Stay with me, don't leave. “Don’t go, stay with me” - the story of the romance and the fate of its performer. In the old spelling

In that land the silence is lifeless,
Only in the thick of intertwined branches
Your wonderful voice, low and strange
Glorifies the storm of gypsy passions.

Vyaltseva's first solo performance took place in Moscow in 1897. She was twenty-six years old. Even then her famous creative manner: she sang brightly, easily, freely. She was called “the singer of the joys of life” because Anastasia Dmitrievna meticulously selected songs for her repertoire herself, rejecting those that contained the words “death”, “separation”, “sadness”, “grief”, “longing”. “This is what true talent means! This is where the soul of a genius is, illuminated by divine reflection,” I.E. said admiringly. Repin.

Crazy nights, sleepless nights,
Stuffy rooms, gypsy singing;
Passionate speeches, tired eyes!
Crumpled roses in glasses of champagne!

This romance made Vyaltseva famous. Among those blinded by the talent of the rising prima was a thirty-year-old official, the son of a provincial secretary (one of the lowest ranks in the table of ranks Russian Empire) Nikolai Vladimirovich Zubov. From childhood, he was drawn to music, to which his music-loving uncle, who often gathered a choir in his Vologda house, which he directed himself, became addicted to. Since the Zubov family lived in great poverty, Nikolai Vladimirovich was unable to receive music education and didn't even know the notes. At the same time, he was amazingly talented, had an excellent memory and could immediately play everything he heard “by ear”, sing any melody from many operas, and performed his compositions on the piano by heart, and his comrades wrote them down with musical notations.

The name Zubova has become extremely popular in turn of XIX-XX centuries, sheet music with his works were published in gigantic editions, 5-10 times higher than the editions of classical music.

The meeting with Anastasia Vyaltseva opened a new page in creativity young composer, the flared feeling inspired him to create dozens of romances, most of which were dedicated to his muse and performed by her. Among them, the most famous and popular are the romances “Together with You,” “Under Your Enchanting Caress” and “Don’t Go,” which are still included in their programs by almost all performers of this genre.

Don't go, stay with me
It’s so pleasant here, so bright,
I'll cover you with kisses
Mouth, and eyes, and forehead.
I'll cover you with kisses
Mouth, and eyes, and forehead.
Stay with me,
Stay with me!

Don't go, stay with me
I've loved you for so long.
I caress you with fire
I’ll burn you and tire you out.
I caress you with fire
I’ll burn you and tire you out.
Stay with me,
Stay with me!

Don't go, stay with me
Passion burns in my chest.

Don't go, don't go!
The delight of love awaits us with you,
Don't go, don't go.
Stay with me,
Stay with me!

Nikolai Vladimirovich wrote his most famous romance in 1899, the year he met Vyaltseva. For a long time, the poet M.P. was considered the author of the poems. Poigin, but later it was established that they were written by Zubov himself. In addition to “Don’t Go,” about ten romances were written by Nikolai Vladimirovich using his own poems.

In response to “Don’t Go,” composer P. Delme created the romance “At the Most tender words no forces...":

Don't go, stay with me
I feel so happy and bright
The most tender words have no power
Tell me how I loved
The idol is adorable.
How many speeches I spent
To light up in the dark of night
Heavenly fire.

Another dream of mine -
Kiss you on the mouth
Barely touching.
Passion melts in the chest for another,
Imagine it's me
Caressing him.

Reproach is worth nothing
When you carry it with you
In solitude.
Do you remember how yesterday
We kissed hotly
It's a comfort to me.

Goodbye! The hour of separation has struck,
The fire of love in you has gone out,
You are whimsical.
Another will press you to his chest,
If you forget your vows, go
And be happy!

