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Richter & Dorenka: I want to accompany you

Richter began his piano playing career at a time when his living environment was in conflict with the world war, he suffered from the dual identities of Russia and Germany, and the harsh cultural policies at home. However, world history seems to have no influence on him. Instead, he has influenced art history in his own way, which is a kind of power and a value choice. Here, he is not alone, with his partner, Dorenka, for life. Such a stormy and unstable relationship is not destroyed by people catching wind and shadows, spread confusing.
As a young woman, Nina Dolenka bears a striking resemblance to the Italian theatre actress Elenora Dousse, whom Richter admired and loved most. When Richter first arrived at the conservatory, attending a musician’s funeral, he was shocked to see Dorenka for the first time, saying that she looked like a princess. It was love at first sight and they were inseparable until his death. Richter remembers the first time he saw his mate:
When I was admitted to the conservatory in 1937, a clarinetist had just died. It was a civilian funeral, and I attended a memorial concert attended by many musicians. Igonov played a movement from Tchaikovsky’s Four Seasons, and Negaz played a Brahms intermezzo. Gedzik accompanied Cellist Selinsky on the organ to Rachmaninoff’s “Vocals” — out of step. Finally, a singer sang “Solvig’s Song” and “Lullaby.”
It took my breath away, for the singer seemed extraordinary to me. Besides, she was so beautiful that she was a real princess. I started asking everyone around me, “So, who is she? Who is she?” They told me she was Nina Dolenka.
Dorenka is French, the daughter of a French father and a Franco-German mother. Her father died early, and she doesn’t want to talk about him. The trauma that Richter’s mother had inflicted on him seemed as fragile as the trauma dorenka’s father had inflicted on her family, and the details were unknown, even to her closest friends. Dorenka was first introduced to her by her mother, a skilled Wagnerian singer. Dorenka’s voice was not loud, but to Lecht she looked beautiful.
Lecht began courting Dorenka at the suggestion of conductor Nikolai Anosov, who encouraged her to accompany her. From 1945 until 1961, when Dorenka sounded, the two collaborated on a large number of songs by Russian composers, as well as works by French composers, including Debussy and Ravel, as well as German-Austrian songs, such as those of Hugo Wolf, which had not been sung in the Soviet Union at that time.
When Lecht took the advice of his elders and began to approach Dorenka, he was very shy. Once he followed her for a long time before he said:
“I want to have a concert with you.”
“A concert? — What does this mean? You play the first half and I’ll sing the second?”
“No! I want to play for you.”
Many believe, however, that the couple remained in a contractual relationship, and that after dorenka declined the stage, she briefly became Lecht’s manager and manager, controlling their income and deciding what friends lecht could see and what parties he could host. Richter did say that without Dorenka, he was unwilling to perform and work abroad, and the concert would be meaningless. This can be interpreted as dorenka’s strong control, or as the closeness of the two’s lips and teeth. But these people choose the former perspective, because they think That In addition to his artistic attainment, Richter has no self-control in life, they also do not understand Richter’s unique feelings for women, and they can not even believe in the idealism of love.
Within a year of Richter’s death, Dorenka was gone, having seemingly fulfilled her guardian angel duty by following him.

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