1931 Georgy M YOURENEFF Russian BARIONE Yurenev CHALIAPIN s PROTEGEE Prince Igor

$

20

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1931 electric recording  in Paris of Feodor Chaliapin's Protegee:

Georgy Mitrovich Yurenev - a Russian emigre Baritone associated with the Ballet Russes and the Paris Aristoff Choir

 PRINCE IGOR – No sleep, no rest (Borodin) /
RUSLAN AND LUDMILA – O say, ye fields! (Glinka). 

 12” plum HMV EL 8
[2G390-1/2G548-1]

“Youreneff’s voice was strong and powerful with a metallic edge, being ideal for the dramatic baritone roles in the operas of Verdi.  For a while, Youreneff was the protege of Chaliapin.  Youreneff also recorded for LA VOIX DE SON MAITRE (HIS MASTER’S VOICE).  Herman Klein wrote ‘a Russian baritone, G.M. Youreneff,with a capital voice, gives ample justice’….even in his 70s, Youreneff boasted that he could sing a powerful high C and said if anyone would pay him $100 he would gladly demonstrate this for them.”

Orig issue full color label HMV 12"  78 rpm record

Condtion: EXCELLENT close to pristine faint scuff end of Rusaln, plays very quiet light crackle, faint warp NAP

A GREAT COPY 

Georgy Mitrovich Yurenev 1891-1948
G.P. Dubrovsky and G.M. Youreneff started their careers in the opera houses of Imperial Russia. Fleeing the bolsheviks after the Revolution, they sang in Western Europe, mainly in the French-speaking regions of France, Belgium, and Monte Carlo. Dubrovsky was Georgian by birth, Dubrovsky being the name he chose for the theater. Dubrovsky was among those wonderful Russian basses that, at one time or another, was considered competition for the great F.I. Chalapin. No matter how gifted they were, Chalapin was head and shoulders above them, in a class of his own. Dubrovsky recorded for LA VOIX DE SON MAITRE (HIS MASTER’S VOICE). I have heard a recording by the Black Sea Cossack Choir, conducted by A._. Sholuch, with a bass solo, the voice I could swear was that of Dubrovsky. G.A. Soloduhin, in his book “Life and Destiny of a Cossack”, speaks highly of Dubrovsky and his solo work with the General Platoff Don Cossack Chorus. Dubrovsky and Youreneff were friends from their early days in opera.

They both sang the role of Boris Godunov in the opera of the same name by M.P. Moussorgsky and were often seen together. For this reason, we respectfully called them “The Brothers Godunov”, a pun on the novel “The Bother’s Karomazov” by F.M. Dostoyevsky. For a short period of time, Dubrovsky was the voice teacher of Mario Lanza. Youreneff’s voice was strong and powerful with a metallic edge, being ideal for the dramatic baritone roles in the operas of Verdi. For a while, Youreneff was the protege of Chalapin. When Chalapin was spoken of in the chorus, he was spoken of in tones of respect and admiration (for those who are interested in this immortal collosus of Russian and operatic music, read his two autobiographies: Man in Mask and Pages from my Life, and the wonderful biography Chalapin by Victor Borovesky). Like Dubrovsky, Youreneff also recorded for LA VOIX DE SON MAITRE (HIS MASTER’S VOICE). In the book Herman Klein, and the grammophone, which is a compilation of essays, newspaper articles, and record reviews by the famous British critic Herman Klein. Klein, writing on page 539, “a Russian baritone, G.M. Youreneff,with a capital voice, gives ample justice to the lonely step and the bells of the Kremlin.” The bells of the Kremlin being composed for Youreneff by V._. Karnavalov. I have never heard the recording, but I have heard him sing this song in rehearsal and in concert at Town Hall (New York), with the Balalaika Symphonic Orchestra conducted by A._, Kutin. At that time, I played Balalaika with the orchestra. The song and its singing was impressive, ending on a sustained and powerful high G. Speaking of high notes, even in his 70s, Youreneff boasted that he could sing a powerful high C and said if anyone would pay him $100 he would gladly demonstrate this for them.

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