Opera singer Khibla. World opera star Khibla Gerzmava talks about life, competition on stage and family. What are you missing in life?

Khibla Gerzmava was born in 1970 in Pitsunda. In 1989 she graduated from the Sukhumi Music College in piano, in 1994 - from the Moscow Conservatory in solo singing (with Professor I. Maslennikova and Professor E. Arefyeva), in 1996 - graduate school with I. Maslennikova. She also took an optional organ class for three years.

During her studies, she won a number of prizes at prestigious international competitions: “Verdi Voices” in Busseto (III prize), named after. N.A. Rimsky-Korsakov in St. Petersburg (II prize), named after. F. Vinyasa in Spain (II prize). The singer achieved her greatest success at the X International Competition. P.I. Tchaikovsky in Moscow in 1994, winning the Grand Prix - the only one in the entire more than half-century history of this competition.

Since 1995, Khibla Gerzmava has been a soloist of the Moscow Academic Musical Theater named after. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko (she made her debut as Musetta in Puccini’s opera “La Bohème”). The singer's repertoire includes parts in the operas "Ruslan and Lyudmila" by Glinka, "The Tale of Tsar Saltan", "The Snow Maiden", "The Golden Cockerel" and "The Tsar's Bride" by Rimsky-Korsakov, "Eugene Onegin" by Tchaikovsky, "The Moor" by Stravinsky, "Betrothal" in the Monastery" by Prokofiev, "The Marriage of Figaro" and "Don Giovanni" by Mozart, "The Barber of Seville" by Rossini, "Lucia di Lammermoor", "Elisir of Love" and "Don Pasquale" by Donizetti, "Rigoletto", "La Traviata", "Ballo" masquerade" and "Falstaff" by Verdi and a number of others, in the operetta "Die Fledermaus" by J. Strauss.

With the theater Stanislavsky and Nemirovich-Danchenko, the singer toured in Korea, the USA and other countries. She has sung on the stages of the Mariinsky Theatre, Teatro Comunale in Florence, Grand Teatro de Liceu in Barcelona, ​​Sofia National Opera in Bulgaria, Théâtre des Champs-Élysées and Théâtre du Châtelet in Paris, Covent Garden Theater in London, Palau des Arts Reina Sofia in Valencia, Tokyo Bunka Kaikan in Japan and others.

Khibla Gerzmava constantly performs concert programs. The singer's concert repertoire includes Beethoven's 9th Symphony, Requiems by Mozart and Verdi, oratorios by Handel ("Judas Maccabeus") and Haydn ("Creation of the World", "The Seasons"), Bach's "Coffee Cantata"; vocal cycles of Schumann (“Love and Life of a Woman”), R. Strauss (“Four Last Songs”), Ravel (“Scheherazade”); romances by Glinka, Tchaikovsky, Rimsky-Korsakov, Rachmaninov, Prokofiev, Myaskovsky, Ippolitov-Ivanov.

The singer was applauded by the halls of Russia, Sweden, France, Holland, Belgium, Austria, Spain, Greece, Turkey, the USA, and Japan. Collaborates with V. Spivakov and the National Philharmonic Orchestra of Russia and the Moscow Virtuosi, A. Rudin and the Musica Viva orchestra, V. Gergiev, V. Fedoseev, A. Lazarev, M. Pletnev, V. Sinaisky, Yu. Bashmet, L. Maazel. Participant of festivals in Ludwigsburg (Germany; performed the role of Eve in “The Creation of the World” by J. Haydn and the role of the Guardian Angel in the opera “Imagination of Soul and Body” by E. de Cavalieri), in Colmar (France), “Vladimir Spivakov Invites...” , “Dedication...” in the State Tretyakov Gallery, ArsLonga and others. She has recorded several CDs: Ave Maria, “Khibla Gerzmava Performs Russian Romances”, “Oriental Romances of Khibla Gerzmava” and others.

The singer is one of the organizers of the Classical Music Festival “Khibla Gerzmava Invites”, which has been held in Abkhazia since 2001. She was a member of the jury of the Valeria Barsova Competition in Sochi and the “Competition of Competitions” at the Sobinovsky Festival in Saratov.

The art of Khibla Gerzmav has received many awards. She is a laureate of the Moscow Opera Festival theater award (2000) in the “Best Singer” category, and a laureate of the “Golden Orpheus” theater award (2001) in the “Best Singer of the Year” category. In 2006 she was awarded the titles of Honored Artist of the Russian Federation and People's Artist of the Republic of Abkhazia.

