Larisa Gergiev is a frequent guest in our Opera and Ballet Theater. The legendary personality, no less known than the "Chief Ossetian of the World" (this was not so called, these viewers erected him to such a rank) - her brother Valery Gergiev. There is no special need to represent him: conductor, musician, director and artistic director of the Mariinsky Theater, Chief Conductor of the Munich Philharmonic Orchestra. But Larisa Abisalovna was not lost in the shadow of his brother and entered his name into world culture. Pianist, opera director, artistic director of the Academy of Young Singers of the Mariinsky Theater. It is difficult to remember someone else that has done more for opera art in Russia than she.

Larisa Gergiev was born in Moldova, she studied and worked in North Ossetia, received the title of people's artist of Russia and Ukraine, represented the opera performances at all famous sites of the world. She is a man of the world. Moves throughout the planet, carrying love to the opera art and uniting continents, peoples and cities on its shoulders. Three years ago she was presented to the Order of Friendship - for a personal contribution to the development of friendly relations between nations, merits in the development of world and national music classics. Talking to her - it's like to get drunk from the spring. A calm, measured speech, a deep voice, a female soft, but at the same time internally strong, it carries such a love for the opera art that confidence appears: while Larisa Abisalovna Gergiev does not have to fear for this genre.
Give God so that it lasts as long as possible.

ELITETING - this is the presence of an opera theater

- Larisa Abisalovna, you come to Yakutsk for the fifth time. Enter the opera performers of your academy, conduct master classes, listen to our artists. Something has changed from your first visit? Are there any movements or were we "frozen" in our Yakut opera school?
"I am always happy to come to your republic, because I know that I'm waiting for me to meet with interesting voices." Voices are really rich in timbre, high-quality, real opera on the scale. I meet young people who want to take place, burn, live opera, dream of becoming professionals. You have a large number of singers, votes that your theater rich.
And I would like to express such a wish: To, despite the difficult time, the situation in which we in the country are inhaling! - First of all, the culture is, when it is especially difficult to survive provincial theaters, more attention paid to these young talented guys who are not looking for a light path, do not go to the karaoke, in the nightclubs, having a voice. I travel a lot around the country and come across it constantly.
The elimination of the culture of the city, the republic, the edges are primarily determined by the presence of the opera theater. Opera! - as the highest genre of art in which many are connected. It seems to me that having an opera house, the authorities need to make as much effort as possible so that he bloom. So that young singers could ride the internships, had the opportunity to receive advice, creative help from the highest rank of specialists. It is not only about experts from St. Petersburg and Moscow, but also foreign coaches - the masters of Italian, German, French styles, if you put the opera in this language. The ability to invite not just native speakers, but people who are directly related to the Opera Art will pay off in the future.
Now the word appeared such special - cochy, that is, coaches and tutors, but the highest class.

Interrupts herself, begins to speak rapidly:
"I am very worried that you will write my commendable words, and most importantly - lower. And the most important thing is that they need help!
- Do not worry, voiced not only praise ...
- Now the leadership of the Opera House of Yakutia makes a lot of effort so that your theater is more famous for us in our country. There are several interesting things, I would say, tempting offers to bring and show what you are rich in Moscow, in St. Petersburg - on the stage of the Mariinsky Theater, in Minsk. It's just wonderful! Your Andrei Savvich, a wonderful director (Borisov. - L. T.), put Opera "Prince Igor". They talk about it as a stunning epic act. And now negotiations are going to show her in the fall in St. Petersburg.
- But you understand that it is very large and ...
- It is very large, and it is necessary to take it difficult to this! We need to prepare for this, because the Mariinsky Theater is the greatest theater in Europe, and the very first Russian operas were first shown on this scene.
And if the tour Opera "Prince Igor" is scheduled for autumn, then you need to start now, right today to prepare very carefully: to spend the singers, to make a gloss in the party, to engage in a simulator, rehearse the parties-movements, recover and clean each intonation! I want to say that you are far from big cities, fly here is not easy, respectively, and take the team, costumes and scenery - too. Preparation should be no less ambitious than the statement itself. I really hope that tour will be successful!

Tatyana Larina can not be 50 years old!

