Musical selection for the 120th birth anniversary of Maria Maksakova
It is impossible to name such a mezzo-soprano opera part that was staged at the Bolshoi Theater in which Maria Maksakova would not shine. Unforgettable for thousands of people were her Carmen, Lyubasha, Marina Mnishek, Marfa, Hanna, Spring, Lel in the operas by Russian classics, her Delilah, Azucena, Ortrud, Charlotte in “Werther” by Massenet, and finally Orpheus in the opera by Gluck staged with her participation by the State Opera Ensemble under the direction of Ivan Kozlovsky. She was the magnificent Clarice in “The Love for Three Oranges” by Prokofiev, the first Almast in the opera by Spendiarov, Aksinya in “The Quiet Don” by Dzerzhinsky and Grunya in “Battleship Potemkin” by Chishko. Such was the range of this performer.
The singer, both during her stage heyday and later, when she retired from theater career, gave many concerts. The interpretation of romances by Tchaikovsky and Schumann, pieces by Soviet composers and folk songs can be rightly attributed to her highest achievements.
Maria Maksakova was among those Soviet artists that had a chance to represent our musical art abroad for the first time in the 1930s, - in Turkey, Poland, Sweden, and in the post-war years in other countries. Maksakova was a hard working person that managed to multiply and elevate her natural talent through tireless work.
Maria Petrovna, towards the end of her life, having left the stage, leaded full, active life. She taught vocal art at the GITIS Academy, was one of the organizers of the People's Singing School in Moscow, and constantly participated in the jury of various international and all-Union competitions for young soloists, was engaged in journalism.