She was awarded the Russian Opera Award Casta Diva and the National Theater Award "Golden Mask" for her performance of the role of Lucia in the performance of the theater. K.S. Stanislavsky and V.I. Nemirovich-Danchenko “Lucia di Lammermoor”, Moscow City Prize for the performance of leading roles in the operas “La Traviata”, “Lucia di Lammermoor” and in the concert performance “An Evening of Classical Operetta”. In September and October, Khibla Gerzmava made a brilliant debut on the stage of the New York Metropolitan Opera in Offenbach's opera The Tales of Hoffmann (Antonia/Stella).

The singer constantly performs concert programs. The singer's concert and chamber repertoire includes Beethoven's 9th Symphony, Requiems by Mozart and Verdi, oratorios by Handel ("Judas Maccabeus") and Haydn ("Creation of the World", The Seasons), "Coffee Cantata" by Bach; vocal cycles of Schumann (“Love and Life of a Woman”), R. Strauss (“Four Last Songs”), Ravel (“Scheherazade”); romances by Glinka, Tchaikovsky, Rimsky-Korsakov, Rachmaninov, Prokofiev, Myaskovsky, Ippollitov-Ivanov.

Khibla Gerzmav was applauded by the halls of Russia, Sweden, France, Holland, Belgium, Austria, Spain, Greece, Turkey, the USA, and Japan. She collaborates with V. Spivakov and his orchestras “Moscow Virtuosi” and the National Philharmonic, A. Rudin and the Musica viva orchestra, V. Gergiev, V. Fedoseev, A. Lazarev, M. Pletnev, V. Sinaisky, Yu. Bashmet, L .Maazel. Participant of festivals in Ludwigsburg (Germany; performed the role of Eve in “The Creation of the World” by J. Haydn and the role of the Guardian Angel in the opera “Imagination of Soul and Body” by E. de Cavalieri), in Colmar (France), “Vladimir Spivakov Invites...” , “Dedication...” in the State Tretyakov Gallery, ArsLonga, etc. She has recorded several CDs: Ave Maria, “Khibla Gerzmava performs Russian romances,” “Oriental romances of Khibla Gerzmava,” etc.

The singer is one of the organizers of the Classical Music Festival “Khibla Gerzmava Invites”, which has been held in Abkhazia since 2001. Takes part in the work of the jury of international competitions: them. Barsova in Sochi, the “Competition of Competitions” at the Sobinovsky Festival in Saratov, etc.

The art of Khibla Gerzmav has received many awards. She is a laureate of the Moscow Opera Festival theater prize (2000) in the category “Best Singer”; laureate of the Golden Orpheus 2001 theater award in the category “Best Singer of the Year”. In 2006 she was awarded the titles of Honored Artist of the Russian Federation and People's Artist of Abkhazia.

The year 2010 was especially generous with memorable events in the singer’s biography.

She was awarded the Russian Opera Award Casta Diva and the National Theater Award "Golden Mask" for her performance of the role of Lucia in the performance of the Theater. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko “Lucia di Lammermoor”, Moscow City Prize for the performance of leading roles in the operas “La Traviata”, “Lucia di Lammermoor” and in the concert performance “An Evening of Classical Operetta”. In September-October, Khibla Gerzmava made a brilliant debut on the stage of the New York Metropolitan Opera in Offenbach's opera The Tales of Hoffmann (Antonia/Stella, 7 performances).

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

So, Khibla Gerzmava: daughter of Abkhazia and daughter of her parents, actress of the Moscow Musical Theater named after Stanislavsky and Nemirovich-Danchenko, prima donna of world opera, wife, mother and organizer of the festival “Khibla Gerzmava Invites”. And simply beautiful!

DAUGHTER OF ABKHAZIA AND JUST A DAUGHTER

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

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

Until I was 18 I never thought about a singing career. I just loved to sing and composed songs.

My mother dreamed that I studied at the Moscow Conservatory.

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

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

From an early age I listened to polyphony. Grandfather loved folk songs. I sang with my grandchildren. Only men spoke publicly. But women have always been able to sing. And my mother sang. I really love Abkhaz music. There’s no way without her. Folk songs, drawn-out, sad, are the highlight of my solo concerts. They add spice and flavor to the classic program.

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

I speak Abkhaz perfectly. But Sandrik doesn’t speak it very well, because he studied in Moscow - both in kindergarten and at school. Only when he goes to visit his grandparents in Abkhazia in the summer, they try to teach him a little, and he remembers something. I think it’s my disadvantage that he doesn’t know the language, and I’m very worried about this. The Abkhaz language is very complex, so the first thing, of course, you need to speak it in the family.

In the Abkhaz language there is such a word “phasharop”. It means "ashamed." For Abkhazians, disrespect for elders and some kind of wrong actions are considered “phasharop”. Or some unacceptable things, say, in relation to women. But basically “phasharop” is said when there is some specific disrespect for something or someone. Conscience among Abkhazians, of course, comes first.