Unfortunately, Nikolai Vladimirovich’s feeling remained without reciprocity... Anastasia Vyaltseva’s heart was given to the brilliant guards officer Biskupsky. Vasily Viktorovich Biskupsky came from the family of Privy Councilor Viktor Ksaverevich Biskupsky, ex-governor of Tomsk. His mother, Elena Vasilyevna, bore the surname Rimskaya-Korsakova as a girl. Biskupsky, who was seven years younger than his chosen one, devotedly loved the singer and married her. His parents, aristocrats, reacted calmly to the peasant origin of their daughter-in-law and blessed the young couple without hesitation.

The marriage of Vyaltseva and Biskupsky became public. As one would expect, the Horse Guards authorities did not approve of the misalliance, and Vasily Viktorovich had to leave the regiment. When Anastasia Dmitrievna went to Far East, Nikolai Zubov dedicated his last romance to her with the telling title “I wanted to forget you...”. It is unknown what the fate of the genius composer would be next. After 1906, traces of him are lost. Maybe Nikolai Vladimirovich, who generously gave his soul, putting it into the works he created, simply exhausted himself, finished his songs and fell silent, maybe he didn’t meet a muse equal to Vyaltseva who would inspire him to new masterpieces, and perhaps an early death took the composer in his prime...

During one of her trips, remembering her hungry childhood, Vyaltseva picked up and adopted a poor orphan. Unfortunately, the girl soon fell ill and died. In addition to her, Vyaltseva took care of a boy from poor family, to whom she bequeathed a large sum of money.

In 1912, doctors discovered Vyaltseva had blood cancer. The treatment did not produce results, and only a transfusion of healthy blood, which was taken from Vasily Viktorovich, temporarily improved the singer’s condition. Despite all efforts, she died a year later. Biskupsky was unable to attend his wife's funeral. His grief was so great that he fell ill with a fever: the wound he received in Manchuria opened. He was destined to outlive Anastasia Dmitrievna by 32 years. First World War he rose to the rank of general and commanded a division. His fellow soldier, the future white leader Baron P.N. Wrangel remembered him as a dashing and desperately brave officer. The revolution, initially supported by Vasily Viktorovich, expelled him from the borders of the Fatherland. In Europe, the general acted as commissioner for Russian refugees. He never married again, remaining faithful to his only love, and died in 1945 far from his homeland...

DON'T GO, STAY WITH ME

Don't go, stay with me
It’s so pleasant here, so bright,
I'll cover you with kisses
Mouth, and eyes, and forehead.
I'll cover you with kisses
Mouth, and eyes, and forehead.
Stay with me,
Stay with me!

Don't go, stay with me
I've loved you for so long.
I caress you with fire
I’ll burn you and tire you out.
I caress you with fire
I’ll burn you and tire you out.
Stay with me,
Stay with me!

Don't go, stay with me
Passion burns in my chest.

Don't go, don't go!
The delight of love awaits us with you,
Don't go, don't go.
Stay with me,
Stay with me!

For almost a century, the author of the text of this popular romance was considered to be M. P. Poigin, based on whose poems the composer Nikolai Zubov created seven romances in 1898-1903, including “Don’t leave, don’t leave.” Only at the end of the twentieth century it became clear that among more than sixty romances by Zubov himself (of which ten were own words) there is a romance with a very similar name “Don’t go, stay with me,” created in 1899 and dedicated to Anastasia Vyaltseva.

Subsequently, Zubov dedicated twenty more romances to Vyaltseva, including “Be Quiet!” , “Under your enchanting caress”, “Let it be a dream”, “I thirst for a date”, “Guess for yourself” and others that were part of her constant repertoire. But the first romance became the crowning number not of Vyaltseva, but of Varya Panina, who also performed other Zubov romances. Alexander Blok took the lines “Don’t leave, stay with me” as the epigraph to his poem “The smoke from the fire flows like a gray stream...” (1909). Anthology of Russian romance. silver Age

. / Comp., preface.

and comment. V. Kalugina. - M.: Eksmo Publishing House, 2005 (1867-1906?)

The romance is also known under the titles “Stay with me” or “Don’t go!” Used in the film "Tavern on Pyatnitskaya" (voice-over by Zhanna Bichevskaya). There is an answer to the romance - “The most tender words have no strength.”

