Sinyavskaya Tamara Ilyinichna

Singer (mezzo-soprano).
Honored Artist of the RSFSR (07/24/1973).
People's Artist of the RSFSR (05/25/1976).
People's Artist of the USSR (04/30/1982).
People's Artist of Azerbaijan (2002).

She began to study singing in the Song and Dance Ensemble of the Moscow City Palace of Pioneers under the direction of V. Loktev.
In 1964 she graduated from the Musical College at the Moscow Conservatory named after P. I. Tchaikovsky, in 1970 - GITIS, singing class with D. B. Belyavskaya.
In 1964-2003 she was a soloist of the Bolshoi Theatre.
In 1973-1974 she trained at the La Scala Theater (Milan).

In 1972, she took part in the performance of the Moscow State Academic Chamber Musical Theater under the direction of B. A. Pokrovsky “Not Only Love” by R. K. Shchedrin (Varvara Vasilievna’s part). Participant of the Varna Summer Music Festival (Bulgaria).
She has performed at opera houses in France, Spain, Italy, Belgium, the USA, Australia and other countries of the world. She toured with concerts in Japan and South Korea. Some parts from Sinyavskaya's extensive repertoire were first performed abroad: Lel in Rimsky-Korsakov's The Snow Maiden (Paris, concert performance); Azucena (Il trovatore) and Ulrika (Un ballo in maschera) in G. Verdi's operas, as well as Carmen in Turkey. In Germany and France, she sang the works of R. Wagner with great success, at the Vienna State Opera she was a participant in the production of the opera "War and Peace" by S. S. Prokofiev (Akhrosimova's part).

She conducts an extensive concert activity, with solo concerts she performed in the largest concert halls in Russia and abroad, including the Great Hall of the Moscow Conservatory, the Tchaikovsky Concert Hall, the Concertgebouw (Amsterdam). The singer's concert repertoire includes the most complex works by S. S. Prokofiev, P. I. Tchaikovsky, the Spanish Cycle by M. de Falla and other composers, opera arias, romances, works by old masters accompanied by an organ. She performed interestingly in the genre of a vocal duet (with her husband Muslim Magomayev). She fruitfully collaborated with E. F. Svetlanov, performed with many outstanding conductors, including Riccardo Chailly and Valery Gergiev.

He teaches at the Faculty of Musical Theater in RATI - GITIS.

Deputy of the Supreme Soviet of the USSR of the 11th convocation (1984-1989).
One of the minor planets of the solar system, known to astronomers under the code 1974 VS, is named after Sinyavskaya - 4981 Sinyavskaya.
Honored Worker of Musical Arts (International Union of Musical Figures, 2016) - for special personal merits in the study, preservation, development and popularization of Russian artistic culture and art.

Wife of People's Artist of the USSR Muslim Magomayev (1942-2008).

theatrical work

Page (Rigoletto by G. Verdi)
Dunyasha, Lyubasha (The Tsar's Bride by N. Rimsky-Korsakov)
Olga (Eugene Onegin by P. Tchaikovsky)
Flora (La Traviata by G. Verdi)
Natasha, Countess (October by V. Muradeli)
Gypsy Matryosha, Mavra Kuzminichna, Sonya, Helen Bezukhova (War and Peace by S. Prokofiev)
Ratmir (Ruslan and Lyudmila by M. Glinka)
Oberon ("A Midsummer Night's Dream" by B. Britten)
Konchakovna (Prince Igor by A. Borodin)
Polina (The Queen of Spades by P. Tchaikovsky)
Alkonost (The Tale of the Invisible City of Kitezh and the Maiden Fevronia by N. Rimsky-Korsakov)
Kat (Cio-Cio-san by G. Puccini)
Fedor (Boris Godunov by M. Mussorgsky)
Vanya (Ivan Susanin by M. Glinka)
Commissioner's wife ("Unknown Soldier" by K. Molchanov)
Commissar ("Optimistic Tragedy" by A. Kholminov)
Frosya (Semyon Kotko by S. Prokofiev)
Nadezhda (The Maid of Pskov by N. Rimsky-Korsakov)
Lyubava (Sadko by N. Rimsky-Korsakov)
Marina Mnishek (Mussorgsky's Boris Godunov)
Mademoiselle Blanche ("Player" by S. Prokofiev) - the first performer in Russia
Zhenya Komelkova (The Dawns Here Are Quiet by K. Molchanov)
Princess (Mermaid by A. Dargomyzhsky)
Laura (The Stone Guest by A. Dargomyzhsky)
Carmen (Carmen by G. Bizet)
Ulrika (Un ballo in masquerade by G. Verdi)
Marfa ("Khovanshchina" by M. Mussorgsky)
Azucena ("Troubadour" by G. Verdi)
Claudia (The Tale of a Real Man by S. Prokofiev)
Morena (Mlada by N. Rimsky-Korsakov)
Lyubasha (The Tsar's Bride by N. Rimsky-Korsakov)