- You are worn around the world like a rocket. Take singers, engaged with artists, put performances. You came to Yakutsk from Europe.
- Yes, I just returned from Bulgaria, participated in the formulation of the Opera "Yevgeny Onegin", was the musical head of the international project with the participation of Russian, Bulgarian, Chinese and Romanian singers. It must be said that interest in the Russian opera in the world is now bigger than ever! I really want to know, listen, watch not only the operas that put in Moscow and St. Petersburg. I want to see what they live in other cities. Such tour arrives allow not only the audience to get acquainted with the theaters of the regions, but also to inhale fresh air, to present their art. I want to say that among Melomanians, the connoisseurs of the opera genre is the opinion that Yakutia, like Buryatia, is rich in voices. And this is a completely loyal opinion.
But this is not enough! It is necessary to show more culture, and artistry, not only professional executive skill. And this is a real school for young singers. It is very important for them not to boil in our own juice, to present yourself as much of the audience as possible, for this we need touring and creative business trips. Show your artists to the world!
- Besides the fact that you are a musician, a concertmester, manager, you are also opera director ...
Here Larisa Abisalovna begins to strictly protest:
- Not a director, no!
- But you have a lot of opera performances! And what else! All the cream of musical classics: "Tales of Hoffmann", "Iolanta", "Snow Maiden", "Stone Guest", "Magic Flute", "Troubadour", "Carmen" ... Yes, I can list until evening. (Larisa Abisalovna condescendingly agrees - well, yes, they say, I put it). Tell me which one is the most favorite? Your brainchild, your pride.
- (laughs). I want to say so: this is what I am doing at the moment - in love with it. I am often invited to work on various world sites as a specialist in Russian classics, Russian style. Just in Sofia has already been fond of thousandth time and fell in love with the opera "Eugene Onegin". I think this is one of the most brilliant Russian operas, and always I'm just happy to work on it. I hope that fate will provide this opportunity more than once. I still love the "peak lady" Tchaikovsky. Probably, for the Creator it ... as for a sculptor who sculptures and can not love her, as for any creative person, it is important what he is busy here and now.
- That's about "here" ...
- Maybe someday I can and on your stage something to do, who knows!
- You can not imagine how we would be happy! We are glad to each of your arrival, you always enjoy stunning artists, but if you still have a production here - the audience in the seventh sky will be! Yes, and our singers too.
- Honestly, I did not even expect that you have such stunning guys appeared. One "But": many in the presence of wonderful votes lack finishes. It seems to me that it would be nice to strengthen the work of vocal accompanists who prepare parties. More wishes for preparatory work, it determines the quality, the success of the performance depends on this. The accompanist now is a specialty extinct. They pay a little, and work is a huge! Work is very much, and I would like your accompanists to support: let's go to seminars so that they can drive with vocalists to contests, communicated with colleagues, grew to world level. The most important thing - you have voices, believe me!
But there is a reverse side of this medal: when a person with much more modest vocal data, thanks to the support and hard work, achieves the success of much more than his more talented colleague, you need to think about it. What was not enough vote? It is not necessary to rejoice only that you have these treasures. They need to be grain, grind and put in a decent frame.
- Any art is changing, even classic. Will the requirements for opera performers changed?
- Undoubtedly. The viewer loves when they sing "stylish." Yes, the concept of style is multifaceted: from how you know the tradition, how you serve the party, from what you have a charisma, what an artist you are depends on. And more compulsory requirement for a young singer: you need to look very good! We went into the summer when, in the party, Juliet came out an antirefront singer at the age of "far beyond forty", and Romeo could be low, bald and with a belly. Need to follow your appearance. Imagine 17-year-old Tatiana from Onegin. She can no longer be 50, she is obliged to be a young graceful girl, and the directors are very closely directly related to this. So young singers are now very difficult.
- Everyone knows that you have a musical family, your brother Valery Gergiev is a pride of culture. Your spouse, Grajr Grajirovich Handanian, - a famous musician, artist and composer, opera singer, - also works in the Mariinsky Theater. How did you meet?
- Oh, yes you know everything! With my husband, we met in Vladikavkaz, his dad - Armenian from the Turkish city of Trapezund. All Childhood and Youth Grajra went in Lviv. He became a professional singer, arrived in Vladikavkaz to fulfill the opera "PAYS", the main role of Canio, and since then we have been together for more than 40 years. With a tenorn husband to live, of course, not easy (laughs), but at the same time, such a creative union of people close to the spirit is becoming stronger. He is good that unites common tasks, interests, and we had the opportunity to always be together, ride on tour, prepare operas, parties. Now Greir teaches at the Academy of Mariinsky Theater, in the Conservatory, he does it very well. And today in the concert on the stage of the Opera and Ballet Theater in Yakutsk, the guys will come to sing with whom he worked (Speeches took place on Wednesday and Thursday last week. - L. T.). I hope that you will like the concert.
- Let's go back to your family. Unlike you with my brother, you know little about your sister Svetlana ...
- Oh, she helps us very much, supports in all endeavors! Svetlana is our younger sister, she does a lot for us, she has a big family, three sons. And her younger son Zaurbek Gugkayev - conductor of the Mariinsky Theater. He is still very young, but he has already debuted abroad in the opera "Eugene Onegin", a very talented, thin musician. I am very glad that he went through our path, let him fall into this profession to the end. I hope someday he will come to speak on your scene.
- Our viewer is always looking forward to the arrival of Mariins!

In Moscow and St. Petersburg during the week there are creative evenings Larisa Gergieva. The surname of her familiar to everyone: Valery Gergiev, Khudruki Mariinsky Theater - Native Brother Larisa Abyalovna. But people who are introduced to the world of music know: Larisa Gergieva itself is a phenomenon, a unique talent.

On February 27, his 65th anniversary and 50 years of creative activity notes the founder and permanent head of the Academy of Young Opera Singers of the Mariinsky Theater, People's Artist of Russia Larisa Gergiev. The best concertmaster of the world according to the BBC, the organizer of several prestigious international vocal contests Larisa Abisalovna is widely known as the teacher with a world name, which has grown up the whole Pleiad of the Opera scene stars. She developed her unique system, the system of Gergiens, which allowed her to bring up almost 100, and if accurately - 96 laureates of All-Union, All-Russian and international competitions.

