Anastasia Lepeshinskaya. The Chelyabinsk Opera House was left without a voice. What you rarely see in opera

The young singer Anastasia Lepeshinskaya can rightfully be called a rising star of the Krasnoyarsk opera. Her repertoire includes roles as diverse in character as Lel and Rosina, Olga Larina and Cherubino, Suzuki and Carmen, and many of them have received regional awards. And three years ago, Anastasia became the laureate of the first prize at the Romansiada International Vocal Competition.

Multilateral development

“I believe that participation in competitions is necessary for every singer,” the artist noted in an interview with VK. “And the main thing in them is not even victory, but participation itself - it clears the mind, it just radically changes views and priorities.

How?

You hear others sing, you see what is happening in the musical world in general. And you understand what you are worth. There is always a special excitement at competitions, because there they not only listen to you, but also evaluate you. After competitions, nothing is scary anymore, so it seems to me that every singer should go through them at least once.

After winning the Romansiada, in addition to working in the theater, did you also take up active concert activities?

Not as active as I would like yet. ( Smiles.) Maybe because I don’t ask anyone for anything. But when they offer me to speak somewhere, I always respond with pleasure. And I’ve been convinced more than once: when it’s really needed, everything works out by itself. For example, in February I had a solo program with the Krasnoyarsk Philharmonic Russian Orchestra. And back in February, Pyotr Kazimir and I and the Krasnoyarsk Chamber Orchestra presented a concert of ancient music, we will repeat it on April 19 with minor additions. Concert performances are generally necessary for opera artists.

Are they really necessary?

Of course, you can’t get hung up on just one thing! We need to develop in many ways. Going to symphony concerts, listening to instrumental music - this helps you penetrate deeper into different musical styles, which then manifests itself in your own performing style. You can convey the color of any instrument with your voice. And the singer must be able to merge with the orchestra, and not be separate from it. This is a very important subtlety. When, for example, I was preparing the part of Polina for The Queen of Spades, I listened to all of Tchaikovsky’s symphonies in order to feel the atmosphere of his music.

Approach wisely

Should an opera singer be interested in dramatic art?

Without a doubt. Unfortunately, student singers are hardly taught acting skills, so you need to learn it from your colleagues in drama - watch, absorb. I personally borrowed a lot from drama for myself as an actor. I also gained invaluable experience working with drama director Vladimir Gurfinkel, who staged the opera “Betrothal in a Monastery” with us. This is actually my first director, and no matter what they say about the production itself, I’m just happy that I worked with him on the part of Clara. He thoroughly worked out each image and sought from us the truth in our existence on stage.

What you rarely see in opera...

Yes unfortunately. Our main instrument is the voice, but acting credibility in opera is also very important.

And visual consistency, right? Agree, it’s unconvincing when young characters in opera are performed by older artists, and even with enormous figures!

You know, the enormous figures of opera singers are an outdated stereotype. ( Smiles.) But, surprisingly, it is still widespread. Although the global trend has long ago changed towards visual compliance. But for some reason the public’s ideas still don’t change.

Maybe because she has been treated to such “costs” for too long?

Maybe. But now there are no such extremes.

You mentioned working with a drama director. Have you ever had the feeling that the desire to match the image often turns into difficulties for singing? Let’s say, your Olga in “Eugene Onegin” has to sing a complex aria, and before that she rushes around the stage?

And believe me, this doesn’t bother me at all! You just need to be able to distribute yourself, to do everything without fanaticism, wisely. Yes, the audience should have the feeling that the artist is running headlong. But in fact, he is internally very restrained and controls himself. It all depends on the level of the singer. I believe that you need to be able to sing in any position.

Both sitting and lying down?

Yes, even standing on your head! I'm not kidding - this is a question of technology first and foremost. After all, the Western singers we admire are able to do this, which means we can too. And it’s also important to understand that it’s impossible to give everything away at once, it doesn’t happen that way. The party is gradually acquiring new colors; the main thing is to give it the right start. The singer should know that not every part can be mastered in his youth. Everything needs to be sung in due time.

That is?