Nikolay Zubov The words and music were written no later than 1900. Shadows of the past:

Vintage romances

. For voice and guitar / Comp.

A. P. Pavlinov, T. P. Orlova. - St. Petersburg: Composer St. Petersburg, 2007. - M. Poigin was mistakenly indicated as the author of the words.
Other arrangement:

Talk to me about love: Songbook. Songs and romances. For voice and guitar (piano, synthesizer). – St. Petersburg: Composer, 2005. - M. Poigin was mistakenly indicated as the author of the words.

Anastasia Vyaltseva (1871-1813)

From the book Irina Kononova and Nina Samsonadze "A Woman and Her Dress. Russia. XX Century". - M.: Fashion agency "ATELIER", "INCOMBUK", 2000

OPTION
Don't go, stay with me
I'll cover you with kisses
Words and music by Nikolai Zubov

OPTION
Don't go, stay with me!
I caress you with fire
It’s so pleasant and bright here!
Mouth, and eyes, and forehead!

OPTION
I've loved you for so long!
I'll burn you and tire you...
Stay with me! Stay with me!
Passion burns in my chest

The delight of love awaits us with you...

Don't go! Don't go!..

Stay with me! Stay with me!

From the repertoire of Varia Panina (1872-1911). Recordings on the record - companies "Gramophone" and "Zonofon", Moscow, 1905, 2-23023, 63577; Aprelevsky plant, Moscow, 1949, 17262 (dubbed from "Gramophone" discs)

Don't go, stay with me
Black eyes: An ancient Russian romance. – M.: Eksmo Publishing House, 2004.
In the old spelling:
Mouth, and eyes, and forehead.
In the old spelling:
Mouth, and eyes, and forehead.
Stay with me,
Stay with me!

Don't go, stay with me
Don't go - Zubova
I caress you with fire
I’ll burn you and tire you out.
I caress you with fire
I’ll burn you and tire you out.
Stay with me,
Stay with me!

Don't go, stay with me
I feel so joyful and bright,

Don't go, don't go!
I'll cover you with kisses
Don't go, don't go.
Stay with me,
Stay with me!

I've loved you for so long.

Passion burns in my chest. 21.9.2007

The delight of love awaits us with you,

Kulev V.V., Takun F.I. Golden collection of Russian romance.

Arranged for voice accompanied by piano (guitar). M.: Modern music, 2003. - signature: poems by M. Poigin, music by N. Zubov.

dedication to Anastasia Vyaltseva

Don’t go, stay with me, It’s so joyful here, so bright, I’ll cover my lips, my eyes, my forehead with kisses.

Stay with me, Stay with me! Don’t leave, stay with me, I’ve loved you for so long. I will burn and tire you with a fiery caress.

Stay with me, Stay with me! Don't go, stay with me, Passion burns in my chest. The delight of love awaits us with you... Don't go, don't go!
Stay with me, Stay with me!
Stay with me. N. Zubov and A. Vyaltseva
Glorifies the storm of gypsy passions.

Dedicated to L. Serebrennikov, in whose program “Romance of Romance” the author first heard the name of Nikolai Zubov...
In that land the silence is lifeless,

Only in the thick of intertwined branches
Stuffy rooms, gypsy singing;
Passionate speeches, tired eyes!
Your wonderful voice, low and strange

