Opera singer khibla. I was at her performance, God, this is an indescribable delight! Khibla Gerzmava

I felt the most obvious timbre changes for the better even after the birth of my son, that is, 12 years ago. I was glad that the voice became softer, less flattened sound, the smallest tremolation, which sometimes interfered with myself, disappeared. The process of "rounding off" may continue, but now I consider myself a lyric-coloratura soprano, with an emphasis on "lyricism." This brings some adjustments in terms of the repertoire, I am no longer going to sing the Shemakhan or Queen of the Night in The Magic Flute. But I'm not going to switch to very "strong" games like "Madame Butterfly", "Tosca", "Norma" or even Elizabeth in "Don Carlo" yet. I am one of those singers who are careful about the choice of repertoire, in my age it is especially important to keep my voice fresh. Gilda or Juliet is already useless, but Lucia, Violetta or Mimi is now mine.

- The last premiere in his native Theater - three roles at once in "The Tales of Hoffmann" by J. Offenbach. Such "audacity" - your initiative or the director's intention?

Few singers in the world dare to perform these three roles in one evening, or rather even four, counting Stella's final scene, they are so different both in sound and in acting. Diana Damrau, who sang all these heroines in a performance of the Bavarian Opera, immediately comes to mind of her contemporary colleagues. I, too, did not have such an idea, I suggested, even persuaded, Alexander Borisovich Titel, thanks to him.

Olympia is not exactly my role. But the more I sing it, the better it turns out, because the range allows, and I really like to make such a childish, touching doll.

- Yes, I noted this in the review of the premiere, Khibla's obvious comic gift, unfortunately little realized. Wouldn't you like to try something even more mischievous - "Don Pasquale", or "The Daughter of the Regiment"?

I would very much like to sing to Norina in Don Pasquale, but I don’t think about The Daughter of the Regiment, she is for a slightly different voice. But, it's true, I do not have enough comedic roles, I really want to joke and laugh on stage. I regret that “The Bat” is removed from the repertoire at the Musical Theater, the crafty Adele was very close to me.

- Let's talk about your most recent big work - the part of Vitellia in Mozart's Mercy on Titus, which you performed at the Parisian Grand Opera in September. The French and our reviewers are unanimous in their enthusiastic assessment of you personally. Is this your first encounter with Mozart's music on the opera stage?

Yes, Vitellia is my first major Mozart game. I read quite a lot of historical literature on the history of Ancient Rome, about the time of the reign of Emperor Titus Flavius. But the main thing, of course, is the genius music of Mozart, which seems to be “above the plot”. I came to Paris not just with a learned part, but with a prepared role. Both the director and the conductor understood a lot at once, at the very first rehearsal.

- With whom do you prepare and learn new parts, who is your "side ear", so necessary for the singer?

At the Moscow Conservatory, I received a strong vocal basis, which allows me to actively perform with a varied repertoire, to withstand a tough touring schedule, from my professor Irina Ivanovna Maslennikova. From the third year I entered the chamber ensemble class of Professor Evgenia Mikhailovna Arefieva. She prepared me for the Tchaikovsky Competition, which became a springboard in my creative biography, with her, the main accompanist and teacher-tutor of our Theater, I am still engaged to this day, preparing roles in performances. Her opinion and "ear" are very valuable to me, I completely trust her.

- Will we hear you in the Russian repertoire in the near future?

In general, it seems to me that the Russian opera classics are stingy with the parts for the lyric-coloratura soprano.

- But what about Rimsky-Korsakov, if not Shemakhanskaya, then his Martha in "The Tsar's Bride" or Volkhov in "Sadko" quite fit this category!

I sing some arias in concerts with great pleasure. Unfortunately, many of his operas have long since left the Moscow playbill. And in the West, Rimsky-Korsakov's operas are very rare. It so happened that my foreign contracts are connected exclusively with Western music, they hear me and are now invited to the European repertoire.

- An indispensable question on our portal about contemporary opera direction, about your relationship with her. Your formation as an opera actress took place under the hand of A. Titel, a director in many ways controversial and controversial. But all his productions, thank God, do not admit the naturalism and rudeness inherent in Western novelties, for which it would be a shame in front of the founding fathers of your Theater - Stanislavsky and Nemirovich-Danchenko. And even Adolphe Shapiro, invited from the drama, who staged Lucia di Lammermoor at the MAMT, remained faithful to the principles of conventionality of the opera genre. Contrary to the fears of critics, your Lucia came out in the final in a clean, not bloody dress. This amazing snow-white "coffin dress" itself acts very strongly and unexpectedly.

My Lucia is generally somewhat different than everyone is used to. She has another madness - calm, quiet contemplative. The fact that the play was staged by the master of the drama theater Adolph Shapiro saved the production from age-old clichés. I have great respect for all theaters where "Lucia di Lammermoor" is performed, and for all performers, because the role is really very "bloody" in its severity for a singer. But this is precisely why real amateurs, who go to the theater for catharsis, and not for cheap "tricks," do not need red blood stains on the clothes of the heroes. And for me it is also very important to emphasize the development of the image with a different sound, timbre. It's no secret, there are virtuoso singers who sing the bel canto repertoire technically flawlessly, but monotonously from the beginning to the end of the performance. It's boring for me to listen to such a performance, so I try to be as expressive as possible by means of vocals. I always hear if the singer puts a piece of heart and soul into the performance. If there is, I can forgive even technical flaws, we are real people, but in every possible way I avoid cold mechanistic vocals, I get tired of listening to such voices. From new emerging names, I expect, first of all, beauty and purity of timbre, and warmth.