prizes and awards

Order "For Merit to the Fatherland" IV degree (February 15, 2006).
Order of the Red Banner of Labor (1971).
Order of the Badge of Honor (1980).
Order of Honor (March 22, 2001).
Order of Glory (Azerbaijan, July 5, 2003).
Order of Lomonosov, 1st class (ABOP, 2004).
Order of the Badge of Honor of Peter the Great (2005).
Order "Friendship" (Azerbaijan, July 6, 2013).
I prize at the IX International Festival of Youth and Students in Sofia (1968).
Grand Prix and special prize for the best performance of a romance at the XII International Vocal Competition in Verviers (Belgium, 1969)
I prize at the IV International Tchaikovsky Competition. (1970).
Prize of the Moscow Komsomol (1970).
Lenin Komsomol Prize (1980)
Prize of the Irina Arkhipova Foundation (2004).
Prize of the Government of the Russian Federation in 2013 in the field of culture (2013) - for the creation of the Muslim Magomayev Cultural and Musical Heritage Fund.
Order of Honor (Azerbaijan, 2018) - for many years of fruitful activity in strengthening Russian-Azerbaijani cultural ties.

TAMARA SINYAVSKAYA - OPERA QUEEN

She once admitted that she always loved difficult tasks, and fate generously endowed her with them throughout her creative life - each new opera part is like a new peak that needs to be conquered. And there are enough such peaks for more than one mountain range.

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

Concerts in hallways

A native Muscovite was born in 1943. One can only imagine how difficult it was for her mother to feed her child during the hungry war years. In no interview with Tamara Ilyinichna, it was possible to find information about her father, it is only known that she grew up without him. But she loves to talk about her mother, who devoted her whole life to her daughter, endowed her with vocal talent and brought her to the House of Pioneers in time so that her daughter could demonstrate her abilities there in the Song and Dance Ensemble led by Vladimir Loktev.

As a child, Tamara loved to enter the entrances of old Moscow houses, where there was excellent acoustics, and arrange real concerts, listening to the sound of her voice. She especially liked to imitate the famous Argentine singer Lolita Torres, whose fame then thundered all over the world.

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

Embarrassed Debutante

After college, fate brought a 20-year-old girl to a group of trainees of the Bolshoi Theater. The vocal data of the young singer impressed the selection committee so much that they took her even without a conservatory education. The young trainee proved to everyone her right to perform on the stage of an outstanding theater and a year later she was enrolled in the main cast. Then all the eminent singers, at the sight of which Tamara breathtaking, overnight became her stage colleagues - Irina Arkhipova, Zurab Anjaparidze, Alexander Ognivtsev.

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

Once, at a time when the main troupe of the theater was touring in Milan, in Moscow it was urgently necessary to find a performer of the part of Olga from the opera. It was a real serious debut of Tamara, which was excellent. This brought her the recognition of colleagues and even more - she was named the best performer of this part. After one of the speeches, the outstanding Sergey Lemeshev said that he had finally met the real Olga.

Brilliant Tamara Sinyavskaya

Having achieved the first success, she did not calmly rest on her laurels. Every day she improved her skills, expanded her vocal range and thereby increased her repertoire possibilities. During the first few years of her work at the Bolshoi Theater, she performed more than a dozen parts that became the best in the history of opera art (Konchakovna in Prince Igor and Oberon in A Midsummer Night's Dream). These roles brought her international fame during the Bolshoi Theater's tours to Canada, France and Japan.