This poem by A.A. The block was dedicated to the famous singer, queen of Russian romance Anastasia Vyaltseva. The daughter of an Oryol peasant woman, in her youth she worked as a junior maid in a hotel on Khreshchatyk. Once the famous opera prima Serafima Belskaya stayed there. Hearing the singing of the girl cleaning her room, she was amazed by her talent and became a patronage in theater circles.
Among those blinded by the talent of the rising prima was a thirty-year-old official, the son of the provincial secretary (one of the lowest ranks in the table of ranks of the Russian Empire) Nikolai Vladimirovich Zubov. From childhood, he was drawn to music, to which his music-loving uncle, who often gathered a choir in his Vologda house, which he directed himself, became addicted to. Since the Zubov family lived in great poverty, Nikolai Vladimirovich was unable to receive a musical education and did not even know music. At the same time, he was amazingly talented, had an excellent memory and could immediately play everything he heard “by ear”, sing any melody from many operas, and performed his compositions on the piano by heart, and his comrades wrote them down with musical notations.
A self-taught genius, Zubov composed vocal works and piano miniatures, dedicating them to his family and friends with his characteristic spiritual generosity. At first these were salon musical presentations, then serious classical romances for soloists Imperial theaters. Nikolai Vladimirovich dedicated two romances to his own poems, “Kamama Here” (“I Love You”) and “I Thirst for a Date,” to the singer Raisa Raisova. The name of Zubov became extremely popular at the turn of the 19th and 20th centuries; sheet music with his works were published in gigantic editions, 5-10 times higher than the editions of classical music.

The meeting with Anastasia Vyaltseva opened a new page in the work of the young composer; the flaring feeling inspired him to create dozens of romances, most of which were dedicated to and performed by his muse. Among them, the most famous and popular are the romances “Together with You,” “Under Your Enchanting Caress” and “Don’t Go,” which is still included in their programs by almost all performers of this genre.

Don't go, stay with me
It’s so pleasant here, so bright,
I'll cover you with kisses
Mouth, and eyes, and forehead.
I'll cover you with kisses
Mouth, and eyes, and forehead.
Stay with me,
Stay with me!

Don't go, stay with me
I've loved you for so long.
I caress you with fire
I’ll burn you and tire you out.
I caress you with fire
I’ll burn you and tire you out.
Stay with me,
Stay with me!

Don't go, stay with me
Passion burns in my chest.

Don't go, don't go!
The delight of love awaits us with you,
Don't go, don't go.
Stay with me,
Stay with me!

Nikolai Vladimirovich wrote his most famous romance in 1899, the year he met Vyaltseva. For a long time, the poet M.P. was considered the author of the poems. Poigin, but later it was established that they were written by Zubov himself. In addition to “Don’t Go,” about ten romances were written by Nikolai Vladimirovich using his own poems. In response to “Don’t Go,” composer P. Delme created the romance “The most tender words have no strength...”:

Don't go, stay with me
I feel so happy and bright
The most tender words have no power
Tell me how I loved
The idol is adorable.
How many speeches I spent
To light up in the dark of night
Heavenly fire.

Another dream of mine -
Kiss you on the mouth
Barely touching.
Passion melts in the chest for another,
Imagine it's me
Caressing him.

Reproach is worth nothing
When you carry it with you
In solitude.
Do you remember how yesterday
We kissed hotly
It's a comfort to me.

Goodbye! The hour of separation has struck,
The fire of love in you has gone out,
You are whimsical.
Another will press you to his chest,
If you forget your vows, go
And be happy!

Unfortunately, Nikolai Vladimirovich’s feeling remained without reciprocity... Anastasia Vyaltseva’s heart was given to the brilliant guards officer Biskupsky. Vasily Viktorovich Biskupsky came from the family of Privy Councilor Viktor Ksaverevich Biskupsky, ex-governor of Tomsk. His mother, Elena Vasilyevna, bore the surname Rimskaya-Korsakova as a girl. Biskupsky, who was seven years younger than his chosen one, devotedly loved the singer and married her. His parents, aristocrats, reacted calmly to the peasant origin of their daughter-in-law and blessed the young couple without hesitation.
However, this marriage was kept secret for a long time, since such a misalliance could harm Vasily Viktorovich’s military career. Only a few close friends knew their secret. Nikolai Zubov, who reverently adored Anastasia Dmitrievna for six years and dedicated all his works to her, recognized her only when the Russo-Japanese War broke out...

