Rishat Abdullin (1916-1988) and Muslim Mukimivich Abdullin (1916-1996)
The twin brothers Rishat and Muslim
Abdullin were born on March 1 (14), 1916 in
Eastern Kazakhstan in the city of Ust-Kamenogorsk. They displayed their musical
talents at an early age as the nature endowed them with unusually beautiful voices.
Muslim began his musical
education in 1932 at the age of 15 at the School of Music and Drama, which opened
in Alma-Ata that year. A year later, in 1933, his brother Rishat joined.
Among the highly gifted and promising musicians the Abdullin brothers were sent
to study at the Moscow Conservatoire, in the class of
Professor A.I. Vishnevsky (Muslim in 1935 and Rishat in 1936). After study
in Moscow, they began their artistic activity as soloists at the Abai
State Academic Theatre of Opera and Ballet (Muslim in 1939 (until 1970) and Rishat in 1938).
The Abdullin brothers sang leading parts in the operas by the Russian,
West-European and Soviet composers. Muslim performed tenor parts, his best known
was Lensky, while Rishat sang baritone parts:
Yevgeny Onyegin, Demon, Germont (La Traviata),
Escamillo (Carmen), Kiazo (Daisi), etc.
The Abdullin brothers performed
in almost all operas by Kazakhstan composers and created unforgettable performances:
Muslim – of:
Tulegen (Kyz-Zhibek by Yevgeny Brusilovsky),
Kaïrakbaï (Zhalbyr by Yevgeny Brusilovsky), Balpan (Er-Targyn by Yevgeny Brusilovsky),
Azim (Abaï by Zhubanov and Khamidi),
Sakan (Er-Targin by Yevgeny Brusilovsky), Sapar (Zoloto zyerno by Brusilovsky), Zhek (Altinchach by Zhiganov), Birzhan (Birchan i Sara);
while Rishat – of Abai and Er-Targyn in the same name operas,
Kozhagul (Birzhan and Sara) and Gulmat (Nazugum).
Rishat Abdullin will remain
forever in the history of the musical culture of Kazakhstan as a first performer
of the part of Abai. It was this opera with which the Abdullin brothers presented
the art of Kazakhstan before the Muscovites at the Decade of Kazakh Art in 1948.
Muslim Abdullin was most famous for his performances of romances by the Russian composers, which were represented widely and
variously by the works of N. Rimsky-Korsakov, M. Glinka and P. Tchaikovsky. The singers’ performances in the Kazakh language
were of great significance as they acquainted and approached closer the wide layers of the Kazakh population to the Russian classics.
It looks like no operatic recording with Muslin Abdullin exists.
Reference 1 (for biographical notes, recording, picture and additional recordings)