- Let's go back to opera directing as such. In Moscow, you are lucky to have smart directors who understand the specifics of the genre. And what about Europe-America? Did you have to step over any moral, ethical principles?

So far, so as not to jinx it, it has passed! I don't know how I would react to the offer to participate in an overly frank production. Perhaps I would have included my professionalism and tried to find something new and interesting. But, to be honest, I'm afraid, not thirsty. I love modern performances, but only those where there is taste and on stage do not cross the line of theatrical convention.

- Hence my most personal question to the singer Khibla Gerzmava, as to the mother of a teenage son. Your Sandro is already involved in the theater, sings in the MAMT children's choir, participates in performances. How is his relationship with the opera going?

I brought my son to the theater to "work" primarily in order to spend more time together during my now infrequent visits to Moscow. And then, the theatrical schedule, the rehearsal process are very disciplined, which many do not even realize! Now Sandro has an age-related mutation in his voice, he was transferred to another choral group. But he runs around the stage with great pleasure, sometimes participates in the same performances with me. They have to sing in different languages, which is good. All this liberates the child, but also educates at the same time. It seems to me that theatrical life helps him in his studies. He is organized, knows that one should not be late and let the "team" down - this is an important part of upbringing. I am very grateful to our teachers of the children's choir - Tatyana Leonova and Alla Baykova for the correct work with the children.

- But the "dust of the wings" is such an infectious sweet poison! What if the guy wants to follow in the footsteps, if not sing, then become a dramatic artist?

I'm almost sure that my son won't be a singer. Sandro has already spoken about the dramatic career, and I am not against it in principle, but only after full adulthood. The most important thing is to guide the child, and then he will think and choose. The boy is good at mathematics and his head is inclined towards exact sciences - we will orient him towards this.

- What, in your opinion, should be shown to matured, but still children in modern musical theater, and what to refrain from?

From an early age Sandrik hears good music at home: classics, jazz, folk melodies. But I am not a supporter of showing children something difficult for the perception of their psyche. He began to go on tour with me when he was little, now I try to take him when the holidays coincide. And we always go live to see operas in the best theaters in the world, age-appropriate. But, for example, I will not take R. Strauss to "Salome" yet, even with a star cast.

When he grows up, he himself will determine what is more interesting to him, fortunately, the choice of opera performances on DVD in excellent quality is now huge. His perception of a teenager changes greatly, after two or three years he will look at many things differently. There are a lot of classics outside of the opera genre that I would like to introduce a child to right now - books, films, drama performances.

But, by the way, Sandro looked at our sensational "indecency", that is, male striptease at the La Traviata ball and was not impressed, did not accentuate this moment. Much more interesting to him than naked torsos were billiard cues in the hands of the dancers. The boy just started going to play billiards, he is very interested, and the first thing he noticed was that the young men were dancing with cues in their hands.

He honestly told me that he does not like those performances where my heroines die at the end. Therefore, my best role in the perception of my son - Adin in "Love Potion". I really want this cheerful witty performance to be resumed in our Musical Theater, having finally learned Italian and recitative.

- And what about the son of "Hoffmann's Tales" - did you see his smart face with glasses at the premiere?

I liked it very much! Especially the Doll Olympia: “Mom, you are so funny, cute, you walk like a toy. Very good tails! " But he admitted that he was scared when Olympia lost her eyes, jumped out with black gaps on her face in the finale of the 1st act.

- At this age, boyish jealousy is very natural for any male representatives, in this case - your partners.

Fortunately, this is not the case. Firstly, Sandro has been in the theater since early childhood, and all my opera lovers are his acquaintances, he communicates with many guys on Facebook. Then, I explained earlier that this is a Theater, such a job. But if I came home, then I do not continue to play, like the character of Somerset Maugham, the great actress Julia Lambert, I am just a loving mother. Closing the door, I become an ordinary woman: home, cozy, warm.

- I remember that according to the first, college diploma, you are a pianist, and even studied optional on the organ at the Moscow Conservatory. Are you managing to find time for the piano now, to maintain your level?

I am always grateful to my piano teachers for the fact that I still own the instrument today. In general, I think that singers who play any instrument are lucky, they have a more meaningful sound science, a deeper understanding of music. Now I have little time to practice the piano, but at home or with a narrow circle of friends I can play a little jazz.

- It's very interesting about jazz. How do you manage to combine opera and jazz singing, these manners are so different, and few even of the great singers dare to do this?

Listening and performing jazz music, I relax. My ears are resting! Working with a microphone is a separate topic, you need to know many nuances, the message of the voice and other sensations. I am incredibly happy that there are friends like Daniil Kramer and Yakov Okun with whom we performed together in Pitsunda in a jazz program. With Daniil Kramer we have a solo program, such an exclusive one, "Opera, Jazz, Blues", which we sing on the stage of our theater. This is very significant to me, and I am very grateful to him.

With Yakov Okun we play music in a slightly different, folklore style. For the first time in his jazz arrangement, I heard the Abkhazian folk "Song of the Rock", for which I am sincerely grateful.

A special page is the ensemble with Denis Matsuev, he is my good, close friend. One of our best contemporary academic pianists perfectly plays jazz improvisations and various hits. With him, we recently recorded several numbers for New Year's programs on television, full of mischief and humor. They can be seen on the evening of December 31, there will even be a special surprise, I will not say which one yet! I hope that in May we will go with Denis to Pitsunda, as part of my annual jazz festival, in a team with bassist Andrei Ivanov and drummer Dmitry Sevostyanov. I want to continue to continue my jazz "hobby".