In 1904, Vyaltseva broke the contract for a huge sum of 26 thousand rubles at that time and went to the front as an ordinary nurse. Vasily Viktorovich was seriously wounded and, having flatly refused to be evacuated to the rear, lay in the hospital. “Sister Anastasia” nursed him and the other wounded, working tirelessly and hiding her real name. However, it was not possible to remain incognito for a long time; the famous singer was recognized and asked to give a concert at the Harbin Summer Theater “in favor of the crippled and families of the murdered lower ranks of the Trans-Amur District,” which was a tremendous success.
The marriage of Vyaltseva and Biskupsky became public. As one would expect, the Horse Guards authorities did not approve of the misalliance, and Vasily Viktorovich had to leave the regiment. When Anastasia Dmitrievna went to the Far East, Nikolai Zubov dedicated his last romance to her with the telling title “I wanted to forget you...”. It is unknown what the fate of the genius composer would be next. After 1906, traces of him are lost. Maybe Nikolai Vladimirovich, who generously gave his soul, putting it into the works he created, simply exhausted himself, finished his songs and fell silent, maybe he didn’t meet a muse equal to Vyaltseva who would inspire him to new masterpieces, and perhaps an early death took the composer in his prime...

Vyaltseva did not have long to reign. Her fame was unparalleled, as were her fees. Among artists there was a common expression “Vyaltsev fee”. In Sobinov’s memoirs one can find the phrase that for one of the concerts he received a “Vyaltsev fee.” Anastasia Dmitrievna toured throughout Russia in her own comfortable carriage, which had a dining room, bedroom, dressing room, and rehearsal room. The carriage was kept on sidings and attached to passenger trains at the request of the singer’s mother Maria Tikhonovna, who accompanied her daughter on all trips, helping with everything, providing rest, protecting her from overzealous fans. Vyaltseva was invited abroad more than once, but the singer refused: “People go there to seek fame, but I found it in Russia.” Its famous carriage traveled almost 200 thousand miles... Later, Admiral Kolchak rode in it when he was the Supreme Ruler of Russia, and after him Marshal Blucher. The “Vyaltsevsky carriage” ended its journey as a hotel for the command staff of military units of the Eastern section during the construction of the Baikal-Amur Mainline.

Despite her busy touring schedule, Anastasia Dmitrievna was a wonderful wife and housewife. She had no children. During one of her trips, remembering her hungry childhood, she picked up and adopted a poor orphan. Unfortunately, the girl soon fell ill and died. In addition to her, Vyaltseva took care of a boy from a poor family, to whom she bequeathed a large sum of money.
In 1912, doctors discovered Vyaltseva had blood cancer. The treatment did not produce results, and only a transfusion of healthy blood, which was taken from Vasily Viktorovich, temporarily improved the singer’s condition. Despite all efforts, she died a year later. Biskupsky was unable to attend his wife's funeral. His grief was so great that he fell ill with a fever: the wound he received in Manchuria opened. He was destined to outlive Anastasia Dmitrievna by 32 years. During the First World War he rose to the rank of general and commanded a division. His fellow soldier, the future white leader Baron P.N. Wrangel remembered him as a dashing and desperately brave officer. The revolution, initially supported by Vasily Viktorovich, expelled him from the borders of the Fatherland. In Europe, the general acted as commissioner for Russian refugees. He never married again, remaining faithful to his only love, and died in 1945 far from his homeland...

Copyright: Elena Vladimirovna Semyonova, 2009
Certificate of publication No. 1907110328

http://www.proza.ru/2009/07/11/328

Anastasia Vyaltseva

Anastasia Vyaltseva, Russian singer (mezzo-soprano), performer of gypsy romances, operetta artist, was born (1) March 13, 1871 in a poor simple family.
Vyaltseva left 567,636 rubles for the population of St. Petersburg, which never reached the guardianship fund. Meanwhile, they were supposed to create a scholarship fund for them. Anastasia Vyaltseva at St. Petersburg University, which was to be established for peasant children.

