Primary Presenter: Rochelle Hanson, Ph. Primary Presenter: Ashley Smith, M. Primary Presenter: Alex Dopp, Ph. Presenter: Rochelle Hanson, Ph. Presenter: Shannon Stirman, Ph. Chair: Angela Fang, Ph. Discussant: Thilo Deckersbach, Ph. Primary Presenter: Eric A. Primary Presenter: Angela Fang, Ph. Primary Presenter: Aude Henin, Ph. Presenter: Angela Fang, Ph. Chair: Nicholas C. Jacobson, M. Panelist: Kelly Koerner, Ph. Panelist: Jacqueline Sperling, Ph. Moderator: Kaitlin P. Gallo, Ph. Panelist: Lindsey Bergman, Ph. Panelist: Jamie A. Micco, Ph. Panelist: Shannon Bennett, Ph. Moderator: R.
Meredith Elkins, M. Panelist: Anne Marie Albano, Ph. Panelist: Christine Conelea, Ph. Panelist: R. Kathryn McHugh, M. Panelist: Monnica T. Panelist: Antonette M. Zeiss, Ph. Chair: Hannah Boettcher, M. Discussant: Brett J. Primary Presenter: Laura J. Dixon, Ph. Primary Presenter: Nicole A.
Short, B. Primary Presenter: Michelle L. Davis, Ph. Primary Presenter: Hannah Boettcher, M. Presenter: Michelle L. Chair: Mei Yi Ng, M. Chair: Heather MacPherson, Ph. Discussant: Mary Fristad, Ph. Primary Presenter: Nancy Lau, Ph. Primary Presenter: Laura Skriner, M. Chair: Anu Asnaani, Ph. Discussant: Mark B. Powers, Ph. Primary Presenter: Carmen P. McLean, Ph. Primary Presenter: Sheila A. Presenter: Carmen P. Chair: Stephen P. Becker, Ph. Primary Presenter: Aaron M. Luebbe, Ph. Primary Presenter: Zoe R. Smith, B. Primary Presenter: Will H.
Canu, Ph. Primary Presenter: Jaclyn M. Kamradt, M. Primary Presenter: Gina M. Sacchetti, M. Presenter: Zoe R. Chair: Evan M. Kleiman, Ph. Chair: Brianna J. Turner, Ph. Discussant: Matthew K. Nock, Ph. Primary Presenter: Michael Armey, Ph. Primary Presenter: Amy Kranzler, M. Primary Presenter: Brooke Ammerman, M.
Primary Presenter: Brianna J. Presenter: Michael Armey, Ph. Chair: Claudi Bockting, Ph. Discussant: Steven Hollon, Ph. Primary Presenter: Claudi Bockting, Ph. Primary Presenter: Sona Dimidjian, Ph. Primary Presenter: Marlies Brouwer, M. Presenter: Sona Dimidjian, Ph. Primary Presenter: Antonio J. Polo, Ph. Presenter: Patrick B. McGrath, Ph. Chair: Sannisha K. Dale, Ph. D, Ed. Chair: Trevor Hart, Ph. Discussant: Conall M. Primary Presenter: Trevor Hart, Ph.
Primary Presenter: Sannisha K. Primary Presenter: Lena Andersen, Ph. Primary Presenter: Steven A. Safren, Ph. Primary Presenter: Jasper S. Lee, B. Presenter: Sannisha K. Chair: Richard J. Discussant: Eiko I. Fried — University of Leuven. Primary Presenter: Nader Amir, Ph. Primary Presenter: Richard J. Primary Presenter: Alexandre Heeren, Ph. Primary Presenter: Justin J.
Anker, Ph. Moderator: Efthimia Rigogiannis, Psy. Moderator: Jessica Renz, Psy. Presenter: Lata McGinn, Ph. Presenter: Alec L. Miller, Psy. Presenter: Jonathan B. Grayson, Ph. Chair: Fabian D. Chair: Michal Kahn, M. Chair: Ronald Rapee — Macquarie University. Primary Presenter: Jeremy K. Fox, Ph. Primary Presenter: Michal Kahn, M.