- Khibla, I don’t want to use the word “Star”, which is obscenely worn out and vulgarized by all kinds of “manufacturers”. But, just as a documentary fact. You are now in Moscow, perhaps the most famous opera singer. You have your own regular audience, collect sold out at performances, you can often see you on television, which for many is the main criterion of popularity. I am simply silent about your native Abkhazia, probably even in mountain villages they know about you and are deservedly proud of you. And while communicating, I see a normal woman, without fanaticism, and a toiler-vocalist, who, without hesitation, talks about an unsuccessful cadence in the last performance. When there are continuous popular delights and pompous epithets around, how do you manage to keep your "sober" head, not to fall into the euphoria of "divism"?

I am always grateful for the positive wave from the audience, from the fans. But I myself understand that one hundred percent is never perfect, no matter how hard you try. I take positive emotions to myself "in a piggy bank", but I still know what worked and what didn't. The analysis works well for me, and no one "eats" me more than myself.

- And if you hear an occasional false note?

Of course! I hear and suffer, if such a "sin" suddenly slips through. I react sharply to inaccurate, as a rule, underestimated intonation of partners. Singing is mental, mental and physical labor at the same time.

- As far as I can tell, you are “friends” with computers, the Internet, and Facebook. How do you feel about spontaneous uploads of your performances on YouTube?

Most of all, it is annoying when a certain user is so intoxicated by his own importance, and by the fact that he has attended an elite event, that he uploads absolutely amateur low-quality footage to the Web! Well, how can you listen and watch, if a cheap cell phone camera shakes in your hands, the image jumps, the sound is worse than from a gramophone record! No, if it is recorded and filmed with high quality - for God's sake, let people hear and watch. But in order to upload your footage for public viewing, you need to have at least basic skills, and not do it carelessly, just to check in.

- What are your impressions of studio work on audio CDs?

Recording is always awful, hard as hell. It's easier for me to sing a few performances live than to have a shift in the studio. There are voices that sound very profitable in sound recording, but I don't count myself as such. I don't like myself from the outside and that's it! Well, maybe on rare occasions.

More than 10 years ago I recorded several Russian programs for a Japanese record company. In particular, she practically reopened the cycle of romances by N. Myaskovsky and M. Ippolitov-Ivanov. Now I sing in a different way, and I think to re-record them. Another program is outlined from our classics: Glinka, Tchaikovsky, Rimsky-Korsakov, Rachmaninov. And also, I would like to release a disc - “everyday” romances of the 19th century: Alyabyev, Varlamov, Gurilyov, etc. We made all my chamber music recordings together with an amazing pianist and close friend Ekaterina Ganelina, with her I also plan future projects.

The main dream is a solo disc of opera arias with NPOR and beloved maestro Vladimir Spivakov.

And, of course, jazz, my constant tender "weakness", has accumulated quite a lot of materials from live concerts, from my festival in Pitsunda, but all the time some "fleas" are tormented - imperfections, I would like to rewrite all this qualitatively.

- Purely feminine. I like your concert toilets - they always emphasize only the best in the figure, interesting in color, different, but united by a certain style.

I have stylists who do costume, hairstyle, make-up. But if I personally don't like the proposed option, then I won't go out like that in a concert, even if it's super fashionable. I think that a woman on stage simply has to be beautiful, stylish and well-groomed. An artist should be a Dream - flawless, in the most expensive exquisite outfit. A successful dress gives me the feeling of a straight back, when I feel beautiful - I sing in a different way!

- Finally, let's not be original about the creative plans for the coming season.

Just the other day I am flying to New York for a month to sing La Bohème at the Metropolitan Opera in the renewal of the classic production by F. Zefirelli. In my native MAMT I will periodically appear in La Traviata, Lucia di Lammermoor, and Hoffmann's Tales. On December 21st, in the same place, at the Theater there will be an evening entitled: "Opera, Jazz, Blues". On February 13, my recital is to take place in the Great Hall of the Moscow Conservatory.

And, perhaps, the main expectation at the moment is the upcoming participation in Mozart's Don Giovanni at London's Covent Garden in January 2012. This will be my first Donna Anna, but the second, after Titus's Mercy, a happy meeting with the Genius in one season. Whoever is interested in my plans and movements around the world will always find a schedule on the official website. I will only add that the dates are indicated there for the next six months, and my tour is scheduled until 2014. These are mainly MET, Covent Garden, Vienna Opera and other leading stages of the world. However, in Moscow, and in other cities of Russia, and in my native Abkhazia, I will also sing, I promise.

P.S.

In the process of editing the text of the interview, it became known that Khibla Gerzmava was nominated for the highest Russian theater award "Golden Mask" in 2011 as the best opera singer for simultaneously performing all the main female parts in MAMT's play "Hoffmann's Tales". We will find out the jury's decision, as always, in the spring. But the very fact of the artist's nomination inspires optimism - rarely when a vocal "almost feat" evokes such a warm response from the audience.

For several years, Nazal recognized this amazing singer. Her voice is simply mesmerizing. I want to introduce you to her.

Biography

Khibla Gerzmava was born on Christmas Eve, January 6, 1970, in the Abkhaz resort town of Pitsunda in the family of an Intourist interpreter from the German language and a senior administrator of the Pitsunda boarding house. In Abkhaz, the name Khibla means "golden-eyed", the surname Gerzmava means "wolf", "she-wolf". At the age of three, his father brought Hible a piano from Germany. Since childhood, she sang and played the piano. The girl grew up near the Pitsunda Orthodox Cathedral, where organ music sounded. I first felt my artistic element in my youth, when the Abkhaz song and dance ensemble "Sharatyn" performed in the Pitsunda Resort Hall, the performances of the violinist Liana Isakadze also made a strong impression on Khibla.