The musical novel happened to Larisa Gergieva not the first time. However, like the famous brother. Dad was a military and family smoothed a lot of light before the villagers in Vladikavkaz. When it was time to go to the first class, the neighbors, musicians who marked the abilities of Larisa and Valeria, advised mom: "They sing you, and very clean, write them down in music school!"

Then in Vladikavkaz was the only music school, she used incredible popularity, the city was a boom: everyone wanted to teach children to music. Brother and sister passed the entrance examinations and flew both with a crash. And Valery, and Larisa.

At the insistence of the neighbors, children listened again and Valery accepted, but Larisa is not. She cried bitterly, but when classes began together with his brother, holding the handles, went to this school. He tested everything that they taught in classes and recorded him homework. Apparently, appreciating such a zeal, Larisa was also recorded in school.

We studied at the best school of Vladikavkaz. At one time, Evgeny Vakhtangov studied in it, Pavel Lisician - the Great Bariton of the Bolshoi Theater, the first of the Soviet singers, who spoke on the Metropolitan Opera scene, recalls Larisa Abisalovna today.

Years will be held and she personally meets Lisician and promises him to organize a vocal competition in his homeland in Vladikavkaz. And the word will hold back.

In order for the desire to do a favorite thing to do not disappear, a person must take twice: with parents and teachers.

She always carries with him a purse photo of his first teacher of the rim Andreyevna Lolava. It was her first realized that the piano framework for Valeria was close and led him to the conductor Anatoly Arkadyevich Brikine.

Andreevna and about Larisa, everything understood everything, and at the age of 15 for the handle led to the soloist of the Opera Theater, said: "I want you to try yourself in concertastere."

Read also

The concertmester is the most mysterious profession in the world of music. But it seems that Larisa Gergiev solved this mystery even then, 50 years ago, when he gave his first concert on stage with a vocalist. She was only 15, but she is already then no one who felt the voice, predicted everything, right up to the desire of the singer to translate their breath.

Interview

If we talk about unique people in creative professions, then in the first lines will be the name of Larisa Gergiens - brilliant pianist, the teacher from God, an outstanding figure in the field of culture, owner of an incredibly charismatic and charming nature. She is the artistic director of the Academy of Young Opera Singers of the Mariinsky Theater, the best concertmaster of the world according to the BBC, the organizer of several vocal competitions and the festivals of the arts. Finally, she is a representative of the famous dynasty for the whole world: But we deliberately put this fact in the first row. After all, everything that Larisa Abisalovna Gergiev has achieved in life, is the merit of her character, talent, moral principles. 2017 for her doubly anniversary, she celebrates half a century of creative activity. In the February days, concerts were held in Moscow and St. Petersburg, where the best pets of her school appeared in her honor. And we asked Larisa Assalovna about her affairs, aspirations, glances.

Evgenia Crivitskaya

- When in 1998, the idea of \u200b\u200bcreating an academy of young opera singers was born, what were their tasks?
- By creating an academy, we first wanted to raise the Pleiad of young singers, good professionals who understand the aesthetics of the Mariinsky Theater, in demand primarily in him. We selected 20 people from all over our country. It was a bright set, it is enough to name such artists as Nadezhda Serdyuk, Daniel Shodda, Larisa Yudina.
We were very intensely engaged in this and the following sets. The guys became really in demand, but not only in our theater, now their names know abroad. Where they just did not sang. I would like to call Ilya Bannik, Any Kikannadze, Edward Tsangu, Alexey Tanovitsky, Dmitry Voropaeva, Oksana Shilov. Now they are the leading theater soloists, they sing a lot, go on tour. I am glad that at one time spent a lot of strength with colleagues-teachers of the Academy. We tried to pay attention to the fact that the individuality of everyone persists and developed. I didn't cut them all over one comb.
Unlike the current academicists, they were not so busy in the current repertoire, but we prepared different programs, parties, went with concerts - to London, Paris, Milan, Madrid, New York, all important concert sites were open to us.

- The Academy will soon celebrate the anniversary, why did they manage to come over the years?
- The Academy will celebrate the 20th anniversary in 2018. Many guys passed through my hands. Of course, not all of them remained in the Mariinsky Theater: only as a result of a constant, daily, painstaking work after a while you understand that one or another person does not fit in our theater. But my main task to raise a good professional. Over the years, if you look at the composition of the Mariinsky Theater, there are many academists in it. Many of them became famous singers, except those who already named, this is Vika Yastrebov, and Sergey Semishkar, many sing on leading scenes in the world, perform in capital, important parties and are in demand in the theater. I would also like to name Varvar Solovyov, Sasha and Natalia Timchenko, Andrei Popova, Alexey Markova, Vladimir Moroza, Vladislav Sulimsky, Viktor Korotich, Pavel Shmulevich, Yuri Vorobyova, Mikhail Kolishvili, Anna Makarov, Lyudmila Dudinov, Irhm Gigolashvili. For me, dear all names.
Many have become during their stay at the Academy winners of international competitions. They scored a wonderful concert and opera repertoire. Now they are already independent, but still they with me: they turn with their problems, come, take lessons, they are advised, engaged. I love them to this day participate in their creative life.
Every year we continue to recruit the guys, we see the prospect and give them a chance. At the same time, now the Academy works not as in other theaters - now it is actually the young troupe of the theater. No theater in the world gives such chances to singers as Mariinsky. Look at the name of the opera, which we do in the Mariinsky Concert Hall. These are Italian, French, Russian names. At the same time, we put chamber operas. As we call them - small operas for adults and children are, of course, modern material.