Over the next three years, she received the first three awards of the most prestigious international competitions and festivals - in Sofia, Verviers and Moscow. By the way, at the IV International Competition in Moscow, the opinions of the jury were divided equally - the Soviet members of the jury gave their votes to Elena Obraztsova, and the foreign ones (including the great one) were just as categorically in favor Tamara Sinyavskaya, so the first prize had to be divided between the two singers.

Love with an oriental accent

After such a triumph, the rising opera diva was spotted by a well-known impresario who flooded the theater with telegrams asking her to let her go. Sinyavskaya on tour in America. As you know, the KGB always had its own opinion on this matter, and the answer was also standard: "The singer is busy in repertoire productions." This means that she is not supposed to hear about any invitations.

Who knows what a foreign tour could have turned out for her, but a trip to Baku for the Decade of Russian Culture has become a landmark for the singer. There she met With . Naturally, she knew the "all-Union Orpheus", but in absentia. Feelings flared up between two not free people, but the romance was interrupted by Tamara's trip for an internship at the Italian La Scala. At that time, Sinyavskaya was married. She had great respect for her husband, a ballet dancer, and was grateful for helping her get through the loss of her mother.

Magomayev was persistent, called his beloved every day, talked about creativity, discussed new music. And, as they say, a reliable marriage has not passed the test of strength. After returning Tamara Sinyavskaya they decided to unite their destinies forever.

Unfortunately, the couple did not have children, but a rich creative heritage remained - in addition to Muslim's solo performances and work in Tamara's opera, they often sang together, organized concerts and creative evenings.

40 years of life in the Bolshoi

For many years of his 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 an outstanding Russian representative of the Italian vocal school with a unique range. Her velvety timbre and enveloping voice, sensuality and charm on stage made her a diva not only in the countries of the former Soviet Union, but also in many foreign countries.

With Zurab Sotkilava (Jose) in "Carmen"

The People's Artist of the USSR embodied the Russian soul and female character in many opera productions of her native theater, but she considers the part of Lyubasha in the opera The Tsar's Bride by Nikolai Rimsky-Korsakov to be her favorite. This part of hers is recognized as the most outstanding by both critics and opera lovers.

For the role in the opera of the same name, Sinyavskaya studied choreography with the famous ballerina Marina Semenova for six months. The audience appreciated the bright image created on the stage and the expressive plasticity of the singer. Tamara was the first in the Soviet Union to sing the part of Mademoiselle Blanche in The Gambler. Her repertoire includes both Russian and foreign classics, and her touring geography includes more than a dozen countries.

Bitter loss

In 2002 Tamara Ilyinichna finished her performances on the stage of the Bolshoi Theater and admits that she does not regret it at all. She believes that it is better to leave the stage six months earlier than five minutes later. After 5 years, Muslim Magomayev and finished their joint concert activity. At that time, Muslim Magometovich began to pursue serious health problems, he underwent an operation on the vessels, and a year later the singer died. Tamara Ilyinichna is very had a hard time with this period. She “closed” herself from society for three years, almost did not appear in public and did not give a single interview.

Time did not cure, but brought new ideas - the competition of young performers named after Muslim Magomayev. Tamara Ilyinichna also found herself in teaching and headed the department of vocal art of RATI-GITIS. She always believed that it was not acceptable to sit on two chairs, so she did not think about pedagogical work during performances at the Bolshoi Theater. Now is the time to pass on to the younger generations all the colossal experience accumulated over the years of creativity.

Inconsolable Tamara Sinyavskaya

To keep herself in shape in front of students, she sings at home every morning, delighting her neighbors with masterpieces of world opera art. Tamara Ilyinichna there are still offers to resume performances, but she does not feel the strength in herself to love, suffer, live and create on stage as sincerely as she once did. She sang only at the highest level and now she cannot afford to sink even a step.

