Career
Praskovia was one of the best opera singers in eighteenth-century Russia. She was born into the family of a serf smith by the name of Ivan Gorbunov (a.k.a. Kovalyov) probably on the estate of Voshchazhnikovo in the province of Yaroslavl. Praskovia and her family belonged to the Sheremetevs, one of the richest noble families in Russia at the time. As a young girl she moved with her family to the estate of Kuskovo outside Moscow. Soon thereafter she was taken from her family to serve as a chambermaid to Princess Martha Dolgorukaya, a relative of her master, Count Pyotr Sheremetev, who lived in the manor house.
Blessed with a fine voice, Praskovia was trained to be a singer in the opera company then being put together by Count Pyotr and his son, Nikolai Sheremetev. She debuted in 1779 on the stage of the serf theatre at Kuskovo in the role of the servant Gubert in the comic opera L'Amitié à l'épreuve by André Grétry. Following her success, Praskovia was given the leading role of Belinda in Antonio Sacchini's opera La colonie. In this 1780 performance the actress for the first time appeared under the stage name Zhemchugova, "The Pearl", (zhemchug means "pearl" in Russian). The other stars of the company were also given new names: Arina "The Sapphire", Fekla "The Turquoise", Tatyana "The Garnet", Nikolai "The Marble", Andrei "The Flint", etc.
After the role of Belinda, Praskovia was promoted to the position of the first actress of the theatre. By the age of 17, she could read and write French and Italian fluently, played the harp and clavichord, and was acknowledged by her contemporaries for her operatic and dramatic abilities.
In a career that spanned almost two decades, Praskovia performed in over a dozen operas, including Monsigny's Le deserteur and Aline, reine de Golconde, Paisiello's L'infante de Zamora, Jean-Jacques Rousseau's Le Devin du village, and Piccinni's La buona figliuola maritata.
Her most important role was Eliane in Grétry's opera Les Mariages samnites. Assuming the part for the first time in 1785, Praskovia sang Eliane for 12 years — a first in the history of serf theatre. In 1787 Praskovia sang the role of Eliane at Kuskovo for Empress Catherine II and her suite. Catherine was so impressed by her performance that she requested to meet Praskovia and later gave her a diamond ring.
In the mid-1780s, Praskovya became the mistress of Count Nikolai Sheremetev. Nikolai was the impresario of the family serf theater, and he had helped train Praskovia over the years, eventually falling in love with the young star of the troupe. The circumstances surrounding the early years of their relationship, like so much of Praskovia's life, are unknown. After the death of Nikolai's father in 1788, Nikolai and Praskovia set up a private household in a secluded corner of the Kuskovo estate. Their unorthodox relationship soon became the subject of gossip among aristocratic society.
In 1795 Praskovia, Nikolai, and the theatre troupe moved from Kuskovo to Ostankino, a brilliant new palace constructed north of Moscow with a large theatre intended for large-scale operas and immense balls. The year 1795 was marked by the premiere of the opera Zelmira and Smeloy, or the Capture of Izmail (Osip Kozlovsky, text by Pavel Potemkin); Praskovia acted in the role of the captive Turkish woman Zelmira). Praskovia performed here for Stanisław August Poniatowski, the last king of Poland.
Read more about this topic: Praskovia Kovalyova-Zhemchugova
Famous quotes containing the word career:
“Whether lawyer, politician or executive, the American who knows what’s good for his career seeks an institutional rather than an individual identity. He becomes the man from NBC or IBM. The institutional imprint furnishes him with pension, meaning, proofs of existence. A man without a company name is a man without a country.”
—Lewis H. Lapham (b. 1935)
“Work-family conflicts—the trade-offs of your money or your life, your job or your child—would not be forced upon women with such sanguine disregard if men experienced the same career stalls caused by the-buck-stops-here responsibility for children.”
—Letty Cottin Pogrebin (20th century)
“It is a great many years since at the outset of my career I had to think seriously what life had to offer that was worth having. I came to the conclusion that the chief good for me was freedom to learn, think, and say what I pleased, when I pleased. I have acted on that conviction... and though strongly, and perhaps wisely, warned that I should probably come to grief, I am entirely satisfied with the results of the line of action I have adopted.”
—Thomas Henry Huxley (1825–95)