Early, at the age of 17 and 19, she was left without parents, which influenced the worldview and the choice of the singing profession. She studied at the music school in Gagra. She graduated from the Sukhumi School of Music, piano, dreamed of becoming an organist. Karlen Yavryan and Josephine Bumburidi were her teachers in Sukhum.

In 2001, she organized the annual music festival "Khibla Gerzmava invites ..." in Abkhazia. Svyatoslav Belza was the host of the festival for many years. In 2014 the festival moved to Moscow.

In 2008, Gerzmava received an invitation to the Bolshoi Theater, but refused due to frequent tours around the world.

During her career, Gerzmava has performed on the stages of the Mariinsky Theater in St. Petersburg, the Teatro Communale in Florence, the Metropolitan Opera in New York, Covent Garden in London, the Vienna State Opera, the Grand Teatro de Liceo in Barcelona, ​​the Sofia National Opera in Bulgaria, the Theater Champs Elysees in Paris, Palau de les Artes of Reina Sofia in Valencia and other venues. Participated in the tour of the Musical Theater. K. S. Stanislavsky and V. I. Nemirovich-Danchenko in South Korea and the United States. Performed at the Ludwigsburg Festival in Germany. Has toured with concert programs in Sweden, France, Holland, Great Britain, Austria, Belgium, Spain, Greece, USA, Japan, Turkey.

Khibla Gerzmava is divorced, she has a son Sandro (born 1998), sang in the children's choir of the Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater, sometimes took part in performances with his mother.

Khibla has a younger brother, two nephews from him. Brother finished

Khibla Gerzmava is an opera artist of a "new type", as the press writes about her. Khibla amazes fans not only with vocal abilities, but also with subtle acting, grace, and thoughtfulness of the image. The singer with all her appearance gives the feeling of a fairy tale, which made the artist not only a recognized opera diva, but also a style icon.

Khibla Levarsovna Gerzmava was born on January 6, 1970 in the Abkhaz resort town of Pitsunda. The girl's family was not at all musical. The mother of the future opera singer is a translator from German, her father is the senior administrator of the Pitsunda boarding house. Translated from the Abkhazian Khibla means "golden-eyed", the artist's surname is translated as "she-wolf".

When little Hible was three years old, her father brought a piano from Germany, which the future opera singer has been trying to play ever since. This sudden purchase determined the future biography of the singer, pushing the girl to music. Soon Khibla began to sing and play the piano.

Khibla's childhood passed near the Pitsunda Orthodox Cathedral, through the walls of which organ music was constantly heard. For the first time Gerzmava felt an artistic craving in herself in her youth, when she attended the performance of the Abkhaz song and dance collective "Sharatyn". She was also impressed by the performance of the violinist Liana Isakadze. With the growth of the girl, her passion for music also grew.

Gerzmava lost her parents early. When she was 17 and then 19, her parents left one by one. The girl only had a younger brother. This fact influenced the further biography of Khibla Gerzmava. Already at this age, the girl firmly decided that her choice was a creative profession. In connection with this decision, she graduated from a music school in Gagra, then a music school in the piano class.

From 1989 to 1994 she studied at the Moscow Conservatory at the vocal faculty. In 1996 she graduated from the assistant at the Conservatory. In parallel, I studied organ music for three years, eventually mastering my favorite instrument.

Music

Abroad Gerzmava first appeared in 1993. Then Khibla took part in the competition "Voices of Verdi", receiving the third prize. A year later, she was recognized by competitions in the name of St. Petersburg and Francisco Vinyas in Spain, where the singer won second place. Triumphant success came in his student years at the 10th International Competition named after. It was in 1994 when she performed Rosina's final aria, winning the Grand Prix.

The singer is often compared to an opera artist. They are somewhat similar: both young and attractive women, both southerners, and due to the peculiarities of their voice and type, perform the same parts on stage.

Netrebko became famous five years earlier than Khibla and, if the circumstances were different, could well oust the competitor from the scene. Instead, two opera divas split the musical world in half. Anna is a singer of the St. Petersburg school, Khibla studied and often performs in Moscow. Even playing the same roles, they shine on different, but equally significant scenes. For example, Donna Anna Netrebko, who made both of them famous, sang at La Scala in Milan, and Gerzmava at Covent Garden in London.

During her busy career, the opera singer Khibla Gerzmava performed on the great stages of the world. Among them are the Mariinsky Theater of St. Petersburg, the Teatro Communale in Florence, the Metropolitan Opera in New York (debut in 2010), Covent Garden in London (the already mentioned part of Donna Anna in 2012), the Vienna State Opera, the Grand Teatro de Liceo in Barcelona, ​​Sofia National Opera in Bulgaria, Teatro Champs Elysees in Paris, Palau de les Art of Reina Sofia in Valencia.

The singer has collaborated with many legends of the music scene. Among them are virtuoso pianist, conductor and violinist, pianist Nikolai Lugansky, Music Viva orchestra, singer and saxophonist and others.

Khibla Gerzmava also takes part in modern performances. But, of course, not in all, but only in performances with taste, where the line of theatrical conventions does not go over. Abroad, the singer performs encore songs in her native Abkhaz. A large audience gathers at her performances both in Moscow and in New York.

The singer also left her mark in the chamber genre of classical music, having recorded a number of discs entitled "Khibla Gerzmava Performs Russian Romances", "Oriental Romances of Khibla Gerzmava", as well as discs with cycles of romances by Nikolai Myaskovsky, Mikhail Ippolitov-Ivanov. On account of Khibla, there are many video recordings of the performance of songs, romances and arias, there are video versions of opera performances where the artist sings. In 2016, the singer released a video for the vocal work "The Gray-Eyed King", based on poetry.