Probably, with the departure of Muslim Magomayev, a creative wound Tamara Sinyavskaya won't live anymore. Tamara Ilyinichna almost every month comes to her husband's homeland in Azerbaijan, where he is buried in the Alley of Honor in Baku. She sadly admits that she used to do her favorite work on weekdays, and devoted weekends to her adored husband, and now she had only working days at the institute. In addition, she organized the Magomayev Cultural and Musical Heritage Foundation.

DATA

Tamara's very first role at the Bolshoi Theater was Page in the opera Rigoletto. It is so customary that the page is performed by a singer who has the role of "travesty". The director of the opera, having heard Sinyavskaya, decided that with such a singer for male roles, now you don’t have to worry. The complexity of these parties lies in the fact that the viewer should not guess who is actually singing. It was a horse Tamara Sinyavskaya. "Male" roles she turned out great.

I have always wanted to improve my acting skills. To do this, she entered GITIS at the faculty of musical comedy. There she had the opportunity to study with Professor Dora Belyavskaya, who was the only one of all the teachers who did not praise Tamara, but said that she had something to work on. This is just what I wanted to hear Sinyavskaya.

Updated: April 9, 2019 by: Elena

The talented singer won the hearts of millions of listeners. Great talent and popular love made Tamara Sinyavskaya an idol, and scientists named one of the minor planets of the solar system after her. Often on the Internet you can find queries such as "Biography and children of Tamara Sinyavskaya", but few people found exactly the information they needed.

The future singer was born in Moscow in a Russian family. Mother had a singing talent, but could not reveal it on stage. This mission was taken over by daughter Tamara. At the age of three, the girl realized that singing was her favorite pastime. It was especially attractive to sing in front entrances, which have good acoustics.

In the yard, she passed all the front doors and sang in each of them, not paying attention to the bewildered eyes of the residents of the houses. Once the mother of a little singer was offered to send the girl to the House of Pioneers, where she could professionally sing. The mother did just that. Now Tamara sang in the yards, and on the street, and in the House of Pioneers. Already at this age, she was gaining a small audience, who were delighted with her singing. Later, Tamara became a member of the Losev children's group, where the young artist not only sang, but also danced.

After some time, Tamara Sinyavskaya was transferred to the choir, where she gained vast experience in singing and stage manners. This team was very famous. He took part in many government events, and Tamara already considered the stage her home. The fame of the ensemble spread to other countries, and soon it began touring Czechoslovakia.

Already in childhood, the girl was very versatile. The profession of a doctor was a childhood dream. This was largely facilitated by the clinic, located close to home. The smell from there attracted the young artist, and the games were often called "Doctor Sinyavskaya."

The winter period attracted little Tamara the most, as she loved to ski and skate. Together with her friends, she often visited the cinema and sang songs and movies. And after I saw the actress from Argentina Lolita Torres on the big screen, the profession of an artist became her cherished dream.

In high school, Tamara finally made her professional choice. She gave preference to the theater and entered the music school, which was advised to her by the head of the collective Loktev. Here, her talent was brought to the level of skill by excellent teachers.

A native Muscovite was able to combine her studies with work, and began to earn extra money in the choir of the Maly Academic Theater, where she performed on the same stage with idols from all over the country. Their energy became a powerful impetus for the subsequent career of the future opera singer.

Music

After the debut performance with the gypsy choir, experienced masters immediately noticed an outstanding talent and gave solo parts in subsequent parts in Alexander Nevsky and Moscow. After receiving a diploma with honors, Tamara was recommended to go for an internship at the Bolshoi Theater, where a group of interns was recruited.

Tamara's exceptional talent made it possible to successfully audition, despite the fact that the singer was very young and did not have the education that is obtained only at the conservatory. On the stage of the Bolshoi Theater, the singer met with outstanding figures of art and culture.

After some time, Tamara was able to enter the main team. The Muscovite did not stop there and decided to continue her studies at GITIS in parallel, where famous teachers turned her voice into a real rarity.

In the theater, director Boris Pokrovsky decided to help the actress in the fight against shyness and gave her the role of a page in the opera. After this role, everyone realized that she perfectly plays both female and male roles.

A real triumph was a trip to Milan. There, as part of the main team, Tamara Sinyavskaya played the main role of Olga in the play "Eugene Onegin". She received high praise from the lips of the famous master Sergei Lemeshev, who at that time was 70 years old.

