Translation. Region: Russian Federation –
Source: Melody – An important disclaimer is at the bottom of this article.
There are at least several hundred releases dedicated to the theme of lullabies in all their forms, and such albums are nothing new for Melodiya (Olga Peretyatko and Semyon Skigin's "Songs for Maya" come to mind among recent releases). However, in this diverse field, the latest release by Albina Latipova and Yuri Martynov definitely stands out for its concept. The album is not primarily a mosaic of individual, sometimes random numbers, but rather a structured program from a concert recorded at Moscow's Niko Gallery in November 2024. The performers primarily focus on chamber music: with the exception of Volkhova's Lullaby from Rimsky-Korsakov's "Sadko," Gershwin's "Summertime," and a number of Soviet song hits, the rest is entirely devoted to the realm of Russian romance and German Lied. It is important to emphasize that Albina Latipova, being a soloist of the Bolshoi Theater, in chamber music does not at all fall into the sin of an “operatic” presentation of sound and nuances, which is typical, unfortunately, of some prima donnas of leading stages: in her interpretation, everything is subordinated to a delicate, soft intonation.
Expectations of monotony in a program consisting solely of lullabies are in no way fulfilled this time around: the singer, with her mastery, manages to highlight the subtle details of each piece, finding its own contrasting image within the overall concept. Her ensemble with Yuri Martynov is also harmonious: the accompaniment here is not only extremely delicate but also quite individual; the pianist doesn't follow the soprano like a weak-willed shadow, but rather collaborates to construct an interpretation of each piece. The album's only piano track, the exquisite Lullaby by Frederic Chopin, helps to truly appreciate his mastery. Another key quality of Martynov and Latipova's ensemble is its naturalness, its absence of pretentiousness, inventiveness for effect, or flashy, affected delivery in its interpretations. In the lullaby genre, this approach is an unmistakable hit.
Among all the album's tracks, Richard Strauss's Lullaby (Op. 41, No. 1) is an undoubted highlight, impressing with its subtle nuances and timbral colors. The performers are no less compelling in works by Russian composers—Glinka, Rimsky-Korsakov, and Tchaikovsky. Soviet hits also sound stylish, and Krylatov's "Bear's Lullaby," widely known from the beloved cartoon about Umka, is presented in an unexpectedly "gourmet" jazz version. Finally, the highly professional sound engineering by students from the Institute of Contemporary Art, led by Ilya Dontsov, is also noteworthy. For a team just beginning to master the basics of their craft, such a result is an obvious success.
The true audience for such albums, of course, isn't small children, but adults, who perhaps ultimately need lullabies even more. A baby will eventually fall asleep, whether in the quiet of a loving parent's arms, but our worries and stresses won't just disappear. Albina Latipova and Yuri Martynov's release could prove an effective remedy in these circumstances.
Alexander Kulikov, "Musical Life," December 7, 2025
Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.