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

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

ROAD TO GLORY

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

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

Twenty years ago it seemed to me that I came to Moscow absolutely prepared. I was accepted into the conservatory! But during my studies, I realized how much more I still need to learn and how many secrets of vocals remain to be discovered.

A strong vocal foundation that allows I learned at the Moscow Conservatory from my professor Irina Ivanovna Maslennikova to actively perform with a diverse repertoire and maintain a tough tour schedule. From the third year I was in the chamber ensemble class of Professor Evgenia Mikhailovna Arefieva. She prepared me for the Tchaikovsky Competition, which became a springboard in my creative biography.

I was just lucky. Became my teacher Irina Ivanovna Maslennikova. This is a block! A grandiose singer, a grandiose personality! Irina Ivanovna has her own teaching system, her own school. I came to her as an angular, shy, unconfident student. Irina Ivanovna taught me everything - to live, to make friends, to love music, theater, literature. She instilled taste and guided me. We talked a lot.

Irina Maslennikova couldn’t stand it, when I came to class in inappropriate shoes, because I was convinced that a singer should always wear elegant high-heeled shoes, fit and stylishly dressed. Irina Ivanovna liberated me. From a provincial girl she gradually molded herself into a singer. She gave me special exercises to develop my voice, a lyric-coloratura soprano...

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

During my student years, another one came true my dream. The fact is that in Pitsunda we have an amazing organ, and I always wanted to learn how to play it. At the conservatory, I was able to fulfill my dream by taking an elective organ class for three years.

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

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

DIVA

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

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

It is important for Prima to be stylish. Look decent on stage, sing without distorting your facial features. Be able to “take” your viewer. Bring him love and warmth. The energy you emit is what matters. It seems to me that a singer should have a very warm energy. To be a truly interesting person: a dummy is boring to look at.

Most obvious timbre changes I felt better even after the birth of my son. I was glad that the voice became softer, less flattened in sound, and the slightest tremolation, which sometimes bothered me, disappeared. The process of “rounding” may continue, but now I consider myself a lyric-coloratura soprano, with an emphasis on the “lyric”.

I am one of those singers who are careful in choosing their repertoire, at my age this is especially important to keep my voice fresh. Gilda or Juliet are no longer needed, but Lucia, Violetta or Mimi are mine now.

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

I'm always grateful for the wave of positivity, coming from the public, from the fans. But I myself understand that everything is never perfect, no matter how hard you try. I take positive emotions into my piggy bank, but I still know what worked and what didn’t. Analysis works clearly for me, and no one “eats” me more than I do myself.

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

I don't care much about who gets what seat. puts me down. I just feel like a good singer and a happy person. But, of course, it is important for me to be the first in my native theater. I work hard for this. As you know, the public needs to be won over, and above all with your individuality. I did this for several years after the conservatory. Today, my performances and concerts are always full. The name is already working.

I always try to be interesting to listeners- sophisticated, beautiful, stylish. It is important for them how an actor looks and how he behaves on stage. For music lovers, I find fresh intonations, colors, new sounds... I judge success by the silence of the hall, applause, and audience emotions.

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

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

After the performance it is difficult for me to fall asleep. So much adrenaline in the blood. I never sing superficially. I let everything pass through me, I get used to the destinies of my heroines. And this is not easy. Then it takes me a long time to recover. After “Lucia di Lamermoor” or “La Traviata” I come to my senses for two or three days. I'm standing under the shower, swimming. But I don’t complain: the Lord gives me strength. We are like a vessel that he fills. Halfway, or to the brim. How will you be worthy?

ACTRESS OF THE NATIVE THEATER

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

Through love you can do something. Therefore, at first I realized for myself that I love this theater, and that means I love Titel. I love him as a person, I love him as an elder, I can always consult with him, he can take me by the hand and lead me, like in childhood. He is the only person who made me be stylish, beautiful, and interesting to others.

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

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

I'm not a blind kitten who will do everything as he was told. I have matured, I have become a grown woman. I don’t like to swear, I like to do it all in a very correct and gentle manner. Sometimes I come to his office, ask for help, and say: “I need it, urgently!” - “Okay, go.” And we sit for a very, very long time, sometimes until late and late. He explains what he wants and I explain that it is inconvenient. And so on down to our theater costumes...

You see, our theater is different in that, which very rarely happens on our stage when the singer is comfortable singing. I once already said: “We, the “titels”, who grew up and were born in this theater, we will soon sing with scuba gear!” And that's interesting to me. That is, I can’t just stand on stage and sing anymore. I need to do something, I need to move, I need to jump, I need some bright, lively staging.