In 1913, on February 4 (17), Anastasia Dmitrievna Vyaltseva died in St. Petersburg. She was called “incomparable” - this is how her contemporaries praised her voice and extraordinary artistic talent. Vyaltseva entered the galaxy of unfading Russian pop stars, such as Varvara Panina and Nadezhda Plevitskaya, who shone at the beginning of the century. However, the observant theater critic A.R. Kugel singled her out among others. “In Vyaltseva,” he asserted, “there was something calling, witchcraft and disturbing.”

It is no coincidence that Vyaltseva is compared to a seagull. This image, borrowed from a popular romance, has become a kind of symbol female destiny, which found a response in one of the most famous plays by her contemporary Chekhov. “The Seagull of the Russian Stage” is the title of the only book dedicated to her life and work (S.P. Kizimova. The Seagull of the Russian Stage. Bryansk, 1976). There is a certain fact behind this comparison creative biography, bright and suddenly ended. The first attack of an inexorable illness overtook her in Kursk during the performance of “The Seagull,” a romance that delighted the public. Vyaltseva swayed, turned pale, fell, and this romance became her last, unsung song. The audience went wild - they thought that the singer had fallen from an excess of feelings. Soon, however, it became known to everyone that Vyaltseva was seriously ill and her disease - leukemia - was incurable.

The singer's entire relatively short life - she died at forty-two - passed in plain sight. Since the age of thirteen, she has not left the theater stage. First in Kyiv, then in Moscow and St. Petersburg, she was an extra and a chorus girl in operetta troupes. Then, when recognition came to her after the operetta “Gypsy Songs in Their Faces,” her name constantly appeared on the pages of newspapers. Since 1904, her life became a constant tour. Vyaltseva conquered Russia, the whole country applauded her. In the last five years of her life alone, she traveled one hundred and seventy-five thousand miles with concerts. For provincial cities, her visits always became holidays. She could, parodying M.G. Savina, exclaim: “The carriage is my life!”, and she really lived in the carriage. It was built and equipped according to the singer’s special design and became her home on wheels.

However, despite her fame, many facts of her biography remained shrouded in mystery. There is an assumption that Vyaltseva’s peasant origin is questionable. She was born in 1871 in the Oryol province, in the city of Trubchevsk, according to other sources - in the settlement of Altuhovo, in the family of a poor peasant. He died early, leaving his family without a livelihood. But, contrary to the passport data, there is a legend in the family that Anastasia and her brother Ananiy were the illegitimate children of someone close to the Counts Orlovsky. Dmitry Vyaltsev, who gave his name to the children, worked at the Orlovsky forest dachas. There is no evidence of such an origin, but the artist’s endless pity for illegitimate children is known. Her family had pupils - a boy and a girl, and she supported others with money. Every year Vyaltseva gave concerts in favor of the Kharkov Olginsky orphanage and the St. Petersburg “Nursery” society. The same activity was carried out by her brother Ananiy Dmitrievich Vyaltsev (1872-1959) in the “Society for the Care of Homeless Children named after Her Imperial Highness Princess Maria Nikolaevna.” In 1915, for this activity he was awarded the title of Honorary Citizen of the City of St. Petersburg.

Another fact of Vyaltseva’s biography that aroused keen public curiosity was her friendship with N.I. Kholeva. A brilliant socialite, a St. Petersburg music lover, a lawyer and the permanent director of the capital's literary and artistic circle in the 1890s, he recognized talent in the young singer and discovered a vocation. At his musical evenings, Vyaltseva performed for the first time with solo performance romances. At Kholeva’s suggestion, Vyaltseva began taking lessons from the chairman of the St. Petersburg Vocal Society S.M. Sonka. Later, she studied singing with other teachers and even traveled to Italy, but she considered these first lessons from Sonka to be the key to her success.

From the outside, the relationship between Vyaltseva and Kholeva resembled the plot of Pygmalion and Galatea. She tirelessly engaged in self-education in order to visit his salon, where figures of Russian culture and science gathered. He helped her with this. But soon it was all over. In 1899, Kholeva died, and Vyaltseva returned to the S.A. Palma Theater to start all over again.