- Over the past two seasons, a whole Opera for kids opened!
- Yes, we have a stunning children's repertoire. With what pleasure they are engaged in the youngest part of the Academy! This is a wonderful school, our singers on this material are growing. They work with excellent directors. And the settings are so honed, so interesting is made, which are in great demand from the children's audience.

- Graduates of the Academy and academists work a lot together?
- In general, they should not be divided. Often, for example, if any opera provides for the presence of age or just older characters, I, of course, first of all, invite your former pupils. They sing with pleasure. We make such a joint work together. For example, we have just passed the "Cinderella" massac. The main game was greatly performed by a girl with a wonderful voice - Angelica Minasova, which just recently came to us, in the spring. And next to her, he sang a very experienced, talented Anna Kiknadze. One of my favorite students. And also Olya Pudov. In Siberia, Jordano the most difficult tenor party, I invited the experienced singer Ahmed Agadi, who sang it brilliantly.
We also have an ensemble of the academy soloists. He is a big, more than 80 people. There guys get the opportunity to learn ensemble singing, and at the same time it is our choir. We call him an ensemble of soloists. While they are still early singing solo parties, they work there. And the theater is very nicely maintaining them. It is important!
It is emphasized that by many performances of academics conducting Valery Abisalovich Gergiev - a huge creative experience for young guys.

- How does Valery Abisalovich affect your activity?
- We agree with him with him. But the main thing is that he gives a chance to young. This year we have stunning absolute opportunities. The guys are growing on yeast and sink. This and "Swallow" of Pucchini, and "Dubrovsky" direction, and also "Grigory Melekhov" of Dzerzhinsky, "Werker" Massne, "Lucretia of Borgia", "Soroka-Worch" Rossini ...

- Please tell us about the Soviet Operators in the repertoire of Mariins.
- For two seasons we resurrected a whole layer of forgotten Soviet operas. Many of them are well known to me. Back in my youth, I participated in their production. One of my most beloved - "dawns here are quiet." A number of titles to me was to be interested in hearing in lively execution. Such as "fuel", "quiet don", "storm". It's all very interesting. And I think that many of them are worthy of a big scene. Not all, but this work is very important, this is our story, and youth should know it. The guys ask a lot of questions, read books, trying to understand the time and then events that happened. We must continue this work, and the most interesting names at least in concert execution should be.

- Do you have a grand work with the theater in Vladikavkaz, who becomes a branch of the Mariinsky Theater?
- Yes, this topic is very relevant, there is a solution. It is too early to talk about how the model of the theater will change. But he really becomes a branch of Mariins. Regional theaters are very difficult to survive, there are absolutely no productions. Spectators also do not have the opportunity to buy tickets at the expensive price. It seems to me that this is a very noble solution. Thanks for this to the Mariinsky Theater. I hope that the Vladikavkaz theater will be much easier to live. To say that Vladikavkaz slept, waiting for him to help him, and did not do anything, I can't. Everyone knows that very interesting events are held on the stage of the Vladikavkaz theater, in which our Mariinskaya youth has always participated. Very much interest in the whole region of the North Caucasus, our festivals with the participation of stars are also called.

- Are you talking about the festival "Visiting Larisa Gergieva"?
- Yes, and now, I hope it will be much easier to do it. I also want to say that Vladikavkaz has always been a good debut point for many young. It was possible to sing "Carmen", "Onegin". And then, feeling more confident, sing it in St. Petersburg. In Vladikavkaz, a very interesting repertoire policy. Despite the greater poverty. Last years the theater almost did not help local authorities simply could not. Nevertheless, there were people who were supported, and we did interesting productions. Such as Fedor Jordano, Agrippina Handel, Opera, which nowhere in Russia goes.
The last major work last season was the "demon." And now I hope that the Mariinsky Theater will expand our opportunities. We can put more. Probably there will be no such difficulties with the invitation of artists. And the audience goes very well. In general, the theater became the center of cultural and musical life in the North Caucasus. We are happy to go from Kabarda, from Dagestan, from South Ossetia, from mineral waters and nearby cities.
Just come, ordered tickets. In Vladikavkaz, we also pay a lot of attention to the children's repertoire. The theater rises in the republic and every month spends about 20-25 events - these are concerts, and performances, and away, and on the home stage. I just have a wonderful troupe. Of course, it is not equipped sufficiently. But after all, every year is replenished with new young names. I am glad to this, because the theater should be updated. Young people should work next to the scene masters, learn a lot from them. Very interesting guys came to us in the troupe after the competition, which was held in autumn. The theater itself is very cozy, especially the hall for 650 seats. The scene is nourished.

