71 Facts About Vladimir Rosing

Vladimir Rosing was considered by many to rank as a singer and performer of the quality of Feodor Chaliapin.

Vladimir Rosing's best known recordings are his performances of Russian art songs by composers such as Mussorgsky, Tchaikovsky, Rachmaninoff, Gretchaninov, Borodin and Rimsky-Korsakov.

Vladimir Rosing was the first singer to record a song by Igor Stravinsky: Akahito from Three Japanese Songs.

Vladimir Rosing created his own system of stage movement and acting for singers.

Vladimir Rosing's father was descended from a Swedish officer captured by Russian forces at the Battle of Poltava.

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Vladimir Rosing spent the summer of 1898 on his godfather's country estate south of Moscow near Tula.

Vladimir Rosing traveled with his mother to meet Leo Tolstoy as his nearby estate, Yasnaya Polyana.

At Tolstoy's request, Vladimir Rosing's mother carried a message meant for the Tsar to General Stolypin, who later declined to deliver it.

Vladimir Rosing's parents reconciled the next year, and the family moved back to St Petersburg.

Vladimir Rosing completed his studies at the Gymnasium which lasted for eight years in Russia, and the family spent summers on their country estate in Podolia, Ukraine.

Rosing's father brought home a gramophone in 1901, and Vladimir began to listen to and imitate the great singers of the day.

Vladimir Rosing learned a repertoire of songs and arias, singing baritone as well as tenor parts.

In 1905, Vladimir Rosing witnessed the massacre in front of the Winter Palace on Bloody Sunday.

Vladimir Rosing then ceased being a monarchist and allied himself with the Constitutional Democratic Party.

Vladimir Rosing sparred in heated debates with future Bolshevik commissar Nikolai Krylenko.

Vladimir Rosing acted as a student deputy to the Saint Petersburg Soviet where he heard speeches by Leon Trotsky and others.

In 1908 Vladimir Rosing fell in love with an English musician, Marie Falle, whom he met while on holiday in Switzerland.

Vladimir Rosing studied voice in London with Sir George Power, before returning to Russia to finish law school.

Vladimir Rosing spent the summer in Paris studying with Jean de Reszke and Giovanni Sbriglia.

Vladimir Rosing presented the English premiere of Tchaikovsky's The Queen of Spades and introduced Tamaki Miura in Madama Butterfly, the first Japanese singer to be cast in that opera's title role.

Vladimir Rosing returned to Russia for two months in the summer of 1915 after the Tsar called up the 2nd Reserves.

Vladimir Rosing was later awarded the Serbian Order of St Sava Fifth Class for his service.

Vladimir Rosing headed up the newly formed Committee for Repatriation of Political Exiles.

Vladimir Rosing socialized with Prince Felix Yusupov, organizer of the murder of Rasputin, and Alexander Kerensky, Prime Minister of the failed Russian Provisional Government.

Vladimir Rosing filled in for John McCormack in Belfast, winning acclaim from the Irish.

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Vladimir Rosing recorded 61 discs for Vocalion Records in the early 1920s, often accompanied by pianist Frank St Leger.

In 1919, Vladimir Rosing formed formed LAHDA, the Russian Musical Dramatic Art Society, in London with director Theodore Komisarjevsky and dancer Laurent Novikoff.

Vladimir Rosing left England for his first concert tour of the United States and Canada in November 1921.

Vladimir Rosing returned for his second tour of the United States and Canada in November 1922.

Vladimir Rosing saw a chance to create the opera company he had always wanted, and he jumped at the opportunity to sell Eastman on his dream.

Vladimir Rosing analyzed what made them beautiful, graceful or convey emotion and figured out how to transfer that expressive power to physical bodies in movement on a stage.

Vladimir Rosing's central idea was that there is a definite time, place and reason for the beginning of a gesture and a definite time to retrieve it—and that all gestures must be retrieved.

Vladimir Rosing taught rules for the independent and coordinated action of the joints used in sculpting body movement, that every movement has a preparatory movement in the opposite direction, and that the retreat of a gesture is of extreme importance.

Vladimir Rosing did away with waving arms and wandering hands, and he demanded that every unnecessary movement be eliminated.

Vladimir Rosing's staging formula was to move and hold, as though a series of still shots was being photographed, or sculptures animated.

Vladimir Rosing believed opera could achieve its maximum effectiveness with dramatic interpretation resulting from rather than affixing itself to the music.

Vladimir Rosing built his entire principle of stage action on this theory.