There are games that I’m not even ready to touch in the next ten years. For example, Delilah from Samson and Delilah or Marfa from Khovanshchina. Marfa will probably be the last game in my life. ( Laughs.) These parts are for mature voices. In addition, with age, a singer’s horizons broaden, life experience appears - all this also affects the timbre of the voice, its coloring. After all, it also happens: it seems comfortable to sing with a piano, but at that moment in the performance the brass winds come on - and that’s it, you’re like a voiceless fish, because you don’t have enough skills to sing with such sound. When you look at the sheet music, you need to imagine everything as a whole - how the orchestra sounds, what your partner is doing in a particular scene.

Smart start

By the way, Anastasia, which parts in opera, in your opinion, should we start with?

I started with Cherubino in The Marriage of Figaro. And I think that this is an ideal start for a mezzo-soprano. Mozart's music really helps to get together and concentrate. You can start with Onegin; Tchaikovsky generally wrote it for students. Or with Rossini - he has a lot of great mezzo roles. I would love to sing in his “Cinderella” or “An Italian in Algeria”. It's a pity that they don't play them in our theater...

In The Barber of Seville you sing Rosina - isn't that the soprano part?

The fact of the matter is that Rossini wrote it for a coloratura mezzo-soprano! As in general, almost all female parts in their operas. Although he also has an option for soprano, now in theaters around the world they still mostly follow the composer’s recommendations, and these parts are mainly performed by mezzos. And, in my opinion, for good reason: Rosina is by no means a lyrical heroine. A girl with character, she made her own destiny - this should be conveyed in the characteristics of her voice.

How much does a role in opera depend on the timbre of the voice?

Almost. Sopranos, as a rule, are lyrical heroines, everyone falls in love with them. Mezzos are always abandoned - they are either abandoned lovers or femme fatales. ( Laughs.) Intrigues who are capable of extreme actions for the sake of love - either poison someone, or set them up and most often die because of this. Rossini is an exception; his operas end with a happy ending.

Have you ever sung in fairy tales?

Of course, after Cherubino she didn’t play in any fairy tales! First, the Little Devil in the play “Ay da Balda!”, in “Cinderella” she sang the Zlyuchka and the Fairy, the Frog in “Teremok”, the Fox in “The Adventures of Pinocchio”... It’s such a joke, especially when you play some kind of villainess - you’re fooling around stage, you can’t get anything out of yourself. And if you also emotionally coincide with your partners, it’s just a holiday! It’s a pity that they haven’t been involved in fairy tales for a long time - I would gladly play them from time to time, despite the heavy workload in the repertoire. I realized in time that fairy tales liberate you like nowhere else—as an actor, first of all. And when newcomers refuse them, they harm themselves. It is impossible to immediately start singing large parts with high quality; you need to gain experience somewhere! Any appearance on stage is a replenishment of creative baggage; you cannot give up anything. In general, I like it when there is a lot of work. I really enjoy the production process, grueling rehearsals in the morning and evening, and some more lessons in the afternoon, and by the end of the day I barely have the strength to crawl to bed - it’s so great! And when it’s quiet, I die of boredom.

Haven't you experienced stage fright for a long time?

There is still jitters backstage before every appearance on stage. And when I go out to the public, he retreats, I immediately relax - it’s like a drug. But, fortunately, even before joining the theater I had some experience of performing. She graduated from music school and dreamed of becoming a pianist. Fortunately, it didn't work out.

Fortunately?

Yes, because I was a mediocre pianist, and with my maximalism in the profession everything should be just excellent. And then I got into the “Sofia” choir - that’s how my singing career began. True, I had to part with the choir after entering the Academy of Music and Theater. As the teachers explained to me, you need to be either a soloist or a chorus member. But that experience, as well as my work in the “We Sing for You” choir, now helps me a lot in the theater. The ability to sing in an ensemble, not to drown out partners - unfortunately, many opera singers do not know how to hear anyone but themselves on stage. After working in the choir, it’s easier for me in this regard.

Large-scale batch

You have two male characters in your repertoire - Lel and Cherubino. Why do you think the composers didn’t assign these parts to tenors?

Probably because they wanted to hear clear youthful voices from their heroes. But tenors still have a different timbre. I personally really like these parts, and not only vocally, but also acting - an interesting transformation.

Is Carmen also a reincarnation for you? How close is this heroine to you in spirit?

