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The musical Notre-Dame de Paris is, above all, a spectacle. And this is fifty songs about love, amazing voices, melodic music that combines French chanson and gypsy motifs. Notre Dame…

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“NOT DAM DE PARI” - THE CONQUERED WORLD MUSIC ABOUT LOVE
The musical Notre-Dame de Paris is, above all, a spectacle. And this is fifty songs about love, amazing voices, melodic music that combines French chanson and gypsy motifs. Notre Dame…

Continue reading →

DMITRY SHOSTAKOVICH: “LIFE IS BEAUTIFUL!”
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TAMARA SINYAVSKAYA – OPERA QUEEN

Once Tamara Sinyavskaya admitted that she always loved difficult tasks, and fate generously endowed them with them throughout her creative life – each new opera party as a new peak requiring conquest. And such peaks are not enough for one mountain range.

Tamara Ilyinichna managed to make a dizzying career as an opera singer, earn recognition of connoisseurs of vocal skills around the world, forever write her name in the history of art, becoming a great soloist of the second half of the 20th century.

As a child, Tamara loved to go into the porches of old Moscow houses, where there was excellent acoustics, and arrange real concerts, listening to the sound of her voice. singer Tamara Sinyavskaya Especially she liked to imitate the famous Argentine singer Lolita Torres, whose fame was then booming throughout the world.

The head of the ensemble appreciated the talent of the student Sinyavskaya and advised her after school to enter the music school at the Moscow Conservatory. In parallel, she sang in the choir of the Maly Theater, where she learned the basics of dramatic art. Tamara studied diligently, absorbed opera skills bit by bit and not just earned the praise of teachers, but received a 5+ mark at the final exam, which happened very rarely in the school.

After school, fate brought a 20-year-old girl to a group of interns at the Bolshoi Theater. The vocal data of the young singer was so struck by the selection committee that she was taken even without a conservative education. The young intern has proved to everyone the right to perform on the stage of an outstanding theater and a year later she was enrolled in the main staff. Then all the famous singers, at the sight of which was breathtaking at Tamara, immediately became her stage colleagues – Galina Vishnevskaya, Irina Arkhipova, Zurab Andzhaparidze, Alexander Ognivtsev.

At first, she was even embarrassed to rehearse with them, she was embarrassed by the masters. Tamara enthusiastically watched the work of great artists, memorized gestures, movements, facial expressions, every sound and change of intonation, singer Tamara Sinyavskaya at home repeated and repeated what she heard to find her sound. The famous opera director and mentor Boris Pokrovsky helped to overcome himself and open up to her.

Having achieved the first success, Tamara Sinyavskaya did not calmly rest on her laurels. Every day she improved her skills, expanded her voice range and thereby increased her repertoire capabilities. For the first few years of work at the Bolshoi Theater, she performed more than a dozen parts that became the best in the history of opera. These parties brought her foreign fame during the Bolshoi’s touring tours to Canada, France and Japan.

Over the next three years, she received the first three awards of prestigious international competitions and festivals – in Sofia, Verviers and Moscow. By the way, at the IV Tchaikovsky International Competition in Moscow, the jury was divided equally – the Soviet members of the jury voted for Elena Obraztsova, and the foreign speakers were equally categorical for Tamara Sinyavskaya, so the first prize had to be divided between the two singers.

Who knows what foreign tours could have turned out for her, but the trip to Baku on the Decade of Russian Culture has become a landmark for the singer. There she met the singer Tamara Sinyavskaya with Muslim Magomayev. Naturally, she knew the “All-Union Orpheus,” but in absentia. Feelings flared up between two unfree people, but Tamara’s trip for an internship in the Italian La Scala interrupted the romance.

Magomaev was persistent, called his lover every day, talked about creativity, discussed new music. And, as they say, a reliable marriage, did not pass the strength test. After the return of Tamara Sinyavskaya, they decided to unite their destinies forever.

For many years of her service to art and 40 years of work at the Bolshoi Theater, Tamara Ilyinichna performed almost all significant parts for mezzo-soprano. She is deservedly called the outstanding Russian representative of the Italian vocal school with a unique range. Her velvet timbre and the enveloping sound of her voice, sensuality and charm on the stage made it a miracle not only in the countries of the former Soviet Union, but also in many foreign countries.

The very first role of Tamara in the Bolshoi was the Page in the opera Rigoletto by Giuseppe Verdi. It is customary that a page is performed by a singer who has the role of “travesty”. The director of the opera, having heard Sinyavskaya, decided that now with such a singer one can not worry about male roles. The complexity of these parts is that the viewer does not have to guess who actually sings.

Tamara Sinyavskaya has always sought to improve her acting skills. To do this, she entered the GITIS faculty of musical comedy. There, she got the opportunity to learn from Professor Dora Belyavskaya, who was the only one of all the teachers who did not capture Tamara, but said that she had something to work on. This is exactly what Sinyavskaya dreamed of.

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