Vladimir Rosing did that with the help of enthusiastic artists and benefactors.

Later that month, Vladimir Rosing married his second wife, soprano Margaret Williamson, who was a member of the company.

Vladimir Rosing had become an American citizen in 1930, but when an offer came from the BBC for a broadcast performance he returned to London.

Vladimir Rosing remained popular as a recitalist in Britain, and he resumed giving concerts there upon his return in 1933.

Vladimir Rosing directed a musical production of Richard Brinsley Sheridan's The Rivals with songs by Herbert Hughes and John Robert Monsell which was staged at the Kingsway Theatre in September 1935.

When war broke out again in Europe in September 1939, Vladimir Rosing went with his friend Albert Coates to Southern California.

Vladimir Rosing renewed his political activities, becoming Executive Chairman of the Federal Union of Southern California, a new group whose members included Thomas Mann, John Carradine, Douglas Fairbanks Jr.

Vladimir Rosing was appointed Director of Entertainment at Camp Roberts, California, in 1943.

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The film studios lent their stable of stars, and with the help of talented servicemen Vladimir Rosing directed over 20 productions of musical theater and light opera for the troops.

Vladimir Rosing's last production at Camp Roberts was a staged version of Handel's Messiah in December 1945.

Vladimir Rosing worked locally with the Long Beach Civic Opera Association on productions of The Merry Widow, Naughty Marietta, and Rio Rita in 1946.

Vladimir Rosing had seen the original failed production, commissioned by the Chicago Opera in 1921, and he knew what the work needed to bring it to success.

Vladimir Rosing's production opened in November 1949 and was a smash hit.

Vladimir Rosing directed opera sequences for four films during this period, starting with Everybody Does It starring Linda Darnell for 20th Century Fox in 1949.

Vladimir Rosing directed Ezio Pinza in Strictly Dishonorable, and Interrupted Melody with Eleanor Parker in 1955, both for MGM.

In 1950, as California was celebrating one hundred years of statehood, Vladimir Rosing directed a new production of Faust with Nadine Conner, Jerome Hines and Richard Tucker, which opened the Hollywood Bowl's summer season.

Vladimir Rosing's work was noticed by the producers of the upcoming The California Story, the official state centennial production to be mounted in the Bowl that fall, and he was asked to direct it.

In 1956 Vladimir Rosing directed a similarly lavish production of The California Story in San Diego as the main production of a newly created civic festival, Fiesta del Pacifico.

Vladimir Rosing directed three more operas at the Hollywood Bowl: Die Fledermaus in 1951, Madama Butterfly with Dorothy Kirsten in 1960, and The Student Prince with Igor Gorin in 1962.

Vladimir Rosing was assisted by his fifth wife, Ruth Scates, whom he married in 1959.

Vladimir Rosing conceived of a spectacular production, The Civil War Story, that would be funded jointly by participating States and tour the country for several years to mark the war's centennial.

Vladimir Rosing wanted to use the power of art to fight the forces of totalitarianism that he saw threatening America's freedom.

Vladimir Rosing was buried at Forest Lawn Memorial Park in the Hollywood Hills.

Vladimir Rosing proffers a few words of explanation of his songs; he ventures a happy interchange, Russian-wise, with his audience.

Mr Vladimir Rosing prefers to make his song an insistently expressive art.

Vladimir Rosing uses them not as display in Galli-Curcian or Tetrazzinian fashion, but to achieve a discoverable point in his vocal design.

Vladimir Rosing had one of the vividest and most magnetic personalities I had ever come across; rarely have I known anyone who could hold an audience in such a sheer ecstasy of enchantment through a whole recital.

Vladimir Rosing acted every song; often he overacted it, sometimes he all but clowned it.

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Vladimir Rosing had no right in a concert hall; he ought to be on a fairground.

Vladimir Rosing sang—eyes closed and feet wide apart, like a blind goalkeeper—not only with his voice but with his heart, brain, body, hands and feet.

Vladimir Rosing arrives at complete realism, and has a perfect realistic musical tone that portrays the meaning of the word, the psychological state behind the word.

Vladimir Rosing must create in his mind, a sort of cinematographic film of every movement or emotion that there is in the song.

Vladimir Rosing may have partly inspired the character of Stanislas Rosing in English author Lady Eleanor Smith's 1932 romance novel "Ballerina".

Irish poet Patrick MacDonogh writes about listening to Vladimir Rosing's recording of Rachmaninoff's "Ne poy krasavitsa, pri mne" in part two of his poem "Escape to Love".