Unlike Carmen, I don't like showdowns. ( Smiles.) Yes, I can sometimes get angry, but by nature I am not as harsh as she is. Although, when I was rehearsing, I tried to “get into Carmen’s shoes” and understand why she is like this. Wild, free, but at the same time sincere in her feelings. She is like an animal, her instincts come first. If you want something, you will do everything to attract your lover. For her, life is a game: both in her feelings everyone is on the edge of a knife, and in her dangerous business of smuggling - they can kill at any moment. That’s why he lives for one minute, a constant drive in the fight for survival. And by the way, I don’t recommend starting with Carmen to anyone in the theater.

Why?

This part is complex not only vocally, but also in its scale; you need to sing it wisely. It happens that singers give everything away in the habanera “Love has wings like a bird” and forget that they still have a huge scene ahead in the second act and a very difficult finale with a killer duet! You need experience and the ability to correctly distribute forces to cope with such a party. And you also need to be able to play this complex character so that all the feelings of such a contradictory nature are conveyed to the viewer. Standing like a pillar and just singing beautifully won’t touch anyone. I prepared very carefully for Carmen; if it were up to me, I would have postponed my debut in it for another six months.

Didn’t you really have any ambitions to sing such a part?

Everyone always has ambitions, otherwise there is nothing to do in this profession at all. But beating yourself in the chest and declaring that you can do anything... It’s easy to lose your voice. In opera you should never rush or jump in over your head.

Nevertheless, even though you say that there was not enough time, it feels like you prepared thoroughly for Carmen - you also learned to play castanets...

I’m still just learning - I’ve only mastered the basics. ( Smiles.) This was suggested by Sergei Rudolfovich (Sergei Bobrov, artistic director of the Krasnoyarsk Opera and Ballet Theater. - E.K.). He showed me how to position my fingers and where to hit. At first, naturally, nothing was given at all. Poor mother and neighbors - it was an endless grind in the theater and at home, it took a month until something started to work out.

Wow!

In general, if I do something, I strive to study it from all sides, thoroughly. While Carmen was rehearsing, she also began to learn to dance flamenco. And I took French lessons. At first I tried to just cram the part with interlinear interpretation - yeah, right! You still need to know the nuances of pronunciation.

How do you feel about the fact that now all operas are performed mainly in the original language?

As a singer, it’s more comfortable and joyful for me to sing in the original language, and the sound is much better. All translations are approximately 70 percent approximate; they do not correspond to the music. I can’t judge the convenience of the public; opinions vary. But it seems to me that if a person’s ear is not tuned to the singing perception of speech, he will not understand half the text in his native language. And there are a majority of those in the room.

Conservative art

Your latest work in the theater is Polina in The Queen of Spades. Is this also not a game for beginners?

In no case! I actually took it with caution at first; I didn’t know whether it would work or not? The fact is that three parts in my repertoire are actually written for contralto - Olga, Lel and Polina. But we don’t have a contralto in the theater now, unfortunately. This voice is very rare, so his parts often have to be sung by a mezzo. But I’m not complaining, I feel comfortable performing them. And I sang Polina just in time - it’s unlikely that even a few years ago I would have been able to sing it at all. Because Carmen doesn’t have such a complex aria as Polina’s. On the romance, Polina had previously auditioned for the Bolshoi Theater: if the singer couldn’t cope, she had nothing to do there. The aria should be even throughout the entire range. And I hope I succeed.

Anastasia, do you think opera is an elite art?

In any case, not massively, especially in the provinces. I don't know if this is good or bad. Yes, we have a very friendly audience, they warmly welcome us, especially visiting soloists. But as for her preparedness, it’s more at the “like it or don’t like it” level. Many people here take a long time to get ready to go to the theater; for them this is an event. And opera is such an art that when a person comes here for the first time, he either falls in love with it or begins to hate it; it seems to me that there is no middle ground. Therefore, it is important that each performance is held at a high level, and not just premieres and some festival screenings, where everyone gives their best. This should always be the case, otherwise we will never train the public to constantly go to the theater.

What do you think about modern production solutions in opera?

It’s hard for me to judge, I didn’t take part in such productions - in our theater we don’t have anything radical, a classical approach. But I think if everything is done with high quality, the orchestra sounds great, the singers sing highly professionally, no modern solutions will cause rejection. And if the musical part is done haphazardly, then luxurious classical design will not save you.

