a well respected member of the city’s artistic circles. Although the advent of the Second World War made life rather precarious in Russia’s major cities, the elderly tenor refused to leave his home in Moscow. This proved to be a fatal decision. On August 8, 1941, just two weeks shy of his 70th birthday, Andrei Labinskiy was killed during a German air raid.
With the exception of a handful of tours throughout the Russian and Eastern European provinces (not to mention a few well received appearances in Japan), Andrei Labinskiy’s career was essentially divided between St. Petersburg and Moscow. Although he was never considered the equal of Sobinov or Smirnov, Labinskiy was a highly regarded and extremely popular artist who was at his best in such roles as Almaviva in Il Barbiere di Siviglia, Sinodal in The Demon, Lensky in Yevgeny Onegin, Herman in Pique Dame, Bayan in Ruslan and Lyudmila, The Prince in Rusalka, Lykov in The Tsar’s Bride, Bogdan Sobinin in A Life For the Tsar, Vsevolod in The Legend of the Invisible City of Kitezh (a role he created at the world premiere of Rimsky-Korsakov’s opera at the Mariinsky in 1907) and the title roles in Sadko, Faust and Roméo et Juliette. Although his was essentially a lighter grained lyric instrument, he also sang a few heavier roles such as Wagner’s Lohengrin, Don José in Carmen, Raoul in Les Huguenots and even Radames in Aïda. Labinskiy’s recordings, made for G&T, Berliner and The Gramophone Company between 1901 and 1908, reveal an attractive, well produced voice and impeccable artistry. In this recording, Labinskiy sings I Love You, Olga from Tchaikovsky's Yevgeny Onegin. This was recorded for The Gramophone Company in St. Petersburg in 1905.