- Among your projects there is a Festival of Roman Corsakov in Tikhvin. Last year, we covered the tenth, the anniversary competition of vocalists passing through the festival. What are you planning next time?
- I would like to show in Tikhvin, at the Roman-Kororsakov homeland, his opera. I wanted to increase the scale of this festival. This year there were 5 cities in the area. Maybe the next time the festival will cover more cities: we are found everywhere with great attention, always full halls. This time we brought children's works in Tikhvin and Gatchina. And in this direction we will continue to develop. I want to acquaint the audience with the new names of the performers. During the last festival, a lot of music of Roman Corsakov sounded. Representatives of 16 countries took part in the competition. It's great because so we attract attention to the music of this composer.

- Do you ride a lot with master classes?
"I am not so important to leave somewhere abroad, although I just didn't give me master classes: in all European capitals, in America, in Japan, in China. But even recent years I have more interesting to carry out master classes in our country. There is a festival, during which I drove a lot and listen to young guys. The most promising, talented inviting us to the Academy. But the master class is not only to listen, take away, invite, but to give someone a valuable Council on the repertoire, role.

- What are your impressions from the master class in the Bolshoi Theater?
- I was interested to come to a large theater, this is our first experience. Among the pupils of the youth opera program there are vivid voices. All worked with great returns. I suggested my favorite topic - composers of the "mighty bunch". The master class was then crowned with two concerts in the Beethoven Hall. I hope that they made a lot of useful for themselves. Of course, this is a completely different theater, completely different aesthetics. But we do not have to be the same, use the same technique and repertoire.

- Do you need a need to convey your experience?
- Last years 25 I work with young people. It is so exciting and gives me a lot. I really want to help get a good career. I like talented guys who have not only a good voice, data, prospects, but still fanatically like voice, vocals, opera, theater. You can not only do with them, but a lot to talk. They sometimes express very curious thoughts. Interestingly through the prism of their judgments to look at many familiar things.

- Are your school features?
- Of course, Moscow and St. Petersburg are different schools. But as they teach in big, I can not say, I did not sit in the lessons. The result is important. That group of guys, which was granted to me for work, is motivated to take a worthy place in this theater. They apply a lot of strength: everyone goes, listen, are benevolent in communication. It seemed to me, the good atmosphere reigns. We talked a lot with Dmitry Widow, with whom we are old friends, including to meet and share experience more often.

- Why did you get your interest in the ensemble with vocalists as a concertmester?
"I always really liked to perform in the ensemble with singers." I love my voice and think that this is God's gift. Those who are around singers who can affect their growth, career, to ensure that they can take place, must be configured to this. If I am a vocal concertmester, then it should be very much to love and serve this idea. So that the vocalist can reveal, decide right to the repertoire. I have repeatedly said that the role of a concertmaster, it is not just the role of a person who acts in the ensemble. Often it is a psychologist, both coach, and a doctor and friend. That rock for which a young singer can rely on.
I think that I was born for this, with such a mission. I am proud to bring up about 200 laureates, and in general the number of my vocal students has several hundred. I always try first of all to pay attention to their individuality, on what they get better - on a strong, good. And I understand this well. I am always surprised when I ask me why I chose this profession. Because it is beautiful. Probably, until the very last moment of your life, you can learn, comprehend the secrets of the concertsystem. And I like to understand the voice, I like to do something with him, like to see the fruits of your work, be it an opera scene or concert stage. There is no such scene, where I would not speak. But especially proud of concerts in Carnegie Hall and La Rock.

- In the Mariinsky Theater, you also began to hold a contest of young opera directors. Tell us how he passes, your impressions of the participants?
- The idea was extremely successful. Those young directors who were selected, put the spectacles offered to them. They are all different, with their wonderful fictions. I do not want to single out someone. But I like working with a young director Mstislav Pentkovsky. We made Brundybar in Vladikavkaz with him, got the National Prize "Onegin" for this. There was a real creative process. Then we made a "Diary of Anna Frank". Completely unexpected decisions were proposed, and the production became an event. I like Alexey Smirnov - a tortured graduate of guitis with a wide range. It seems to me that he has serious professional prospects. We just put the performance of Britten "Little Pediffle", I was doing Vasily Zaraginsky, he had his own personal style. But the main thing is that the ideas were fascinating to be fantasy, so that the director understand what a voice is.
I am pleased that these guys did the first independent steps on the opera scene we have in our Mariinsky Theater in children's and chamber operations.

- Is your ideal opera director?
"I like it when there is a fantasy, but not insane." Of course, we all admire the productions of Franco Dzeffirelli. Attracts when the director works in Opera as Nikita Mikhalkov, Andron Konchalovsky, because their approach is closely related to the music. For them, this is not a surveillance, not the background. When we work with young, we are waiting for the new Jeffarelli. I am glad that this work Mariinsky Theater also allows you to do. I have for those directors who draw ideas in music.