Another important thing is that the public needs to be prepared for some cutting-edge solutions. It is no coincidence that they are best perceived in cultural capitals, where the public is educated. And when a person comes to the theater for the first time and also goes to a classical opera, he still has some expectations of what he will see. And if you transfer the action to some other era, to a modern setting, not everyone is able to immediately understand and perceive it.

On the other hand, how to develop art in the provinces if you adhere only to some canons? All the same, the opera does not stand still.

In this case, we need to stage some new operas with a modern design. And I myself would not refuse to sing in some modern work - and why not? But I think there should be a more traditional approach to the classics. Still, it is easier to innovate in drama, opera is much more conservative - it must be in accordance with the era, otherwise it may be at odds with the music.

VK dossier

Anastasia Lepeshinskaya, soloist of the Krasnoyarsk Opera and Ballet Theater

Born on January 1, 1980 in Krasnoyarsk. Graduated from the Krasnoyarsk Academy of Music and Theater in solo singing. She performed in the “Sofia” choir and the “We will sing to you” choir.

Winner of the 1st prize at the International Vocal Competition “Romansiada” (Moscow). In 2008, she became a laureate of the Krasnoyarsk mayor's "Young Talents" award and a laureate of the regional festival "Theatrical Spring" for creating a convincing vocal and stage image in the roles of Suzuki (Madama Butterfly) and Lelya (The Snow Maiden). In 2009, she was a laureate of the “Theatrical Spring” festival for the best supporting actress (the role of Olga in “Eugene Onegin”).

Elena Konovalova, “Evening Krasnoyarsk”, No. 14 (255)

Soloist of the Chelyabinsk State Academic Opera and Ballet Theater named after M. Glinka, graduate of the Krasnoyarsk Academy of Music and Theater, laureate of international competitions Anastasia Lepeshinskaya won first prize at the Sobinov Music Festival in Saratov.

Soloist of the Chelyabinsk State Academic Opera and Ballet Theater named after M. Glinka, graduate of the Krasnoyarsk Academy of Music and Theater, laureate of international competitions Anastasia Lepeshinskaya won first prize at the Sobinov Music Festival in Saratov.

The singer came to Chelyabinsk from Krasnoyarsk. In our theater at first there were touring performances in plays. And immediately in the opera “Carmen” Anastasia amazed the audience with her temperament, beauty, and most importantly, her voice.

— “This is one of my favorite parts,” the singer admits. — I “went” to Carmen for a long time. She performed habanera and segedilla in concerts, studied French, and went to flamenco. I can’t just sing after learning notes and a couple of movements: I need to understand, feel and love...

— Each of your performances in performances is a revelation: Lyubasha in “The Tsar’s Bride” is amazing...

— It’s impossible otherwise,” says Anastasia, “it’s impossible not to live in this music.” She has a soul inside out. By the way, as a student I dreamed of Lyubasha’s role, but again, it took me a long time to approach it.

— Who are your teachers?

— At the academy, I started in the class of Ekaterina Ioffe, Hvorostovsky’s teacher, but continued my studies and finished with Lydia Ammosovna Lazareva. I maintain a very close relationship with her to this day: Lydia Ammosovna inoculated me against creative restlessness, taught me to understand and realize my capabilities. I take great care of my voice. And first of all, I sing what suits my voice well, from which it cannot suffer. That's why I always work carefully with the opera score. The first big role in Krasnoyarsk was Rosina in The Barber of Seville. I very much regret that the Chelyabinsk Theater’s repertoire does not include Rossini’s operas: “The Barber of Seville”, “Cinderella”, “An Italian in Algiers”. I would love to sing “The Favorite” by Donizetti.

In general, I have been singing since childhood, I love singing in an ensemble: as a schoolgirl I sang in the Sofia children’s and youth choir. The group toured a lot not only in Russia, but also abroad: they were in Italy and Switzerland. On our second visit to Switzerland, we took part in the production and performance of Mozart’s “The Magic Flute”. They sang in German with Swiss soloists. This was my first experience of entering an opera performance. When I studied at the academy, I sang in the ensemble of soloists “We Sing to You.” We performed a lot of cantata and oratorio music, where I sang solo for viola, and toured in America and Serbia. By the way, I left Tomsk for a tour to America, where I received the first prize at the Romansiada. Gala concert, award ceremony... and I have a train. And I, in a concert dress, rushed along the platform, jumping into the last carriage, and gifts and prizes were literally thrown at me as I went.