For a great stage work for forty years, Tamara Sinyavskaya performed many first roles and became a real prima donna. She was awarded the title of the best Russian vocalist of the Italian school, which made it possible to gain fans both in Russia and abroad. The velvet mezzo-soprano began to be listened to in many countries and the famous prima of the theater was identified by it.

Tamara Sinyavskaya could perform parts in French and Italian, but the Russian soul was always noted even by foreign critics. This was especially felt in the opera The Tsar's Bride; connoisseurs called this role the best role of the singer.

1970 became a landmark in the fate of the opera singer and brought her world fame. This was facilitated by the highest award at a competitive festival dedicated to the Russian composer Tchaikovsky. After this bright victory, foreign representatives offered numerous roles at foreign venues, but Tamara could not imagine life without the Bolshoi Theater.

The singer ended her operatic career in 2003, when her singing took off. She later commented on her departure. She decided that she should not wait for the words that she had career longevity.

Personal life

Despite the bright career life, fans are interested in the biography of Tamara Sinyavskaya. The singer was married twice. Both the first and second husbands were creative people. The first husband was a ballet dancer Sergei. The family did not have children.

The second husband was a country-famous singer with a charming voice and oriental flavor, who conquered the opera singer, Muslim Magomayev. News of this marriage spread in an instant. Together they lived for more than 30 years. Fans are often interested in the topic of Tamara Sinyavskaya's biography, but there were no children in marriage with Muslim. After his death, the singer did not go out in public for a long time.

Tamara Sinyavskaya today

Now news is often heard about the numerous hidden parts of the biography of Tatiana Sinyavskaya. Today Tamara is a teacher at the same GITIS, where she herself once entered. The children for the Muscovite were students, to whom she devoted all her time. So, leaving the stage, she remained on friendly terms with art and is engaged in it to this day.

Discography

The singer's discography is truly great, no doubt, it would be replenished more, if not for the departure of the scene. The first role was performed in 1970, when Tamara revealed her talent in Eugene Onegin. Truly, the singer showed the Russian character to the whole world in the 1973 production of The Tsar's Bride. Also, the singer's repertoire included such operas as "Ivan Susanin", "Prince Igor", "Boris Godunov". A lyrical touch to the discography was made by the performance of poems from the song cycle of the famous Marina Tsvetaeva.

Music section publications

Tamara Sinyavskaya. noble prima donna

Tamara Sinyavskaya was accepted for an internship at the Bolshoi Theater against all the rules: at a very young age, at 20, and without a conservatory education. A year later, the singer joined the main part of the troupe and performed leading roles, and five years later she performed in the best opera houses in the world.

Not a dancer. Singer

Tamara Sinyavskaya was born in Moscow in 1943. The first concert venues for the young artist were the entrances of old houses. A booming echo carried the popular songs from the movies in her performance across the floors. In the end, the neighbors advised the mother of the little singer to attach her daughter to some circle.

“The voice sounded very beautiful there, like in a temple. To be honest, even now, when I enter an unfamiliar entrance, I quietly try my voice. And then, so that my “public” - the kids, could hear me, I gave “concerts” in my yard, ”recalls Tamara Sinyavskaya.

When Tamara Sinyavskaya was six years old, her mother enrolled her in the dance group of the Song and Dance Ensemble of the Moscow City Palace of Pioneers. But the girl had no desire to dance, and soon she quit classes. The future singer returned to the ensemble only three years later - now to its choral composition. She gained rich stage experience: the team often participated in concerts and toured.

On the advice of Vladimir Loktev, the head of the ensemble, in 1961 Sinyavskaya entered the Musical College at the Moscow Pyotr Tchaikovsky Conservatory. At the same time, she sang in the choir of the Maly Theater, studying dramatic art. To save her voice, she gave up her hobbies - skiing and skating, and ate ice cream only in the summer, when the theater closed the season. At the final exam at the school, she received an A plus.

"The Best of Olga" Bolshoi Theater

After graduation, 20-year-old Tamara Sinyavskaya, secretly from her mother, went to a competitive audition at the Bolshoi Theater. It became a kind of adventure because she was too young and did not have a conservatory education. However, the young singer was invited to the trainee group.