Primary Presenter: Caroline L. Donovan — Griffith University. Primary Presenter: Dina R. Hirshfeld-Becker, Ph. Presenter: Dina R. Panelist: Michael Burnias, Psy. Panelist: David Pantalone, Ph. Moderator: Emily Gagen, M. Panelist: Melanie Bennett, Ph. Panelist: Irene Hurford, M. Chair: Adam B. Primary Presenter: Jessica Jennes, Ph. Presenter: Adam B. Presenter: Tory Eisenlohr-Moul, Ph. Chair: Ashley Harrison, Ph. Chair: Casey A. Discussant: Amy Mendenhall — University of Kansas. Primary Presenter: Ashley Harrison, Ph.
Primary Presenter: Tony Wells, Ph. Discussant: Willem Kuyken, Ph. Primary Presenter: David A. Richards — University of Exeter Medical School. Primary Presenter: Nick Forand, Ph. Primary Presenter: Adele M. Presenter: Nick Forand, Ph. Presenter: Alayna R. Schreier, M. Panelist: Andre M. Ivanoff, Ph. Chair: Michelle L. Primary Presenter: Eni Becker, Ph. Panelist: William E. Pelham, Jr. Presenter: Steffany J. Presenter: Joan Davidson, Ph.
Panelist: David F. Tolin, Ph. Panelist: David Klonsky, Ph. Panelist: Dianne L. Chambless, Ph. Moderator: Sara J. Landes, Ph. Panelist: Scott H. Panelist: Urmi N. Chair: Rachel Hershenberg, Ph. Chair: Lisa Starr, Ph. Discussant: Todd Kashdan, Ph. Primary Presenter: Edward Selby, Ph. Primary Presenter: Amelia Aldao, Ph. Primary Presenter: Lisa Starr, Ph. Primary Presenter: Erin Sheets, Ph. Chair: Daniel J. Discussant: Marjan G. Holloway, Ph. Primary Presenter: Daniel J. Primary Presenter: Craig J. Bryan, Psy. Primary Presenter: Jonathan D. Presenter: Craig J. Chair: Douglas K. Snyder, Ph. Discussant: Jay L.
Lebow — Family Institute at Northwestern University. Primary Presenter: Brian D. Doss, Ph. Primary Presenter: Norman B. Epstein, Ph. Primary Presenter: Douglas K. Chair: Michelle Newman, Ph. Discussant: Lauren B. Alloy, Ph. Primary Presenter: Nicholas C. Primary Presenter: Mark Zimmerman, Ph. Primary Presenter: Gabriela Kattan. Khazanov, Ph. Primary Presenter: Jessica Hamilton, M.
Presenter: Gabriela Kattan. Presenter: Nicholas C. Discussant: Sonya Norman, Ph. Primary Presenter: Emily R. Jeffries, B. Primary Presenter: Lorra Garey, M. Primary Presenter: Kristina Korte, Ph. Presenter: Kristina Korte, Ph. Presenter: Emily R. Chair: Marc J. Weintraub, M. Discussant: David J. Primary Presenter: Zachary B. Millman — University of Maryland, Baltimore County. Primary Presenter: Marc J.
Primary Presenter: Kim T. Presenter: Zachary B. Chair: Brett M. Discussant: Jeffrey T. Primary Presenter: Brett M. Primary Presenter: H. Primary Presenter: Brian A. Feinstein, Ph. Presenter: Brian A. Moderator: Risa B. Weisberg, Ph. Panelist: Barbara W. Panelist: Lizabeth Roemer, Ph. Chair: Adam M. Reid, M. Primary Presenter: Adam M. Primary Presenter: Jason A. Elias, Ph. Primary Presenter: Brian C. Chu, Ph. Presenter: Adam M.