— Is this the end of your Romansiada?

— No. That year I did not take part in the final round of the All-Russian competition held in Moscow. But the next year, 2007, she won the Grand Prix in Tomsk.

In general, at first I did not understand the romances that were offered to me to perform for participation in the Romansiada. But, having participated in the Siberian Tour in Tomsk for the first time, I realized what “gold” it was and was imbued with the feelings inherent in these small masterpieces.

— Do you want to prepare a concert program at the Philharmonic, for example?

- Eat. We discussed this possibility with the artistic director Vladimir Osherov and with the chief conductor of the Malachite orchestra Viktor Lebedev.

— Anastasia, what brought you to Chelyabinsk? Was your creative life so successful in Krasnoyarsk? With the troupe of the Krsnoyarsk Theater you performed in England for more than three months, traveled the length and breadth of the country...

— Yes. In England, I even set a kind of record for myself: I sang Suzuki in Madama Butterfly thirty times, Flora in La Traviata 25 times.

— And Chelyabinsk?

— I've been coming to this decision for a whole year. I doubted it for a long time, looked closely at the city: would it accept me? After all, at first I came here on tour. Then I realized: the city accepted me. And I fell in love with Chelyabinsk, its wide streets, open spaces, everything here seemed to be wide open. I immediately fell in love with Kirovka. And then - I think that the level of the troupe in the Chelyabinsk Theater is high.

I accept changes, if they are necessary. I'm bored sitting in one place. I went to the Sobinovsky festival to cheer myself up...

Svetlana Babaskina

P. S. Anastasia Lepeshinskaya made a splash at the prestigious festival, receiving first prize and recognition from the jury and audience. Congratulating her on her victory, we wish the singer new successes. And we inform everyone who wants to hear her beautiful voice: on June 28, Anastasia sings in the play “Troubadour”.

Anastasia Lepeshinskaya

Opera singer (mezzo-soprano).

Graduated from the Krasnoyarsk State Academy of Music and Theater (2002).
From 2002 to 2012 - soloist of the Krasnoyarsk State Opera and Ballet Theater. From 2012 to 2017 - soloist of the Chelyabinsk State Academic Opera and Ballet Theater named after M.I. Glinka, since 2017 - soloist of the Yekaterinburg State Academic Opera and Ballet Theater. Since 2017 - soloist of the Moscow Theater "New Opera" named after E.V. Kolobov.

She toured in the UK, USA, Serbia, China, Thailand.

theatrical works

Olga (“Eugene Onegin”),
Joanna D'Arc ("Maid of Orleans")
Polina, Milovzor (“The Queen of Spades”; all operas by P.I. Tchaikovsky),
Lyubasha (“The Tsar’s Bride” by N.A. Rimsky-Korsakov),
Cherubino (The Marriage of Figaro)
The Third Lady (“The Magic Flute”; both operas by W.A. Mozart), Rosina (“The Barber of Seville” by G. Rossini),
Amneris (Aida by G. Verdi),
Siebel (Faust by Charles Gounod),
Carmen (“Carmen” by J. Bizet),
Suzuki (“Madama Butterfly” by G. Puccini),
Maddalena (Rigoletto by G. Verdi), as well as the viola parts in the cantata “Moscow” by P.I. Tchaikovsky, “Requiem” by D.B. Kabalevsky, Symphony No. 1 by A.N. Scriabin, oratorios “Gloria” by A. Vivaldi, “Paul” by F. Mendelssohn, “The History of a Master” by V. Primak, in “Solemn Vespers” and “Requiem” by V.A. Mozart, Mass in C major L.V. Beethoven.