- Can Blitz poll? Main trait of your character?
- kindness.

- What virtues do you appreciate most?
- I prefer people of good, not evil. I generally love people calm, those who are friendly to others. Everything that begins with the word good. If these are vocalists, then I like those who possess a weathered character that all their strength devote to take place, understand what they want to achieve in life.

- Your state of mind is currently?
- On the rise: After all, every 5-6 days the premiere, the new name, academists work with such a return, speed. It is so interesting, so great. Often with assistants we leave the theater far over midnight. Yesterday I left from here half the second completely in a broken state. And in the morning you need to be at work again. When you sit in the hall and see how your pupils sing, it is such satisfaction. I want to do something immediately after the premiere again.

- What is good for you?
- Happiness - When you serve, do it, which you love most in life. These are not loud words. You come home from the theater, and you do not leave the thoughts about him. You think what to do tomorrow, how to make work on the work has become lucky. The performers are young, it is important not to be mistaken here. We must correctly distribute the roles, attract the right style specialists. Of course, the most important thing is to find opportunities for the work itself. I love the draft, preparatory stage. I always want to do as much as possible, but not always enough time. I hope that I still have time, because there are many plans.
The next season is just scary by scope, scale, but very, very interesting. If you find happiness in your profession, your work, then there can be very little time to communicate with friends familiar. You barely grabs you on some kind of tour, to hold festivals, competitions, Vladikavkaz, home work with the guys.
Happiness is that this year is 50 years old of my creative activity. I gave my first concert with a singer when I was 15 years old. Over the years have played so many programs, I learned so much, I heard votes so much, I could admire the outstanding professional qualities of those colleagues with whom I had to perform. There are examples of unusually benevolent people and the highest level professionals, for example, Placido Domingo. He has an incredible charisma and it comes from him such goodness that it should be taken as an example. I believe that happiness is also - to make the right choice in life.
Finally, I want to say that, loving your profession and finding happiness in it, worry about the fact that today there are few young pianists who want to be concertsusers. I have excellent students who I try to instill this love for the opera, to the voice, to vocal. They work with me at the Academy. There are very talented guys. I would like them to be as much as possible.

What does the famous conductor earn in addition to performances at concerts and leadership of the Mariinsky Theater

Valery Gergiev is a unique example of how art can become a business, and business art. On the day of Russia, the Maestro received the third state-in-law from the hands of the President - for outstanding achievements in the field of humanitarian activities. The Gergiev immediately, without leaving Putin, said that he did not connect the award with the "liberation" (jointly with the Cello Rolmith) concert in Palmir.

The case is really not in Syria. And not in the "premium" 5 million rubles (a drop in the Sea of \u200b\u200bCapital of the conductor, which earned in 2015, as follows from his declaration, 130 million rubles). Gergiev is one of those few people close to Putin who are sincerely happy around the world. Hergians - genius conducting ordinary toothpick. And he is in oriental wise and heter. And perfectly knows how to benefit from its own talent.

Has employed all seven

For 20 years, Valery Abisalovich has been the artistic director of the Mariinsky Theater in St. Petersburg. Since then, the conductor has employed hardly by all Ossetian relatives, he has increased high-ranking friends, children (three cars were born in today. - auth.) And everyday troubles. As the musician himself noted, "I had to learn to negotiate - with sponsors and the state."

The most large headache of Gergiev was the construction of the Mariinsky Theater's concert hall (his director - the husband of the younger sister Maestro Svetlana Hergieva - Tamerlan Gugkayev. The older sister - Larisa Gergiev - heads the Academy of Young Singers of the Mariinsky Theater) and a long-suffering second scene. Mariineka-2, born with an incredible creak (more than once, the architects, contractors changed), cost a budget of 22 billion rubles. The auditors of the Accounts Chamber are only abound from two-time exceeding the initial estimates. Following them, Peterburgers, including Piotrovsky's connoisseur: How could I spend so much money on such a "ugliness"?! To which Alexey Kudrin did not blink with the eye announced the allocation of additional $ 25 million for the content of the theater: "Even after I left the Ministry of Finance, it continued to support the Mariinsky Theater."

Hermitage, do not envy! There are things more expensive money. For example, friendship. Newly approximate Kudrin is a great friend of Gergiev. Like Herman Gref. They are co-chairs of the Board of Trustees of Mariinsky and always, regardless of posts, support the charity fund Valery Gergiev. The very one, from which in 2009-2010 his director Igor Zotov with an accomplice of Kazbek Lakuti, according to the investigators, kidnapped 245 million rubles. Zotov claimed that he transferred money to the expense of Gergiev at the request of the chef (he dedicated everything), and sat for 8 years. "This is your term, Kazbek!" - Zotov shouted after the sentence. Lakuti condemned conditionally. There are things up of evidence. For example, gratitude. Kazbek - Valery Gergiev's cousin. His father Boris Lakuti took a family of Gerghy, after Valery (at 13) lost his father.

