Algoritm Hotel, Tyumen, Russia
Algoritm Hotel - Buche das Hotel gleich! Spare bis zu 20% -
Located in quiet area of Tyumen, close to Alebashevo Lake, Algoritm Hotel offers free Wi-Fi and parking. Svyato-Troitsky Monastery, Tsvetnoy Boulevard and Sibirskikh Koshek Park are 3 km away.
The simple rooms feature a TV, fridge and electric kettle. They come with a private bathroom with a bath. Some rooms have a balcony.
Hotel Algoritm has a café serving European cuisine. There are lots of other cafes in the city centre.
Znamensky Cathedral is 3 km away. Tyumen Train Station is 6 km away. Roshchino International Airport is 19 km.
Der Check-out ist ganz gemütlich um 12:00 – Zeit für ein ausgiebiges Frühstück.
Sie erhalten GRATISLEISTUNGEN wie WLAN und Parkplatz während Ihres Aufenthalts.
TYUMEN Top 44 Tourist Places | Tyumen Tourism | RUSSIA
Tyumen (Things to do - Places to Visit) - TYUMEN Top Tourist Places
City in Russia
Tyumen is a city on the Tura River, in the vast Russian region of Siberia. Its riverside promenade runs northwest from city center towards the gold-domed Holy Trinity Monastery.
Built in the 18th century, Znamensky Cathedral has blue-and-white baroque towers. Also in the center, the Museum of Fine Arts exhibits portraits and works by Siberian artists. Across the river, Gagarin Park is home to a peaceful, wooded area.
TYUMEN Top 44 Tourist Places | Tyumen Tourism
Things to do in TYUMEN - Places to Visit in Tyumen
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TYUMEN Top 44 Tourist Places - Tyumen, Russia
Знаменский собор.
Знаменский Собор и церковвь Спаса Преображения на Ильине, в видео использована музыка Раймонд Паулс - Чувство.
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 - 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.
Andrei Labinskiy - Prince Igor
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 Vladimir's Cavatina, Daylight Was Fading from Borodin's Prince Igor. This recording was made for The Gramophone Company in St. Petersburg in 1908.
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.
Irkutsk & Olkhon Island, Russia ???? Travel Vlog 17 ???????? History & Culture
Irkutsk & Olkhon Island: ???? UK Vlogger of the Year finalist 2019 and 2018 explores Irkutsk & Olkhon Island, Russia and shamanism, the world’s deepest lake, and football with the locals. Join the Modern Grand Tour (travel vlogs for history-culture geeks ????) in Irkutsk & Olkhon Island! ⬇️ More info below ⬇️
If you liked Irkutsk & Olkhon Island, Russia Travel Vlog... give it a thumbs up! ????
If you liked Irkutsk & Olkhon Island, Russia Travel Vlog... subscribe! ????
If you liked Irkutsk & Olkhon Island, Russia Travel Vlog... share it with friends on social! ????
If you liked Irkutsk & Olkhon Island, Russia Travel Vlog... tell me your favourite segment! ????
If you liked Irkutsk & Olkhon Island, Russia Travel Vlog... tell me the national food and drink of your country! ????
---------------------------------More info---------------------------------
YouTube channel:
Series playlist:
Series info:
Twitter:
-----------------------------In this episode-----------------------------
DAY 1 - IRKUTSK
Episode Intro = 0:48
Monument to the Founders of Irkutsk = 1:21
Epiphany Cathedral = 1:30
Triumphal Arch = 1:40
Monument to the Decembrists' Wives = 1:52
Wooden Architecture = 2:05
Kazan Chapel = 2:17
Lovers' Locks = 2:27
DAY 2 - LISTVYANKA
Lake Baikal in Listvyanka = 3:08 ????
Omul Market = 4:56
Nationality and Nation = 5:31
DAY 3 - OLKHON ISLAND
Shaman Rock = 7:41
Shamanism = 9:14 ????
Khuzhir Town = 10:42
Buryat Cuisine = 11:14 ????????
FC Olkhon = 13:00 ⚽️
Sergey Yeremeev = 14:10
Evening in Tent = 15:36
DAY 4 - OLKHON ISLAND TOUR
Kharantsy Viewpoint = 17:14
Peschanka Beach = 17:54
Three Brothers Cape = 18:24
Cape Khoboy = 18:46
Lover's Rock = 21:18
Uzury Village = 21:42
Wild Horses = 23:13 ????
Conclusion = 23:57
Next Episode = 24:25
--------------------------------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 ????
#ThankYouAnastasiaAndSergey #RussiaTravelVlog #ModernGrandTour
Olkhon Island history | Olkhon Island culture | Olkhon Island travel | Olkhon Island vlog | Olkhon Island Trans-Siberian | Olkhon Island Couchsurfing | Russia history | Russia culture | Russia travel | Russia vlog | Russia Trans-Siberian | Russia Couchsurfing | Иркутск | Иркутск vlog | vlog Иркутск | остров Ольхон vlog | vlog остров Ольхон
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.
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.
Andrei Labinskiy - Faust
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 a Russian language version of Salut! Demeure chaste et pure from Gounod's Faust. This impressive recording (complete with a perfectly balanced mixed voice high C) was made in St. Petersburg for The Gramophone Company in 1906.
Andrei Labinskiy - In my Blood the Fire of Desire Burns
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 Glinka's In my Blood the Fire of Desire Burns. This was recorded in St. Petersburg for G&T in March of 1901.
Andrei Labinskiy - Askold's Grave
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 Torop's song, Near the Town of Slavyansk from Act III of Alexei Verstovsky's opera Askold's Grave. This recording was made in St. Petersburg for The Gramophone Company in 1906.
Andrei Labinskiy - Lensky's aria
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 Lensky's Aria from Tchaikovsky's Yevgeny Onegin. This was recorded for The Gramophone Company in St. Petersburg in 1905.
Andrei Labinskiy - Halka
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 Like the Wind in the Hills from Moniuszko's opera Halka. This recording was made in St. Petersburg for The Gramophone Company in 1908.
Andrei Labinskiy - O Give Me Oblivion
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 Vladimir's Romance, O Give Me Oblivion from Eduard Nápravník's opera Dubrovsky. This recording was made for The Gramophone Company in St. Petersburg in June of 1906.
GRIGORI RASPUTIN - WikiVidi Documentary
Grigori Yefimovich Rasputin was a Russian mystic and self-proclaimed holy man who befriended the family of Tsar Nicholas II, the last monarch of Russia, and gained considerable influence in late imperial Russia. Born to a peasant family in the Siberian village of Pokrovskoye, Rasputin had a religious conversion experience after taking a pilgrimage to a monastery in 1897. He has been described as a monk or as a strannik , though he held no official position in the Russian Orthodox Church. After traveling to St. Petersburg, either in 1903 or the winter of 1904–5, Rasputin captivated some church and social leaders. He became a society figure, and met the Tsar in November 1905. In late 1906, Rasputin began acting as a healer for the Tsar and his wife Alexandra's son Alexei, who suffered from hemophilia and was Nicholas' only heir . At court, he was a divisive figure, seen by some Russians as a mystic, visionary, and prophet, and by others as a religious charlatan. The high point of R...
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00:01:59 Early life
00:04:13 Religious conversion
00:07:05 Rise to prominence
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Andrei Labinskiy - O Give Me Oblivion (G&T version)
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 O Give Me Oblivion from Nápravník's opera Dubrovsky. This early, piano accompanied version of the aria was recorded in St. Petersburg for The Gramophone & Typewriter Company in March of 1901.