“It was the turn of Sinyavskaya to speak. When she approached the piano, everyone looked at each other and smiled. Whispering began: “Soon we will start taking artists from kindergarten!” - the 20-year-old debutante looked so young. Tamara sang Vanya's aria from the opera "Ivan Susanin": "The poor horse fell in the field." The voice - contralto or low mezzo-soprano - sounded gentle, lyrical, even, I would say, with some kind of excitement. The singer clearly entered the role of that distant boy who warned the Russian army about the approach of the enemy.

Alexander Orfenov, head of the opera troupe

The first role of Tamara Sinyavskaya was Page from the opera "Rigoletto" by Giuseppe Verdi. The debut did not go quite as the artist would have liked: out of excitement, she sang her only line twice as slow as necessary. When the Bolshoi Theater troupe went on tour to Milan, Sinyavskaya was offered to perform the first big part - Olga from the opera "Eugene Onegin" by Pyotr Tchaikovsky. This performance was an important event in the career of an aspiring singer: critics and colleagues of Tamara Sinyavskaya recognized her as "the best of Olga." Sergei Lemeshev (Vladimir Lensky) later said that his hero for many years lacked "just such a lovely Olga", who, with her performance, combined the idea of ​​Pushkin and Tchaikovsky.

Another famous role of the singer was the part of Ratmir in the opera "Ruslan and Lyudmila" by Mikhail Glinka. Having performed it, Tamara Sinyavskaya became a soloist of the main troupe of the Bolshoi Theater.

Alexander Orfenov, the head of the opera troupe, recalled that even at this young age, Tamara Sinyavskaya stood out among her peers with her “sense of high professionalism”: “Twice in one season, Tamara had to take risks, performing in those parts that, although she had “on hearing ' but she didn't know them properly. So, impromptu, she performed two roles in Vano Muradeli's opera "October" - Natasha and the Countess.

Tamara Sinyavskaya as Ratmir (Ruslan and Lyudmila). Photo: Bolshoi Theater Museum / bolshoi.ru

Tamara Sinyavskaya as Lyubasha in The Tsar's Bride. Photo: Bolshoi Theater Museum / bolshoi.ru

Tamara Sinyavskaya in the title role in the opera Carmen. Photo: Georgy Solovyov / Bolshoi Theater Museum / bolshoi.ru

In the late 60s, Tamara Sinyavskaya began touring with the Bolshoi Theater. She made her European debut in Paris. The singer said that the capital of France gave her a ticket to the opera. Sinyavskaya also visited Canada, Bulgaria, Turkey, Italy. Soon she began to win in vocal competitions. In 1969, Sinyavskaya received the Grand Prix and a gold medal at the International Vocal Competition in Belgium. The Le Jour newspaper wrote: “Not a single reproach can be brought against Tamara Sinyavskaya, who has one of the most beautiful voices that we have ever heard. With rare musicality and great feeling, she performs "Seguidilla" from "Carmen". Her French pronunciation is also impeccable. This is truly great art!”

A year later, Tamara Sinyavskaya won the IV International Tchaikovsky Competition. The jury's opinions were divided: the Soviet judges gave their votes to the singer Elena Obraztsova, and the foreigners gave their votes to Tamara Sinyavskaya. As a result, the first place had to be divided into two. In parallel with the performance, Tamara Sinyavskaya passed her final exams at GITIS.

"You are my melody"

The future spouses Tamara Sinyavskaya and Muslim Magomayev met in 1972 at the decade of Russian art in Baku. They first met at the Philharmonic, named after Magomayev's grandfather.

“At the next concert, Robert Rozhdestvensky called me and introduced me to a pretty young woman. I called myself: "Muslim". She smiled, “Are you still introducing yourself? After all, the whole Union knows you.”

Muslim Magomaev

In 1973-1974, Tamara Sinyavskaya trained at the La Scala theater in Milan. Muslim Magomayev called her every day, the lovers talked, Sinyavskaya listened to his new records. It was in Italy, on the phone, that she was one of the first to hear the song "You are my melody." This composition was written for Muslim Magomayev by Alexander Pakhmutova and Nikolai Dobronravov.