Balca in black with cello

Is it worth saying that all 20 years old Hergians thanks to Mariinsky successfully mastering endbid budget funds. But he earns. In 2015, the theater's net profit amounted to 800 million rubles. Against this background, fresh, Maysky, the StateContract with another relative of the maestro, the 30-year-old tribal-conductor Zaurbek Gugkayev, at 585,000 rubles - kopecks.

The state supports the festival of Gergiev "Stars of White Nights". As well as the Moscow Easter Festival, which appeared on the initiative of the maestro. The Mariinsky Orchestra with the main star-conductor - every year it chases on the part of Russia every year, and regions regularly conclude with the only performer (Gergiev Foundation) State Contracts. In 2016, the Udmurt philharmonic was cleaned by 5.000.000 rubles, Sverdlovskaya - at 2.547,500 rubles, Nizhny Novgorod - at 4.500.000 rubles, Tomsk - by 7,000,000 rubles, Kemerovo - by 3,000,000 rubles, Tatarstan - by 6,000. 000 rubles, Perm - at 4.000,000 rubles, the Ministry of Culture is not someone else to Gergiev North Ossetia - Alanya - only 2.100.000 "wooden".

In 2015, the conductor headed the Orchestra of the Munich Philharmonic (the contract was signed until 2020). But the main source of maestro's income serve his performances, mainly abroad - he receives fees for them in euros. Sobesednik.ru got acquainted with the tour schedule of Gergiev until the end of this year and did not believe her eyes: he carries every day! Moreover, it often gives two and even three (!) Concert.

However, we still found one window of Gergiev: in mid-August he acts in Finland, after which a two-week break. Then another concert in Sweden - and again a free week. According to the Finnish media reports, Valery Abisalovich has long chosen the resort town on the shore of the lake - the cottage complex Härkäniemen Tuvat ("Bullish Cape") and every summer brings a family here. And more friends. This is what Maestro told Maestro from Posner: "I am the President of the Finnish Society of the Black Sauna ... We accept one, maximum two per year in the Knights of the Black Sauna ... From those people who have proven that they are worthy of piano or in the grade, with a violin or with Cello in the hands. "

Turkey business

Herghius has a completely unexpected business - Eurodon, the largest manufacturer and processor of turkey meat in Russia. 15% of the shares of the musician received, one can say for a good service. He at one time introduced the entrepreneur Vadim Vaneyev, a native of South Ossetia, with the necessary person - Andrei Kostyn, Chairman of the Board of VTB Bank. The case immediately went. For 6 years, Evrodon thanks to loans grew up in the giant, in 2014 his net revenue was, according to Spark, 333 million rubles. All Malina almost spoiled last year the third shareholder - member of the Board of Directors of Gazprom, the former Minister of Property Relations of Russia Farity Gazizullin. He passed his share of an offshore company, which was submitted to Vaneyev to court and almost selected a business. He says again turned to the maestro, who allegedly reached the president himself. Reached or did not come? How to know. But the conflict resolved. Suspects in trying to take hold of Eurodone fraudulently detained. There are things stronger than any mafia. For example, common interests.

Imperial Spirit

And in 2013, Gergiev offered the president to revive the All-Russian Choir Society (before the revolution - the Imperial Russian Music Society). And he himself headed a non-profit partnership. As follows from the protocols published on the website of the Ministry of Culture, NP "EHO" regularly wins contests for receiving subsidies. So, in 2013, the Gergiev's claims were defeated for the All-Russian view of choral groups for the formation of a consolidated children's choir of Russia (9 million rubles) and the preparation and provision of presentation of the consolidated children's choir of Russia at the closing ceremony of the 2014 Winter Games in Sochi (150 million rubles) . In 2014, another 8.4 million rubles were allocated to the speech of the Children of Russia in the Republic of Crimea. And 26.6 million rubles for the All-Russian Choral Festival. Another profitable idea of \u200b\u200bGergiev, delivered to the art, worked. And now Vladimir Medinsky promises to think about the transformation of the All-Russian choir society into the socio-state organization, which will allow us to translate it to a qualitatively new level. " Simply put, open the road to the trough.

The only enterprise in which the Gergiev suffered Fiasco is the creation in St. Petersburg of the National Center for Arts. The musician proposed to unite the Marinka, the Vaganovskaya Academy of Russian Ballet, St. Petersburg State Conservatory and the Russian Institute of Art History. The conductor led to the need to revive the Directorate of Imperial Theaters. However, the expert community slammed the "imperial" idea. Ex-director of the Russian Institute of Art History Tatyana Kalyavina Sirila: "It is impossible to recreate the Directorate without recreating the Empire and Imperial Guide."

It became for a small thing.

Olga Saburov

Larisa Gergiev. Photo - Andrey Pronin / ITAR-TASS / Interpress

The famous accompanist, artistic director of the Academy of Young Pecoms Marinki and the National State Opera and Ballet Theater of the Republic of North Ossetia Larisa Larisa Gergiev celebrates a double anniversary - the 65th anniversary and half a century of creative activity.

The Slaria of the Abyalovna talked to the Culture correspondent.

- First of all, I have a creative anniversary and to a lesser extent personal. 50 years in the profession, in art - for me it is the main milestone.

