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Ivanoff [Ivanov], Nicola [Nikolay] (Kuz'mich)
(b Poltava, 10/22 Oct 1810; d Bologna, 7 July 1880). Russian tenor. A singer in the imperial chapel, St Petersburg, he was given leave of absence to accompany Glinka to Italy in 1830, and never returned to Russia. He studied with Eliodorn Bianchi, Andrea Nozzari and Panofka, making his début at the S Carlo on 6 July 1832 as Percy in Anna Bolena. He first sang in Paris at the Théâtre Italien in 1833 as Gianetto in La gazza ladra and made his London début on 15 April 1834 as Percy at the King's Theatre.
Ivanoff passed the remaining years of his career mainly in Italy. In 1840 he sang in Guillaume Tell (given as Rodolfo di Sterlinga) at Bologna, where on 19 March 1841 he took part in a performance of Rossini's Stabat mater conducted by Donizetti. Engaged at Palermo, he sang Riccardo in the première of Pacini's Maria, regina d'Inghilterra (11 February 1843), and made his début at La Scala in the same opera (26 December). In the summer of 1844 he appeared at the Kärntnertortheater, Vienna, in two Donizetti operas, Maria di Rohan and Roberto Devereux. At Parma the same year he sang the title role of Ernani, with an extra aria, commissioned from Verdi and paid for by Rossini, who had adopted the tenor as his protégé. He repeated Ernani at the Teatro Apollo, Rome, in 1845. In 1846 at Trieste he sang Foresto in Attila, again with an extra aria commissioned from Verdi by Rossini. He returned to Rome (1847–8), Paris (1850) and to Palermo (1852), but by then his voice had nearly gone, and he had to be replaced after two performances.
At the beginning of his career Ivanoff had, to quote Chorley, ‘the sweetest voice, as a gentle tenor, that ever sang in Italian or Muscovite throat. Nothing could be more delicious as to tone – more neat as to execution: nothing, assuredly, ever so closely approached an automaton not wound up, as did he, on the stage, by his insignificance of aspect, and his nullity of demeanour’. When later he attempted heavier roles, his voice lost its bloom, but he gained in stage experience and dramatic conviction.
BIBLIOGRAPHY
H.F. Chorley: Thirty Years' Musical Recollections (London, 1862/R, abridged 2/1926/R by E. Newman)
H. Panofka: Voix et chanteurs (Paris, c1870)
F. de Filippis and R. Arnese: Cronache del Teatro di S Carlo 1737–1960 (Naples, 1961–3)
J. Budden: The Operas of Verdi, i: from Oberto to Rigoletto (London, 1973, 3/1992)
D. Brown: Mikhail Glinka (London, 1974/R)
ELIZABETH FORBES
Ivanov, Georgi.
See Tutev, Georgi.
Ivanov, Lev Ivanovich
(b St Petersburg, 18 Feb/2 March 1834; d St Petersburg, 11/24 Dec 1901). Russian choreographer. See Ballet, §2(iv).
Ivanov, Mikhail Mikhaylovich (i)
(b Moscow, 23 Sept 1849; d Rome, 20 Oct 1927). Russian critic and composer. He graduated from the Institute of Technology in St Petersburg in 1869 and then studied for a year at the Moscow Conservatory, where he attended Tchaikovsky’s composition classes and took piano lessons from Dubuque. From 1870 to 1875 he studied with Sgambati in Rome; during these years he associated with Liszt and his circle of pupils and admirers. On his return to St Petersburg, he began to submit articles on musical topics to the St Petersburg press. In 1879 he edited the musical journal Voskresnïy listok muzïki i ob’yavieniy, but the following year he was engaged as permanent music critic on the Novoye vremya. His lively and informed articles appeared regularly in that paper until 1918. Conservative in his outlook on music, he adopted a hostile attitude towards the so-called National School. His often ironic and scathing reviews of new music earned him the dislike of many composers.
Ivanov wrote four operas (three of which were performed with some success), several competent if uninspired orchestral works, some choral pieces and some songs. His compositional style has been described as a pale imitation of that of Tchaikovsky. He wrote a history of music in Russia, Istoriya muzïkal’novo razvitiya v Rossii (St Petersburg, 1910–12), and articles on Italian literature, and translated into Russian Hanslick’s Vom Musikallsch-Schönen (a work which had a profound influence on him as a critic) and Nohl’s Die geschichtliche Entwickiung der Kammermusik. After the Revolution he emigrated to Italy, where he lived quietly until his death.
WRITINGS
selective list
Istoricheskoye razvitiye kamernoy muzïki i eyo znacheniye dlya muzïkanta [The historical development of chamber music and its importance for the musician] (St Petersburg, 1885) [trans. of K. Nohl: Die geschichtliche Entwicklung der Kammermusik, Brunswick, 1885]
O muzïkal’no-prekrasnom (St Petersburg, 1885) [trans. of E. Hanslick: Vom Musikalisch-Schönen, Leipzig, 1870]
with P.D. Perepelitsïn: Muzïkal’naya pamyatnaya i zapisnaya knizhka [A book of musical recollections and notes] (St Petersburg, 1887)
Istoricheskiy ocherk pyatidesyatiletney deyatel’nosti muzïkal’novo zhurnala ‘Nuvellist’ [Historical survey of 50 years’ activity of the music journal Nouvelliste] (St Petersburg, 1889)
Pushkin v muzïke [Pushkin in music] (St Petersburg, 1889)
Pamyati Friderika Shopena [In memory of Chopin] (St Petersburg, 1908)
Istoriya muzïkal’novo razvitiya v Rossii [The history of the development of music in Russia] (St Petersburg, 1910–12)
BIBLIOGRAPHY
G.B. Bernandt and I.M. Yampol’sky: Kto pisal o muzïke [Writers on music], i (Moscow, 1971) [contains a complete list of writings]
JENNIFER SPENCER
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