However, Khibla's main musical love was and remains jazz. She took part in Daniel Kramer's concerts. The project was called “Opera. Jazz. Blues". The singer and pianist toured Russia and Europe and did not just repeat the same compositions, but changed the program every six months. In 2016, the musicians released an album of the same name, which included the best works from their program. Khibla also collaborated with the renowned jazz saxophonist Georgy Garanyan.

In February 2014, Khibla Gerzmava performed the "Olympic Waltz" at the closing ceremony of the Sochi Olympic Games. The singer took part in a romantic show during Sochi-2014: the artist sang while the Vestnik Vesna ship carried her across the air.

On February 22, 2015, Khibla appeared in the show "One to One" of the TV channel "Russia 1" as a member of the jury. During the performance in the image of Khibla, they asked to perform an encore of the hit "Eternal Love", which the singer did flawlessly.

In December 2016, the singer sang a part in the opera Don Carlos. The production had a stellar cast, but almost all of the participants were known for their solo vocal careers, so the audience was eagerly awaiting to see them together on the same stage. The highlight of the program was supposed to be, but due to a serious illness, the singer refused to participate, and he was replaced by Ildar Abdrazakov, who was later called by journalists "the sex symbol of the opera world."

At the end of the same year, a scandal erupted. Before the match of the First Channel Cup in hockey, Khibla was supposed to sing the anthem of the Russian Federation, but, as it seemed to many, she forgot or mixed up the words. The artist apologized and asked to give her the opportunity to perform this composition again, but the organizers refused the request.

This mistake by the singer caused a flood of condemnation in the press. The next day, the Russian Ice Hockey Federation expressed a different version of what was happening. According to its president, there were technical problems, so the music sounded slower than it should be, which confused the performer. The federation has officially apologized to Khibla Gerzmava.

This incident could not interfere with the career of the artist. Gerzmava still remains in demand on the opera stage. On the singer's official website, her performances are scheduled for several months in advance.

Personal life

Khibla Gerzmava is reluctant to talk about his personal life. Few people know why Hibla's husband now lives separately. From a joint marriage, they have a son, Sandro, born in 1998. Since childhood, the boy sang in the choir of the Moscow Theater. and Vladimir Nemirovich-Danchenko. Sometimes Sandro took part in performances with his famous mother. Photos of her son often appear on the singer's personal Instagram.

The artist's family life remains a secret, but, according to journalists, the opera singer has no new children and husband. Khibla maintains a close relationship with his younger brother Loretz, who was educated at MGIMO and the Sorbonne. Now my brother's family lives in two countries - France and Abkhazia. The patrimonial nest of Gerzmava is located in the village of Duripsh, where relatives gather in the summer months of the year. There are also the graves of the father and mother.

Khibla Gerzmava devotes a lot of effort and funds to charity. The singer financially supports musical groups and young artists of Abkhazia. Until 2014, in the summer months, the music festival "Khibla Gerzmava invites ..." was held on the territory of the Pitsunda Museum Complex, which was later moved to Moscow. The invariable host of the event was Svyatoslav Belza. For three evenings, the audience got acquainted with the work of young musicians, performers of classical and jazz music.

In March 2018, the First International BraVo Music Award was presented on the stage of the Bolshoi Theater. Khibla Gerzmava was honored to become a laureate in the nomination "Best Classical Female Vocal". There, Dmitry Hvorostovsky was posthumously awarded in the category "Best Classic Album of the Year" for recording the disc "Verdi. Rigoletto ". The soloist of the Mariinsky Theater Ildar Abdrazakov, pianist and others were also awarded.

Party

• Lyudmila, "Ruslan and Lyudmila"
• The Swan Princess, "The Tale of Tsar Saltan" N. Rimsky-Korsakov
• Rosina, The Barber of Seville
• Adina, "Love Potion" by G. Donizetti
• Violetta Valerie, "La Traviata"
• Mimi and Musetta, La Boheme
• Nymph, "Daphne" M. da Galliano
• Adele, The Bat
• Donna Anna, "Don Juan",
• Vitellia, "The Mercy of Titus", W. A. ​​Mozart
• Liu, Turandot, G. Puccini
• Amelia Grimaldi, "Simon Boccanegra", G. Verdi

Russian and Abkhazian opera singer (soprano). Soloist of the Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater, Honored Artist of Russia (2006), People's Artist of the Republic of Abkhazia (2006).

In 1994 she graduated from the Moscow Conservatory (vocal faculty, teachers - Professor I. I. Maslennikova, Professor E. M. Arefieva), in 1996 - graduate school at the Moscow Conservatory in the class of Professor Maslennikova. She also studied in the organ class.

Since 1995 she has been a soloist of the Musical Theater named after I. KS Stanislavsky and Vl. I. Nemirovich-Danchenko.

During her career, Khibla Gerzmava has performed on the stages of the Mariinsky Theater in St. Petersburg, the Teatro Comunale in Florence, the Grand Teatro de Liceo in Barcelona, ​​the Sofia National Opera in Bulgaria, the Champs Elysees Theater in Paris, the Royal Opera House Covent Garden in London, Palau de Les Art of Queen Sofia in Valencia, etc.

In 2001 she organized the annual music festival "Khibla Gerzmava invites ..." in Abkhazia. The last few years the festival has been held in 3 parts: "Concert of Young Musicians", "Jazz Improvisations" and "Evening of Classical Music". The festival was attended by Vladimir Spivakov with the Moscow Virtuosi and Daniil Kramer with his Trio.