Presenter: Jason A. Chair: George J. DuPaul, Ph. Discussant: Margaret H. Primary Presenter: Steve Evans, Ph. Primary Presenter: Julie Owens, Ph. Moderator: Kristen K. Ellard, Ph. Panelist: Jonathan S. Chair: Sarah Kertz, Ph. Discussant: Kiara Timpano, Ph. Primary Presenter: Keith Klein, B. Primary Presenter: Kimberly Stevens, M. Primary Presenter: Kean Hsu, Ph. Presenter: Kean Hsu, Ph. Presenter: Kimberly Stevens, M. Chair: Annette M. La Greca, Ph. Discussant: Laura Mufson, Ph. Primary Presenter: Annette M. Primary Presenter: Jami Young, Ph. Presenter: Anat Brunstein Klomek, Ph. Author: Laura Mufson, Ph.
Chair: Kate L. Discussant: Sheri L. Johnson, Ph. Primary Presenter: Sheri L. Primary Presenter: Jutta Joormann, Ph. Primary Presenter: Kate L. Presenter: Sheri L. Moderator: Laura Anthony, Ph. Panelist: Laura Anthony, Ph. Panelist: Audrey Blakeley-Smith, Ph. Chair: Maria Karekla, Ph. Discussant: Bradley Collins — Temple University. Primary Presenter: Maria Karekla, Ph. Panelist: Sarah A. Presenter: Evelyn Behar, Ph. Presenter: Barbara W.
Presenter: Bryce D. McLeod, Ph. Chair: Amanda L. Sanchez, B. Discussant: R. Nicholas Carleton, Ph. Primary Presenter: Danielle Cornacchio, B. Presenter: Amanda L. Presenter: Danielle Cornacchio, B. Chair: Kate Bentley, M. Primary Presenter: Adam Jaroszewski, B. Primary Presenter: Charlene A. Deming, M. Glenn — University of Virginia. Primary Presenter: Jessica D. Ribeiro, Ph. Presenter: Charlene A.
Chair: Denis Sukhodolsky, Ph. Discussant: Raymond Chip Tafrate, Ph. Primary Presenter: Denis Sukhodolsky, Ph. Primary Presenter: Megan Tudor, Ph. Primary Presenter: Howard Kassinove, Ph. Primary Presenter: Michael Toohey, Ph. Presenter: Michael Toohey, Ph. Presenter: Edward R. Watkins, Ph. Chair: Chelsey R. Wilks, M. Discussant: Marsha Linehan, Ph. Primary Presenter: Trevor Coyle, B. Primary Presenter: Janice Kuo, Ph.
Primary Presenter: Chelsey R. Primary Presenter: Melanie Harned, Ph. Chair: Maren Westphal — Pace University. Primary Presenter: Gerard Bruder, Ph. Primary Presenter: Ronit Kishon, Ph. Presenter: Gerard Bruder, Ph. Presenter: Ronit Kishon, Ph. Presenter: Richard Gallagher, Ph. Presenter: Jenelle Nissley-Tsiopinis, Ph. Chair: Karin M. Nylocks — Kent State University.
Discussant: John McGeary, Ph. Primary Presenter: Karin M. Presenter: Robert D. Friedberg, Ph. Chair: Aaron Fisher, Ph. Chair: Aidan Wright, Ph. Primary Presenter: Aidan Wright, Ph. Primary Presenter: Eiko I. Chair: Lauren B. Discussant: Robin Nusslock — Northwestern University. Primary Presenter: Mitchell J. Prinstein, Ph. Primary Presenter: Anastacia Kudinova, B. Presenter: Mitchell J. Presenter: Anastacia Kudinova, B. Chair: Wendy K. Silverman, Ph. Chair: Jeremy W. Pettit, Ph. Primary Presenter: Laura Mufson, Ph. Melba and Mary Garden did not get away with it! It has been particularly interesting for me to follow them with a vocal score used by the great conductor Ettore Panizza, which contains the Italian translation used at Covent Garden and many penciled-in indications of performance practice.