prizes and awards

Laureate of the XI International Competition for Young Performers of Russian Romance “Romansiada” (1st prize, Moscow, 2007)
Laureate of the regional festival “Theatrical Spring” in the category “For creating a convincing vocal and stage image” (for performing the parts of Suzuki (Madama Butterfly by G. Puccini) and Lelya (The Snow Maiden by N.A. Rimsky-Korsakov, Krasnoyarsk, 2008)
Laureate of the “Theatrical Spring” festival in the category “Best supporting actress in a musical play” for the role of Olga (“Eugene Onegin” by P.I. Tchaikovsky, Krasnoyarsk, 2009)
laureate of the II International Competition of Young Opera Singers in Memory of M.D. Mikhailova (III prize, Cheboksary, 2011)
Laureate of the Vocal Competition Competition of the XXVII Sobinovsky Music Festival (1st prize, Saratov, 2014)
Winner of the Golden Lyre award (Chelyabinsk, 2015)
Laureate of the Regional Festival of Professional Theaters "Stage 2015" in the nomination "Performance of an Opera Part" (for performing the role of Joanna in the play "Joan of Arc" (based on the opera "The Maid of Orleans" by P.I. Tchaikovsky), Chelyabinsk, 2015)
Laureate of the Prize of the Legislative Assembly of the Chelyabinsk Region in the field of culture and art (2016)
Laureate of the Carlo Zampighi Opera Singing Competition (2nd prize, Galeata, Italy, 2016).

The Chelyabinsk Opera House was left without a leading soloist - on January 31, the singer with whom the greatest hopes of the city's cultural community, Anastasia Lepeshinskaya, was leaving the theater in recent years. The singer leaves for the Yekaterinburg Opera and Ballet Theater, where she was offered more favorable conditions.

For me, this is, first of all, an opportunity to move forward professionally and creatively. This theater constantly invites different conductors and directors, new interesting projects are happening all the time, there are much more opportunities for development,” Anastasia Lepeshinskaya explained to us.

The chances for promotion in the neighboring field are, indeed, many times greater: the Ekaterinburg Theater has 20 operas in its repertoire, while we have only 15, and the new production of “Carmen” has been nominated for the Golden Mask. By the way, together with the ballet “Romeo and Juliet,” Yekaterinburg received as many as 12 nominations, only the Bolshoi Theater has more.

Now I’m already being introduced to the repertoire, it’s not difficult, many of the parts are already familiar to me,” said Lepeshinskaya.
According to her, the parting with the Chelyabinsk theater passed calmly, now the management is deciding on the possibility of continuing cooperation in a number of productions, including in the opera “Joan of Arc”, where Lepeshinskaya performed the main role. Two years ago, the opera brought the troupe an award at the regional Scene festival, and was also nominated for the Golden Mask. Of course, I want to hope for the best, but vague doubts prevail, and the reason for them does not dry up.

As they say, for a big ship, a long voyage. Lepeshinskaya was initially the best acquisition of the opera troupe in recent years. Alas, she reached the Chelyabinsk ceiling very quickly. There is nothing surprising in the fact that the singer was noticed and invited to Yekaterinburg; another fact causes bewilderment - in our theater they did not particularly detain her, probably considering, according to the good old tradition, that no one is irreplaceable. It’s true: there are many artists in the troupe, there are few good voices, and as a result, the viewer sees all the more or less significant productions only at the premiere - neither Faust, nor Joan, nor A Life for the Tsar, nor Eugene Onegin in There is no February poster. Of the iconic productions, only “The Queen of Spades” will appear on stage once in February.
It is also impossible to compensate for operatic masterpieces at the expense of ballet masterpieces - during the entire February, balletomanes, if they really want to, can only visit the theater twice to watch the not the best version of “Esmeralda” and “The Nutcracker”. The premiere of the modern ballet “Ida” was presented with great fanfare, only a select few were able to see it; it is unknown when it will become available to ordinary spectators - the poster is silent about this until April, and then the end of the season is not far off.

In total, over 28 February days, the theater will host only 14 performances. For comparison, our neighbors in Yekaterinburg will host 20 performances, five of them premieres. This is despite the fact that for a whole week the theater will go on tour to the golden-domed city with almost its full complement.

Our theater has also been actively involved in touring activities over the past few years - for the second year in a row it has been conducting commercial tours throughout Europe. He prefers to rent out his own stage, receiving considerable compensation for this. It is clear that theaters, like other cultural institutions, have long been persistently financed on a residual basis, and successful commerce can only be welcomed. Now the trustees are also busy taking care of the golden calf - not everything is so bad in the Danish kingdom. But why do the best artists continue to leave the opera house (Lepeshinskaya is not the only one, only the latest of those who left), premieres happen only a couple of times a year, and premiere shows do not have time for the entire season? Alas, the answers are disappointing.

P.S.
On Wednesday, the newly appointed trustees distributed grants to artists who glorify the Chelyabinsk Opera House with their work. Anastasia Lepeshinskaya was not seen on the list of awardees.