Vyaltseva’s most important patrons of art were talent and work. Therefore, the attempt of the creators of the film “Incomparable” (Globus film studio, 1993, directed by V.S. Panin) to interpret the relationship between Vyaltseva and Kholeva differently than it actually was seems extremely strange. The script is based on a fictional story of a singer’s profitable marriage for the sake of an artistic career, which distorts the facts of her biography known from memories and documents. Wealth and fame came to Vyaltseva five years after Kholeva’s death, and even then, in memory of her friend, she financially supported his daughter, who lived in Kerch, for the rest of her life.

The theme of the romances performed by Anastasia Vyaltseva included impudence, aching melancholy, drunken joy, and affected love. All these feelings found expression in the poetry of that time, their echoes were heard in the poems of A. Blok and S. Yesenin. The naive crowd of enthusiastic listeners, of course, perceived them as a kind of self-expression of the singer and closely followed her personal life. This is probably why Vyaltseva protected from prying eyes everything that related to her love for V.V. Biskupsky, who later became her husband. However, circumstances developed in such a way that this secret also became known to the public. Biskupsky participated in Russian-Japanese war and was wounded. Vyaltseva rushed to Manchuria. She equipped a medical train with her own money and helped not only the groom, but also those who were with him on the battlefield. The newspapers then went on a rampage, trying to explain the singer’s act as having some base motives, and the marriage with Biskupsky was concluded secretly. According to one version, Biskupsky married with the personal permission of Nicholas II, since marriages with actresses were prohibited for officers. Such an extraordinary love story presented the singer in a certain romantic light, and the fate of the lovers developed in such a way that it increasingly resembled the plot of a novel, but with tragic end. Trying to save his wife from leukemia, Biskupsky agreed to a direct blood transfusion. This treatment, however, only brought the end closer for Vyaltseva, whose blood type apparently did not match the blood type of the donor. In the years Civil War Biskupsky emigrated to Germany, where he died in 1945. His name was firmly associated in Russia with the white movement and therefore ended up on the pages of several Soviet novels, where he was endowed with a fate far from his circumstances real life. He has become a common image of a white officer who unprincipledly serves two counterintelligence agencies at once, white and red, and secretly smuggles Vyaltseva’s diamonds out of Russia. According to the singer’s great-niece and full namesake Anastasia Dmitrievna Vyaltseva, there were no diamonds, but a large inheritance remained. Anastasia Vyaltseva bequeathed it to Gorodsky in full legal form public administration St. Petersburg.

The question of how Vyaltseva’s property was used has not been fully clarified. However, it can be assumed that everything that was bequeathed in monetary terms was wasted. Vyaltseva left 567,636 rubles for the population of St. Petersburg, which never reached the guardianship fund. Meanwhile, they were supposed to create a fund to pay a scholarship named after Anastasia Vyaltseva at St. Petersburg University, this scholarship was to be established for peasant children. The other part of this amount was intended for the establishment and maintenance of an orphanage named after Anastasia Dmitrievna Vyaltseva-Biskupskaya for illegitimate children. One of the apartment buildings was to be transferred for the permanent maintenance of a hospital for women in labor and other patients without the right to alienate this property and without changing its purpose. In 1919, careful Soviet officials drew up a certificate stating that “due to the lack of trusteeship of the property under the jurisdiction of the department of guardianship, the guardianship will be terminated, the guardians will be dismissed, and the case will be transferred to the archives, of which the guardians will be notified.” So, through the efforts of two bureaucrats Russian regimes Vyaltseva’s fantastic wealth was turned into nothing.