The recording is very fine, but is eclipsed by the live recording of , in which we hear the wonderfully expressive and still beautiful voice resonating through the warm acoustic of Covent Garden, and we can hang onto every pianissimo and thrill to the chilling moments together with that fortunate audience. This live performance enjoys wonderful conducting by Vincenzo Bellezza, and all the long stage pauses, bumps, and bangs, and even the occasional cough from the audience add to the electric atmosphere. Although he generally takes the lower note when Mussorgsky or Rimsky-Korsakov offers alternatives, at Covent Garden he includes a high G-flat which he omits in It would have been interesting to hear what changes, if any, he had made to his most famous interpretation.
Out of these charming but hardly great songs the Master has wrought three masterpieces of musical and dramatic expression in his unique personal style. The whole song heartbreakingly suggests lost love, nostalgia, regret. At any other time the very great Russian basso Vladimir Kastorsky — and his equally great Ukrainian counterpart Lev Sibiryakov — might have come to enjoy wider acclaim than they did, but unfortunately for them they were put in the shade by their contemporary Feodor Chaliapin.
Chaliapin ranks with Caruso and Maria Callas as one of the three greatest singers and most potent and influential operatic artists of the twentieth century. In his great days he never played comprimario roles. He accomplished this supremacy by means of the Russian opera, until his time something provincial and obscure. It was Boris that made Chaliapin and which he popularized, first in Russia and then throughout the world. He stamped his personality indelibly on the part, creating a performing tradition that is still extant.
Chaliapin was the quintessential Russian. From his childhood, he was familiar with the music of the people: real folk music, not the boozy balalaika numbers that he used to sing in later years for fun—and money. The folk music of Russia a hundred years ago was rich and varied, especially the unaccompanied songs for groups of different voices with their simple but affecting harmonies.
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But formative though the influence of folk and church music was and important as it remained to him for the rest of his life, it was through the theater that his art was to find complete expression. By his own account he was twelve years old when he was taken to see one of the many travelling companies that trouped back and forth across old Russia. It was love at first sight, and from that time he does not seem to have seriously entertained any other ambition than a career on the stage.
At first he appeared in plays as well as opera, but as his voice developed his inclination towards the lyric theater grew. This skill he acquired from Uzatov. They provide incontrovertible evidence that his singing was profoundly musical, that all the many expressive devices he used, as with baritone Mattia Battistini, were not extra-musical, grafted on or interpolated, but arose out of a vocal line informed by a legato that was securely poised on the breath.
For them singing was a complete form of expression.
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But they took as much account of the words and were equally concerned with conveying dramatic truth. Of the countless singers on records Chaliapin was probably the most completely integrated artist, his genius most perfectly fusing drama and music. He never seemed technically or consciously to sing: I mean that he did not need to make any obvious effort or laryngeal adjustment to modulate from his everyday way of speaking to the act of singing. There were magical moments when Chaliapin would suddenly modulate from histrionics to the purest vocalism and achieve the most perfect legato of any Italian.
Perfect equilibrium between singer and actor , a born artist in every sense of the word. Petersburg, where he secured an engagement with the Panayev company, one of the many private companies which were such a feature of operatic life in pre-revolutionary Russia. Though he made a considerable impression, his success was by no means complete. His acting style in particular was thought crude, undisciplined, not properly formed and obviously provincial.
The two years he spent with Mamontov were crucial.
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By this time he was the mature artist we hear in his recordings. Until the Revolution he sang regularly at both theaters. And in addition to this, he possesses a positively Dantesque pronunciation. It is stupendously picturesque, of course … but calls to mind, more than anything else, the vulgarity of conduct which his countryman Gorki presents with such disgusting frankness in his pictures of Russian low life … Mr.
Chaliapin is undoubtedly an artist, even if his ideals are not praiseworthy. His physical appearance ought not to create greater admiration than his splendidly rotund voice and his eloquent declamation…. When he did in , the Russia he knew and loved had been swept away, and the world too had lived through a holocaust without parallel in the history of mankind.
