Composer, Journalist. A key figure in the development of Russian opera. His very successful stage works "Judith" (1863) and "Rogneda" (1865) infused the French Grand Opera tradition with a Slavic spirit, and left their mark on the later music of Tchaikovsky, Mussorgsky, and Borodin. As a critic he was the first of his countrymen to champion Wagner. Serov was born in St. Petersburg. He had no formal musical training and was employed as a civil servant until he began writing newspaper reviews in 1851. A prickly individualist, he took issue with all "schools" of Russian Art and carried on a long-running feud with fellow critic (and former friend) Vladimir Stasov, who supported the Nationalists. Serov also fought with librettists, producers, and others who could have been helpful to his career; as a result only two of his operas made it to the stage. A third, "The Power of the Fiend", was left unfinished at his death. He was the father of Impressionist painter Valentin Serov.
Composer, Journalist. A key figure in the development of Russian opera. His very successful stage works "Judith" (1863) and "Rogneda" (1865) infused the French Grand Opera tradition with a Slavic spirit, and left their mark on the later music of Tchaikovsky, Mussorgsky, and Borodin. As a critic he was the first of his countrymen to champion Wagner. Serov was born in St. Petersburg. He had no formal musical training and was employed as a civil servant until he began writing newspaper reviews in 1851. A prickly individualist, he took issue with all "schools" of Russian Art and carried on a long-running feud with fellow critic (and former friend) Vladimir Stasov, who supported the Nationalists. Serov also fought with librettists, producers, and others who could have been helpful to his career; as a result only two of his operas made it to the stage. A third, "The Power of the Fiend", was left unfinished at his death. He was the father of Impressionist painter Valentin Serov.
Bio by: Bobb Edwards
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