The keeper of the memory of the singer was her great-niece Anastasia Dmitrievna Vyaltseva. To this day, she lives in the apartment of her grandfather Anania Dmitrievich Vyaltsev, where the singer once visited, on the embankment of the Karpovka River, 22. Photos from family album present a well-kept courtyard with a fountain. The reality of this St. Petersburg corner no longer resembles its photographic image. The Vyaltsev family, like many families of old St. Petersburg residents, survived all the ordeals Soviet era. In the 1930s, the singer’s brother, who once managed the apartment buildings that belonged to her, was “compacted”, leaving two adjacent rooms for a large family. At the beginning of the war, the son of Anania Dmitrievich was repressed, allegedly for spreading panic rumors. His family still knows nothing about his fate. Anastasia Dmitrievna grew up without a father, but managed to get an education and worked at school. For many years, Anastasia Dmitrievna collected documents in the archives, memories of contemporaries who knew Vyaltseva. She jealously guarded real facts biographies of the singer from fitting them to various romantic cliches. Some, in the spirit of the tabloid press, Soviet-era publications associated the singer’s name with one of the Eliseev merchants and other city rich people.

Based on the stories of her grandfather Anania Vyaltseva, Anastasia Dmitrievna reconstructed the events last days Vyaltseva’s life and a picture of the funeral. After an unsuccessful blood transfusion, which almost ended in death for Biskupsky, the doctors abandoned the patient. Then a representative took over the treatment of the singer occult sciences hypnotist G. Goltsev. From seven in the evening to six in the morning he tried to help the dying woman, but occult medicine was also powerless.

Interest in the singer’s fate truly became nationwide in those days. Newspapers not only in St. Petersburg, but also in other cities of Russia published bulletins about her health and expressed sympathy. There were proposals, if necessary, to give blood for a secondary transfusion. Vyaltseva’s funeral took place at the Staronikolsky cemetery of the Alexander Nevsky Lavra. Say goodbye to the singer at Moika, 84, where she lived last years Before his death, about 150 thousand people came. On that day, according to eyewitnesses, a fire broke out in the house. real threat destruction of interfloor ceilings. In 1915, a chapel was erected at the singer’s grave, built according to the sketches of the architect Ilyin. All subsequent years she was protected by her family from robbery and destruction. The singer's brother, powerless to resist the cemetery barbarism, was, however, forced to wall up the entrance to the tomb. In 1914 famous sculptor S.N. Sudbinin (1867-1944) relatives ordered a marble tombstone. After some time, the magazine “Ramp and Life” published news that the monument was ready, but since it was made in Paris, it could only be brought to Russia after the end of the First World War. It must be said that subsequently the trace of this sculpture was lost in France, where Sudbinin ended up in exile.

After the singer's death, her repertoire was forgotten. The intimate world of urban Russian romance and gypsy songs was deeply alien to the builders of socialism, intoxicated by the music of great construction projects. Vyaltseva’s voice can only be heard on imperfect pre-revolutionary recordings, which have become antiques in our time. Of course, they do not convey all the enchanting charm of her voice. The wonderful St. Petersburg singer Rimma Volkova brought Vyaltseva’s repertoire back to life, for her operatic and concert activities received the title People's Artist Russia. Already earlier in the programs she created “Music of the Imperial Court” and “Music noble estate"she resurrected musical works, which were once an everyday element of Russian cultural life. She looked for them in music libraries, archives, and private collections. The same work preceded the creation of the program “Romances from the repertoire of Anastasia Vyaltseva.” Recently, Volkova managed to record romances from Anastasia Vyaltseva’s repertoire on a CD.
It is interesting to note that Vyaltseva, who managed to bring romance and gypsy songs from restaurant rooms to the big stage, dreamed of singing in opera all her life. She was given this opportunity several times. She sang Carmen, Demona, and sang in Mignon and The Queen of Spades. But opera singer still didn’t. At times it seemed to her that she hated her romance repertoire with its primitively vulgar plots, but when she went on stage, Vyaltseva forgot this and enthusiastically devoted herself to singing, sometimes performing up to 20 encore songs beyond the program. At the same time, the audience conducted the concert, giving requests from all sides: “Troika”, “If I want, I will love”, “The Seagull”.