The war was to make the most profound and lasting changes in Russia; the collapse of the Russian army led to revolution. In February , less than four years after the splendid ceremonies celebrating its tercentenary, the Romanov dynasty was deposed.
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An iron curtain did not descend at once and during the next ten years Russian artists continued to visit the West fairly regularly, but the glories of the Imperial Opera were at one with Nineveh and Tyre. A few of its artists, chief among them tenor Leonid Sobinov and soprano Antonia Nezhdanova, preferred to remain and serve the new regime but many, including some of the most distinguished, went abroad never to return.
Even those who had once made common cause with progressive and socialist movements were hardly prepared for the harsh reality of the brave new world.
Chaliapin spent a few years as an honored but, in his opinion, insufficiently remunerated artist of the people and then left to recoup his fortune in the United States. The men of the revolution watched him go with mixed feelings; by then he had become an unmanageable embarrassment, for such was his prestige that there was no way in which they could discipline him. At his last public appearance in Russia at the opening of the Third International Congress in Moscow in [quoted from La Revue musicale mensuelle ]—.
In front of eight or nine hundred international delegates and many thousands of Bolsheviks from Moscow, he sang in turn in French, German, Italian and English. Finally when he broke into the old song of the peasants in revolt, singing with passion and art, the entire hall took up the refrain and the Communists gave him the kind of ovation that only Lenin gets. A veritable god among artists! He was obliged to leave behind him all the valuable things he had accumulated in the affluent pre-war days, or almost all of them; he did manage to get away with eight priceless Gobelin tapestries.
Though he had been singing for more than a quarter of a century, he was at the summit of his vocal and interpretative powers. He reappeared as Boris, and this time swept all before him. This time with one accord they all acclaimed him, as in this review by Henry Krehbiel from the New-York Tribune :. Last night nobility of acting was paired with a beautiful nobility of voice and vocal style, and his Boris stood out of the dramatic picture like one of the old-time heroes of tragedy … He sang in Russian: and though it was possible even for those unfamiliar with the language to feel some of the intimacy which must exist between the original text and the music, the effect upon the Russians in the audience was akin to frenzy.
All that we have heard of the greatness of his interpretation of the character of Boris was made plain.
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It was heart-breaking in its pathos, terrible in its vehemence and agony. And like Macbeth, while it is difficult to give a totally ineffective performance, to give a really memorable one is just as hard. As the accompanist Gerald Moore has written, even in those roles, which in lesser hands might be considered small: Don Basilio, Colline and Khan Konchak—. In the Polovtsian Dances in Prince Igor , the scene packed with chorus and dancers, most of the audience looked only at Khan Konchak even though he was enthroned to one side, to give the ballet stage center.
I know because I too was magnetized, and watching him, hugged myself with delight.
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Wherever he went, he was greeted like the Tsar; he once remarked that had Nicolas let him play the role there would have been no revolution. No bass before or since has enjoyed such acclaim or such fees.
He excused his rapacity to Raoul Gunsbourg, pleading that he was not stingy, only grasping recounted by Gunsbourg in his memoirs. During these years he began another career as a recitalist, which was to occupy him increasingly in the remainder of his life. For Chaliapin the concert platform was an extension of the theater and his recitals were dramatic events. The New York Times reported:. Chaliapin issues no program of his own selections but announces before each song what it is going to be by the number it bears in the book of words in English translation, with which the audience is expected to provide itself.
It is the same process as announcing hymns from the hymn book in church, but unlike the hymn book, the collection of Mr. For the audience the uncertainty added immeasurably to the excitement: for the accompanist, as Ivor Newton and Gerald Moore recall, it was an occupational hazard. In this song he even thrust his hand into the pocket of his dress suit at the allusion to Napoleon.
Yet he did it so naturally that no one smiled. The timbre of the voice is characteristic, the tone limpid and correctly placed on the breath, the registers smoothly blended and like Battistini, his mastery of the head voice is complete. For him speech and song were indissoluble; at its most intense speech turned into song and no mechanical adjustment was necessary; this is especially evident in the declamatory passages in the Clock Scene.