Titles and awards

1993 - Competition "Voci Verdiani" (Italy), 3rd prize

1994 - Francisco Vinyas International Vocal Competition (Barcelona), 2nd Prize

1994 - International Rimsky-Korsakov Vocal Competition (St. Petersburg), 2nd Prize

1994 - X International Tchaikovsky Competition (Moscow), Grand Prix

2001 - Theatrical prize "Golden Orpheus" in the nomination "Best Singer"

2006 - Honored Artist of Russia

2006 - People's Artist of the Republic of Abkhazia

2010 - National Theater Award "Golden Mask" in the nomination "Best Actress"

If you ask people on the street about the most famous Abkhazian, the answer will be one - Fazil Iskander. The question of the most famous Abkhaz woman may confuse passers-by, but opera lovers will not think for a second: of course, Khibla Gerzmava. And if once they joked about Dmitry Hvorostovsky that Western audiences love him so much that they even learned to pronounce his last name, then fans of the golden voice of the world opera star simply call their idol Khibla. Gold-eyed, if translated from Abkhaz.

So, Khibla Gerzmava: daughter of Abkhazia and daughter of her parents, actress of the Moscow Musical Theater named after Stanislavsky and Nemirovich-Danchenko, prima donna of world opera, wife, mother and organizer of the festival "Khibla Gerzmava invites." And just a beauty!

Daughter of Abkhazia and just a daughter

Khibla translated from Abkhaz means"golden eyes". Look at my eyes: they are yellow. They say I was born with "golden" eyes. The parents decided: the girl will be beautiful.

I was born in Abkhazia, in a wonderful and sunny Pitsunda. She studied at the Gagra music school, and then at the Sukhumi school in the piano class.

Until the age of 18, I did not even think about a singing career. I just loved to sing, composed songs.

My mom dreamed that I studied at the Moscow Conservatory.

I've always been a musical child... But she took up singing late, at the age of nineteen. I discovered this gift in myself after the death of my mother.

My dad brought me to the conservatory. He was very worried about me when I passed the entrance exams. During the third round in the Great Hall of the Conservatory, dad listened to me even with tears in his eyes. And I will never forget that ... Then something terrible happened. Two years after the death of my mother, my father was gone. We had a very friendly, beautiful family. My brother and I grew up in an atmosphere of love.

From an early age I listened to polyphony. Grandfather loved folk songs. I sang with my grandchildren. Only men performed in public. But women always knew how to sing. And my mother sang. I really love Abkhaz music. You can't do without her. Folk songs, drawn-out, sad, are the highlight of my solo concerts. They add spice and flavor to the classic program.

After the Tchaikovsky Competition, after the Grand Prix, I remember, they signed a contract with me "Japan Arts", and I had my very first tour. And I went to sing with the orchestra. I was called for an encore so many times, and we had already run out of our "bisovochki", and there was nothing to sing at all. And I went out and sang an a-cappella Abkhazian folk song. The Japanese, apparently, did not expect that this could be, and that it would touch them so much. They really liked it.

I speak excellent Abkhazian. And Sandrik does not speak it very well with me, because he studied in Moscow - both in kindergarten and at school. Only when he leaves in the summer to stay with his grandfather and grandmother in Abkhazia, they try to teach him a little, and he remembers something. I think this is my minus that he does not know the language, and I am very worried about this. The Abkhaz language is very difficult, so the first thing to do, of course, is to speak it in the family.

In the Abkhaz language there is such a word "pkhascarop". It means "ashamed." For Abkhazians, it is considered "phascharop" disrespect for elders, some wrong actions. Or some unacceptable things, say, in relation to women. But basically "pkhascarop" is said when there is some definite disrespect for something or someone. The conscience of the Abkhaz is, of course, in the first place.

We have amazing folk ensembles dancing and polyphonic folk singing - what is considered the main thing in the Abkhaz culture. This is given to us by nature. She created the Caucasian people in such a way that they all sing amazingly, and with polyphony. Not every Russian person will be able to perform a song that almost every Abkhaz will sing by ear.

I have long dreamed of making a holiday in Pitsunda for people. I love this city, this land, I am drawn there all the time. Excites the air of Pitsunda - the sea, pines, iodine. It seems that I know every stone of our ancient temple, filled with the aromas of centuries. In Moscow, I go to church to feel the atmosphere of burning candles and old icons. Once upon a time, the "Night Serenades" Festival was held in our church. It was conducted by the famous violinist Liana Isakadze. I grew up on it. And when I had already become a famous singer, I had the idea to carry out my own interesting project related to classical music in the church.

THE ROAD TO GLORY

I was 16 years old when my mother passed away. I loved her very much. My mother dreamed that I would become a musician and play the organ. But one day I suddenly felt that I was singing in a special way. Then I already studied at the Sukhumi musical school. My piano teacher Karlen Yavryan heard me sing and took me to Josephine Bumburudi, head of the vocal department. She listened to me and said that we would work with her.

We only worked for a year. Practiced singing technique, breathing, sound science, practicing operatic parts. And, importantly, Josephine showed everything to her students with her voice. She taught us to understand the essence of each piece performed. She opened the magical world of opera art.

Twenty years ago it seemed to me that I arrived in Moscow absolutely prepared. I was admitted to the conservatory! But during my studies, I realized how much still needs to be learned about everything and how many secrets of vocals have to be revealed.

A strong vocal base that allows to actively perform with a varied repertoire, to withstand a tight tour schedule, I received at the Moscow Conservatory from my professor Irina Ivanovna Maslennikova. From the third year I entered the chamber ensemble class of Professor Evgenia Mikhailovna Arefieva. She prepared me for the Tchaikovsky Competition, which has become a springboard in my creative biography.

I was just lucky. I became my teacher Irina Ivanovna Maslennikova. This is a lump! Great singer, great personality! Irina Ivanovna has her own teaching system, her own school. I came to her as an angular, shy, unsure student. Irina Ivanovna taught me everything - to live, be friends, love music, theater, literature. She instilled taste, guided me. We talked a lot.

