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E. Sharma

F. Lamperti’s learners in Russia: Hortensia Syunnerberg

The article is devoted to research comprehension of the creative and pedagogical heritage of Hortensia Syunnerberg-Solovieva (1856–1920), which belonged to the galaxy of students of the famous maestro Francesco Lamperti, who worked in Russia.

However, unlike the no less famous figures of Russian singing teachers who came into direct contact to one degree or another with the school of the famous Italian man, her name is only occasionally appears in some sources and separate reference publications, therefore it is known to a very narrow circle of researchers. Meanwhile, the singer was truly world famous, and contemporaries were spoken of her mostly in an enthusiastic manner and listed her among the best mezzo-sopranos of that time. This is all the more important, since the work and pedagogical heritage of Hortensia Syunnerberg carries the “living” tradition of the Italian school of singing of the famous maestro.

Exploration of the materials of the 19th–20th centuries showed that the singer owned an extensive repertoire, most of the reviews about her performances were very positive, and they, as a rule, emphasized the high vocal and technical skills of the singer, which no one doubted.

An important factor is also the fact that Hortensia Syunnerberg expressed her views on the setting of voice in a printed work entitled “What system should be followed for setting the voice?” (1912) and considered authoritative.

Thus, the study of the experience of this singer and teacher allows not only to compile a more reliable idea of the Russian vocal art of the turn of the 19th–20th centuries, but also to a certain extent could serve as a good guide for current teachers of academic singing.

Key words

G. Syunnerberg, F. Lamperti, S. Sonki, S. Fenzi, European opera theatre in the last quarter of the 19th century, Italian school of singing, vocal pedagogy of our country.

For citation

Sharma E. F. Lamperti’s learners in Russia: Hortensia Syunnerberg // South-Russian Musical Anthology. 2022. No. 2. Pp. 129-137.