“Perhaps the most important thing is love?.. Yes, and there are many common interests. Especially when it comes to music, singing. As soon as Muslim sees someone’s performance on TV that evokes emotions, he immediately comes to me: “Did you hear “this” ?!” And the evening of “questions and answers”, enthusiasm or indignation begins.

Tamara Sinyavskaya

In 2003 Tamara Sinyavskaya left the Bolshoi Theatre. Her last installment was the beloved role of Lyubasha from Rimsky-Korsakov's The Tsar's Bride. According to the artist, it is better to leave the stage six months earlier than five minutes later. The singer still works on her voice every day - she sings her favorite arias and romances.

“From a noble prima donna, she moved into another quality - a teacher. This is a completely different profession. I don’t like myself very much, because I feel like a teacher.”

Tamara Sinyavskaya

Since 2005, Tamara Sinyavskaya has been the head of the GITIS vocal department, where she teaches classical vocals. She runs the Muslim Magomayev Foundation, holds singing competitions and scholarship programs named after him.

Olga Shablinskaya, AiF: Tamara Ilyinichna, do you happen to drink Azerbaijani tea? Or the wife of the singer Muslim Magomayev, in principle, cannot drink another drink?

Tamara Sinyavskaya: This is, of course, a coincidence. At one time, when all sorts of additives appeared, we mixed everything into tea, mixed it ... It was very tasty and interesting at first. And then time put everything in its place, I wanted a natural taste. Muscovites all remember the “Indian elephant”, “Ceylon tea”, but, unfortunately, they have disappeared somewhere.

But now natural Azerbaijani tea has appeared, which I stopped at and which I recommend to everyone, I really like it. Look what a beautiful color! Like ancient cognac, or something ... And Muslim was very fond of tea ...

Tamara Sinyavskaya and Muslim Magomayev, 1994 Photo: www.globallookpress.com

— Opera singer Jose Carreras said in an interview: “You have no idea what monsters the singers are. My whole life is dedicated to the voice. By and large, my voice is number one in my life. And all the relatives are already in the second-twentieth place. And in the life of Tamara Sinyavskaya, too, was everything put to the voice?

— I would like to. But my upbringing is different, my mother raised me in such a way that you are not the main one on earth. That's all, and I took it very easily. Both in the theater and at home. I always remembered that there are people nearby who are more talented, more mature, more intelligent, more perfect. And it made life easier for me. And still I think so. I am not afraid that the crown that each of us wears (to himself) will pick up and fall. She has already played her part, so it makes no sense to hold on to her.

— And who was the star at home with Muslim Magomayev?

— What do you think?

— Judging by what a wise woman you are, I think you gave the palm to your husband.

— Of course. I knew his value well. And then, there was no talk. Well, how? A man is a man, how can a woman be next to a man in charge? Even if you really think so, then think to yourself, do not demonstrate. On the other hand, I never wanted to be in charge. I was just a woman next to a man.

Tamara Sinyavskaya and Muslim Magomayev, 2002 Photo: RIA Novosti / Vladimir Fedorenko

- Golden words ... But, you see, there is rarely a man with whom it is possible - to be just a weak woman.

— You are absolutely right! Not every man wants to be a woman. If I feel that a person is weaker than me in many respects, he is no longer interesting for me. What I need is not just to look up from below ... But I knew that I could raise my eyes to the sky - and I would see it.

— Do you dream of Muslim Magometovich?

— Every day. Sometimes - unfortunately ... Because when I wake up, it's very hard for me. I get up, and it seems that now Muslim will ask for a coffee ... He was an amazing person, so he was not only loved, but also respected ...

On stage and in life

— After the death of Muslim Magomayev, what are your everyday activities doing?

— I used to have weekdays busy with my favorite work, and there were holidays busy with my beloved family. Now I only have work days left. They consist of trips to the institute where I teach and head the vocal department.

— Tamara Ilyinichna, you are still an amazingly beautiful, charming, bright woman. It is clear that a million men are looking after you to this day ...

— I have never seen anyone but Muslim. Yes, I was not interested whether other men were courting me or not. Respectfully treated - yes. I didn't need any other relationship.