Irina Maslennikova could not stand when I came to class in inappropriate shoes, because I was convinced that the singer should always wear elegant high-heeled shoes, smart and stylishly dressed. Irina Ivanovna liberated me. From a provincial girl, she gradually sculpted a singer. She gave special exercises for the development of my voice, lyric-coloratura soprano ...

I am always grateful to my teachers piano for the fact that I still own the instrument. In general, I think that singers who play any instrument are lucky, they have a more meaningful sound science, a deeper understanding of music. Now I have little time to practice the piano, but at home or with a narrow circle of friends I can play a little jazz.

In his student years, another came true my dream. The fact is that in Pitsunda we have an amazing organ, and I have always wanted to learn how to play it. At the conservatory, I was able to fulfill my dream, having studied as an optional organ class for three years.

Three years in organ class is a tribute my mom's dream. And then, I grew up next to a temple where the organ sounded.

I started a different life, I'm a girl from the provinces, home, which did not understand what a hostel is, Moscow and the Moscow Conservatory. And suddenly all this opened up for me, and I began to choke a little, then somehow I gathered myself. I studied very well, she was such a good student, she was correct, such a pioneer.

DIVA

We are invited people, we are invited, we come, we are obliged to make the audience fall in love with ourselves, we are obliged to fall in love with ourselves, the first duty, the director, conductor, and charm everyone, and make it so interesting for them to work with you. This is a very important point. If this line is reached, then it is very convenient to work further. Then you just let go of yourself and create.

I think you need to be very open, warm, and it seems to me that you need to treat any theater with great love. If there is a feeling of love, then the voice always sounds, and the work is always interesting. We are going to come from different theaters, this is kind of a combined troupe. And in order for us to have a good tandem and good performances for a month and a half, for this we need to be very open.

It's important to be stylish. Look decent on stage, sing without distorting your facial features. To be able to "take" your viewer. Bring him love and warmth. The energy that you radiate is what is important. It seems to me that the singer must have a very warm energy. To be a really interesting person: a dummy is boring to look at.

The most obvious timbre changes I felt for the better even after the birth of my son. I was glad that the voice became softer, less flattened sound, the smallest tremolation, which sometimes interfered with myself, disappeared. The process of "rounding off", perhaps, continues, but now I consider myself a lyric-coloratura soprano, with an emphasis on "lyricism".

I'm one of those singers who are careful about the choice of repertoire, in my age it is especially important to keep the voice fresh. Gilda or Juliet is already useless, but Lucia, Violetta or Mimi are now mine.

I don't know how I would react to the offer to participate in an overly frank production. Perhaps I would have included my professionalism and tried to find something new and interesting. But, to be honest, I'm afraid, not thirsty. I love modern performances, but only those where there is taste and on stage do not cross the line of theatrical convention.

I'm always grateful for the positive wave coming from the audience, from the fans. But I myself understand that one hundred percent is never perfect, no matter how hard you try. I take positive emotions to myself "in a piggy bank", but I still know what worked and what didn't. The analysis works well for me, and no one "eats" me more than myself.

I need my voice to always be beautiful sounded. I know that its timbre cannot be confused with anyone else's. But I have to constantly find new colors, nuances. It seems to me that I grew up a lot after the conservatory, began to sing with a different sound, beautiful. A good vocal ear helps me.

I don't care much about who is in what place puts me. I just feel like a good singer and a happy person. But, of course, it is important for me to be the first in my native theater. For this I work hard. As you know, you need to win over the audience, and above all with your individuality. I did this for several years after the conservatory. Today at my performances and concerts there are always full halls. The name already works.

I always try to be interesting to listeners- refined, beautiful, stylish. For them, it is important what the actor looks like, how he behaves on stage. For music lovers I find fresh intonations, colors, new sounds ... I judge my success by the silence of the hall, applause, spectator emotions.

I understand everything I sing about. I love Italian. It is melodious, beautiful and very capacious. Suitable for vocals like no other.

I value sincerity and sensitivity in partners to each other. If there is no contact between partners, it is impossible to play love on stage.

It's hard for me to fall asleep after the performance. So much adrenaline in the blood. I never sing superficially. I pass everything through myself, I get used to the destinies of my heroines. And this is not easy. Then I recover for a long time. After "Lucia di Lamermoor" or "La Traviata" I come to my senses for two or three days. I stand under the shower, swim. But I do not complain: the Lord gives me strength. We are like a vessel that he fills. Half, or to the brim. How you will be rewarded.

ACTRESS OF NATIVE THEATER

Work with director Alexander Titel- for me it is pride, for me it is trembling happiness. I believe that it is imperative to love the person with whom you work. The first duty is respect, the first duty is love.

Something can be done through love... Therefore, at first I realized for myself that I love this theater, and, therefore, I love Titel. I love him as a person, I love him as an elder, I can always consult with him, he can take me by the handle and lead me as in childhood. He is the only person who made me be stylish, beautiful, interesting for others.

I was ugly, I was fat I was 25 kilograms more, I didn't know how to dress, I didn't know how to walk on the stage, I didn't know how to jump on the stage, I was "pinched". I didn't know how to stand elegantly on the roof of a car and sing beautifully "Musetta's waltz". I didn’t know, I didn’t know how, he taught me this.

Once upon a time for the sake of this theater, for the sake of Titel, I lost 25 kilograms, came and said: "I want to work with you." And he took me ... No, well, of course, I auditioned, they liked how I sang, it's natural, I came like everyone else. They didn't even listen to me with the orchestra, but immediately said: "We are taking this girl without the orchestra!"