In the same spring days I first participated in the solo concert of professional bass. There was only a student school, freshman. It was then that I had an interest in vocal. Of course, I performed earlier - in the ensemble with instrumentalists, and with good, but such joy never felt. It was a real shock.

No less pleasure experienced when after classes with singers came to the hall and for the first time he heard the finished opera, which he learned from them from and to.

- Probably at first you dreamed of a pianist career?

- No, I immediately focused on concert shop. It seemed to me much more interesting than solo performances.

I was in love with my voice, and I wanted the ensemble with a singer. Of course, I heard anything: that the profession is ungrateful, not very noticeable. But, as it turned out through half a century, it is not so imperceptible. I do my own business and get joy.

The complexity of the labor of the opera accompanist and the vocal teacher is that no one teaches this. Before you need to reach yourself. And I want to say to my young colleagues: it is impossible to go to the accompanist only because there was no solo career, "you will suffer all my life. You need to love singers, voices, music. Then your one. You are nanny, and teacher, and psychologist, and most importantly - a friend.

Already in young years, in the school in Vladikavkaz, I had a craving for the study of new works, composer names. A lot means the desire to comprehend the profession, to self-education. Sit on the radio, he listened to Dulukhanovoy, archupian, exemplary.

My ideal was the legendary Gerald Moore - I focused on his art, the ability to interact with the singer. On the stage, the concertmester is experiencing no less emotion than a solo pianist. I remember my feelings when "La Scala" took applause after our concert with Olga Borodina.

- With singers are not easy, they are all different ...

- Naturally. Upholsova, for example, we have never been rehearsing for a long time, try something, and the rest - it was born spontaneously, already on stage. Arkhipova was completely different: in the most insignificant miniature, everything was polished to the brilliance, to perfection.

Communication with any vocalist, even if it is inept, it gives a lot for professional growth. And there is a lot of joy when something begins to get and you see the result of your work.

- Snapshots encountered when Valery and I have passed the practice in Vladikavkaz, in the local musical theater. There, I understood: I need to prepare a party so that everything is learned more than one hundred percent. On the scene, the singer has so many tasks that the musical material should be brought to automatism. In addition, I liked a new challenge.

After many years, I came to this theater already as an artistic director: the team was on the verge of closure, and I managed to revive him to life. We created such complex and rare opera for Russia, as "Manon Lesko", "Fyodor" Jordano, "Agrippina" Handel. There was also the first directorial experience - I put "Troubadura".

Now we are becoming a branch of Mariins. I think it will benefit the musical culture of Ossetia and the Caucasus region. All these years, young Mariyintsy sang on the stage of the Vladikavkaz theater, but now cooperation will be released on a fundamentally different level.

- What does your main brainstorm live - the Mariinsky Theater Academy?

- This season we have 36 new names, they sound in Mariinsky for the first time. As part of the subscriptions, we have the opportunity to acquaint Petersburg music lovers with the rarest works: "Lucretia Borgia" Donizetti, "Cinderella" and "Wire" Massne, "Capult and Montext" Bellini, "Sorokuletka" Rossini, "Swallow" Pucchini, "Siberia" Jordano.

From chamber essays prepared "notes of the crazy" Bucko and his "White Nights", "Letters of Van Gogh" and "Anna Frank Diary" Grigory Frida. Actively remember completely forgotten operas - "Grigory Melekhov" Dzerzhinsky, "not only love" Shchedrin.

They put a whole series of children's works, not only the classics, but also completely new opuses, especially for us written. Children's subscriptions are especially important - this is a concern for the formation of a new public, the upbringing of true music lovers and theatrians who will go to our theater.

At such ideas, interactive often arises, a small viewer can chat with artists, touch the scenery, touch the amazing and beautiful world of clogging. Behind all this is a huge work of young, talented, in good breathing soloists.

In general, life in Mariinsky is very saturated - hardly in some other the theater of the world it hits the key with the same intensity. We trust the young, give them a lot to do, immediately and actively include them in the creative process, and as a result, colossal high-quality growth is obtained, voices and artistic individuality flourish. With such a dense mode, nevertheless, we never reveal the obstacles to their tour on other sites. It enriches and artist, and theater.

I see my destination in the upbringing of the guys. In addition to vocals and opera cases, learning their lives. It is necessary to have tremendous patience and treat them in maternal, hear them, develop the best. There are different characters, different psychotypes - to each you need to find an approach.

In 2018, 20 years of the Academy will be fulfilled, and I can say without false modesty, which has been done a lot, we launched a lot of real, interesting quarry, it is an absolutely successful experiment.

- What are the problems with modern youth, what are you fighting with first?

- The main problem is very hurrying. Nothing comes instantly. There are, of course, wonders: bright talents are lit, they quickly progress, but it is rather an exception. The singer should have time to aging, to gain experience. And our guys need only immediately.

I would like to wish them more patience and understanding about our capabilities. Listen to the advice of experienced and senior, teachers and coaching. Not to take too early for a dramatic repertoire, work on styles, competently build a development strategy.

Accumulate - not only in the vocal-technological plan, but also in general cultural.