Tamara Sinyavskaya, 1986 Photo: RIA Novosti / Vladimir Vyatkin

- Many dramatic artists admitted that if in life the relationship with a stage partner is bad, then it is very difficult to play a love scene with him. Tell us a little about the opera kitchen. For example, if a partner was purely humanly unsympathetic to you, is it hard to sing a declaration of “love” to him?

— I can't say hard. The singer - he goes on about his voice. When he sings and he needs to take B-flat in front, he will remember this, and not about whether he loves his partner or partner or not. The voice has little to do with it. But if the weather has changed - everything, already a little bit the voice may sound different.

Although, in principle, it is desirable that the partners at least sympathize with each other. It is very difficult to sing with a person who is unpleasant to you in life. But everything happened. And then I twisted myself, came up with a lot of good things about my partner, looked for it in him ... This is professionalism.

The continuity of generations

— Now there is a lot of talk about the fact that today's creative youth thinks only about money and fame, which are more important for them than art ... What are your students like? How are they different from the youth of your generation?

— When they come, I feel how much they have not yet opened their eyes to this life. They see it, firstly, through a TV box, and secondly, through the Internet. As for art, students see only the surface of the iceberg, which is called "the creation of a person, an artist, an intellectual." My duty as a teacher is to teach them. I am so pleased when my students start to succeed. I spend a lot of time with them. I often get tired, to be honest. Because the first results of the work and effort that you invest do not appear immediately. Not in a year, not in two, not in three. And by the end of the 4th year, everyone, like a blueprint, begins to think. Therefore, even in five years of study it is impossible to “fit in”, and here they took away a whole year of study from us. Maybe acting can still be taught in such a period, and that is unlikely. Then, in the course of life, people will gain dramatic skills if a master remains next to them and venerable, already experienced artists work. And singers are a completely different matter. The singer only by the end of the 4th course suddenly begins to get acquainted with his body.

If they came to the institute after college (they used to be called schools), having studied at least the basics there. Then improve their skills and develop skills for five years or even four years - it would be reasonable. But very young people are taken to us ...

Tamara Sinyavskaya, 1987 Photo: RIA Novosti / Alexander Makarov

— The voice is formed not earlier than 17 years, and then in girls. And for some young men, the voice generally matures at the age of 21-22. This is a mutation, their larynx changes, their whole physics changes. If this person has a gift from above, then his voice should be closely monitored. And teachers should do it. But if a whole year of teaching is taken away from them, then it is very difficult to do this ...

I myself had excellent teachers, to whom I am grateful all my life. I was brought up wonderfully, I received a good education at the music school at the conservatory, then I ended up practically as an external student at GITIS. Of course, I was an incoming student there, because I already worked at the Bolshoi Theater. The whole creative life, all the searches and labors of the troupe - everything was before my eyes. I saw how artists live, what they breathe. Their whole life was spent at the Bolshoi Theatre. Everything else was like behind glass, like something fake ...

— Theater masters say that each young artist needs his own approach. With some, you can only achieve results with praise, while others need to be shouted at, and only then does he begin to stir.

— Yes, an experienced master knows who to shout at and who to stroke. The same is true in my class. You can say to someone: "I'm sorry, dear, but you are a fool." But you need to choose the intonation so that she doesn’t leave and her wings don’t fall and the girl doesn’t look into the vocal class anymore ...

- What kind of teachers did you have? Admit it, they scolded Sinyavskaya?

— Unfortunately, everyone liked my singing. And I wanted to be scolded. I wanted to get advice from my teachers, and they: “Oh, how good, oh, how beautiful!” I missed criticism. So I started looking for a teacher. And I found it in this very GITIS, where I now teach myself. It was Dora Borisovna Belyavskaya, a professor known throughout Moscow and, in general, throughout the entire Soviet Union. Because she had national cadres, as it was then called. She taught girls from different republics. When I sang to her, she looked at me so attentively ... I told her: “I only ask you very much: do not praise me.” And when she told me: “Why praise you, you have flaws,” I replied: “Well, that’s it, I came to where I need to.” (Laughs) I have always loved to be given difficult tasks.