I am not a blind kitten that will do everything as he was told. I have matured, I have become a grown woman. I do not like to swear, I like to do all this in a very correct and gentle way. Sometimes I come to his office, ask for it, say: "I need it, urgently!" - "Okay, go." And we sit, for a very long, long time, sometimes late, late. He explains what he wants and I explain that it is inconvenient. And so on down to the costumes of our theatrical ...

You see, our theater is different in that that on stage it very rarely happens when it is convenient for a singer to sing. I once said: "We," girls "who grew up and were born in this theater, we will soon sing with scuba diving!" And this is interesting to me. That is, I can’t just stand on stage and sing. I need to do something, I need to move, I need to jump, I need some bright, vivid mise-en-scenes.

I'm not ashamed to be funny on stage ugly. The girls are worried: “God, how can I have this? I’d better emphasize my waist, but here we do it a little differently, let's hide the shortcomings.” Yes, of course, you need to hide your shortcomings. But I think it's funny and you also need to be able to be ridiculous on stage.

I'm at home on stage. Here's a bed scene in the second act in "La Traviata" - I am the same at home, I can sleep in a man's shirt, fall asleep in the shirt of my loved one, wake up, tie myself something and walk, make coffee ... The main thing is that I am natural on stage. And if it turns out vocal, it turns out smoothly, then I am glad, for me it is very important.

WIFE AND MOTHER

I usually prepare for a performance at home. Singing at the piano. There is no way to remain silent. The main person in my life is my son Alexander. At home we call him Sandro .. He comes from school and, naturally, needs to communicate with me. Well, how are you going to be silent? Obliged to give her son everything he needs. By the way, I breastfed him for a whole year, which the singers usually don't do.

If the Lord gave me the happiness of becoming a mother, then I must give the child everything that I can. True, in the first year of Sandrik, I took him with me, and we flew around the world together. I worked at Covent Garden for two and a half months when Onegin was being prepared. And I was able to arrange so that my son, already a schoolboy, flew to me in London. And so Sandro grew up. Handsome, smart, gifted. It seems to me that he will become an artist. Now he is engaged in the theatrical choir, goes on stage with him ...

If I come home I don't keep playing as Somerset Maugham's character is the great actress Julia Lambert, I'm just a loving mom. Closing the door, I become an ordinary woman: home, cozy, warm.

I brought my son to the theater to "work" first of all to spend more time together during my now infrequent visits to Moscow. And then, the theatrical schedule, the rehearsal process are very disciplined, which many do not even realize!

I'm almost sure that the son of the singer will not. Sandro has already spoken about the dramatic career, and I am not against it in principle, but only after full adulthood. The most important thing is to guide the child, and then he will think and choose. The boy is good at mathematics and his head is inclined towards the exact sciences - we will focus him on this.

The son honestly told me that he does not like those performances where my heroines die at the end. Therefore, my best role in the perception of my son - Adin in "Love Potion".

... AND SIMPLY BEAUTY

I have stylists who make costume hairstyle, makeup. But if I personally don't like the proposed option, then I won't go out like that in a concert, even if it's super fashionable. I think that a woman on stage simply has to be beautiful, stylish and well-groomed. An artist must be a Dream - flawless, in the most expensive exquisite outfit. A successful dress gives me the feeling of a straight back, when I feel beautiful - I sing in a different way!

It's important for a singer, I'm sure, to be simple happy woman. Then she has a good inner state. The eyes are burning. The back is straight. She feels like a queen on stage. The audience is at the mercy of her charisma and energy.

... A LITTLE ABOUT LIFE

I'm interested in the Beatles, but I'm not a fan from them. Other music is enough for the soul. Never belonged to the majority. I am an individualist, a lone wolf.

Extensiveness is the way of populism, pop music. Intensity, inward movement is the path of a true musician.

I only do what I'm interested in. I do not strive for easy money: the standard of living suits me completely. I take only those projects that give real pleasure. And the snow-white limousines ... Let the pop music get it.

I need it all the time to be better so that I can sing better. I’m never ashamed to learn, I’m never ashamed to come up and ask: "Listen, how can I do this?"

I am very happy that I took place as a mother… My wonderful son is growing - Sandrik… I dream of his health, I pray for his health, I hope that he will grow up to be a real man. I want a good career for myself, a good job ...

And the fact that I am a demanded person today- I want to keep it, because being in demand is very important for me. Finally, I want to be a very happy woman.

REFERENCE FROM THE FOUNDATION "ADYGI":

People's Artist of Russia and People's Artist of the Republic of Abkhazia Khibla Levarsovna Gerzmava was born on January 6, 1970 in Pitsunda, Abkhazian ASSR. In 1994 she graduated from the vocal department of the Moscow Conservatory. In the same year she was awarded the Grand Prix at the P.I. Tchaikovsky in Moscow. Since 1995 she has been a soloist of the Moscow Academic Musical Theater named after K.S. Stanislavsky and V.I. Nemirovich-Danchenko. In 2001, she organized the annual music festival "Khibla Gerzmava invites ..." in Abkhazia.

Khibla Gerzmava sings on the best stages in the world: at the Mariinsky Theater, at the Metropolitan Opera in New York, at the Royal Opera House in Covent Garden in London, at the Rome Opera, at the Grand Teatro de Liceo in Barcelona, ​​at the Théâtre des Champs Elysees in Paris and etc. Khibla Gerzmava is a laureate of the most prestigious theater awards "Golden Orpheus" and "Golden Mask", "Triumph" awards and awardsCastaDiva.

Recorded by Ilya Fedoseev.

Photo: Natalia Arefieva, Pavel Vaan, Leonid Semenyuk, Nino Dzyapsh-ipa