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

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

WIFE AND MOTHER

I usually prepare for a performance at home. I'm singing at the piano. It is impossible to remain silent. The main person in my life is my son Alexander. At home we call him Sandro.. He comes home from school and, naturally, needs to communicate with me. How can you remain silent here? I am obliged to give my son everything he needs. By the way, I breastfed him for a whole year, which singers usually don’t do.

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

If I come home, I don't continue to play, like the character of Somerset Maugham, the great actress Julia Lambert, I am simply a loving mother. Having closed the door, I become an ordinary woman: homely, cozy, warm.

I brought my son to the theater to “work” first of all to spend more time together during my now infrequent visits to Moscow. And then, the theater schedule and rehearsal process are very disciplined, which many people don’t even realize!

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

My son honestly told me that he doesn’t like those performances where my heroines die at the end. Therefore, my best role in the perception of my son is Adina in “Elixir of Love.”

…AND JUST A BEAUTIFUL

I have stylists who do the costumes, hairstyle, makeup. But if I personally don’t like the proposed option, then I won’t do it at the concert, even if it’s super fashionable. I believe that a woman on stage simply must be beautiful, stylish and well-groomed. The actress must be a Dream - flawless, in the most expensive and exquisite outfit. A good dress gives me the feeling of a straight back, when I feel beautiful - I sing differently!

For a singer it is important, I am sure, to be simple happy woman. Then she has a good internal state. The eyes are burning. The back is straight. She feels like a queen on stage. The audience finds itself at the mercy of her charisma and energy.

… A LITTLE ABOUT LIFE

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

Extensiveness is the path of populism, pop music. Intensity, movement in depth is the path of a real musician.

I only do what interests me. I don’t strive for easy money: the standard of living suits me quite well. I only take on projects that bring real pleasure. And the snow-white limousines... Let them go to the pop singers.

I always need it to be better so that I can sing better. I’m never ashamed to learn, I’m never ashamed to come up and ask: “Listen, how can I do this?”

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

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

REFERENCE OF THE "ADYGI" FUND:

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

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

Recorded by Ilya Fedoseev.

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

Khibla Gerzmava: Not a single significant theater in the world can still do without Russian singers. We open seasons, we close seasons.

Our singers perform the main roles in the first theaters in the world. Anechka Netrebko, Ildar Abdrazakov, Dima Hvorostovsky. Listen, these are blocks! Why do we sing everywhere? Because we have a wonderful school. I'm very proud of this.

Every time I sing abroad, I feel a huge responsibility, because I represent my country and defend its honor. On the posters of the Metropolitan Opera and Covent Garden it is always written that I am from Russia, but was born in Abkhazia - this is also very important. Still, you need to remember your roots. When a singer doesn’t remember her roots, it’s sad and wrong.

They are wary of Russia, you say? This is politics. But we, artists, are peacemakers. We make politics - kind, friendly.

Olga Shablinskaya, “AiF”: I have heard from the audience more than once: after Khibla Gerzmava’s performances, their souls are light. And where does the opera star herself find joy?

Firstly, the singer must be in love and must be loved. For her voice to sound, a woman must be happy. Without falling in love, it is impossible to caress with sound.

Secondly, home is very important to me. This is my fortress. It’s great when your family and your child make you happy, it gives you an incredibly good energy boost. I have a son, he is 17 years old, I am very proud of him...

I'm generally such a joyful person. Although I also like to be sad. Sometimes I love solitude, I like to look at beautiful paintings in silence somewhere in a museum, or read an interesting book in a beautiful binding. I love heaven, I can happily stand at the temple where the bell is ringing and pray, read the “Our Father” several times... This gives cleansing.

I love to smell lilacs or an armful of peonies that a loved one sent me. In general, there are many little things that give life light energy. And, of course, music. Music is prayer, it is higher mathematics.

It’s also important to try something new. We recently shot a mini-film based on Sergei Prokofiev’s romance “The Gray-Eyed King” from the series “Five Poems by Anna Akhmatova,” dedicated to the composer’s 125th anniversary.

I suddenly realized that the camera loved me, and now I want to act in films.

Be strong

Are there any roles that scare you? Prima Svetlana Zakharova told me: when she danced the ballet “Young Man and Death,” she then had the feeling that she had really killed someone.

After one opera, it takes me a week to come to my senses. When I was preparing this role, it was impossible to communicate with me. I was nervous, irritated, somehow angry, vulnerable. I'm talking about the opera "Medea" by Cherubini - Callas sang it brilliantly, amazingly. Medea’s fate is so incredible... I still don’t understand how a woman could, out of love for a man, kill her brother, dismember his body, scatter it along the shore and sail away with her loved one, and then kill her children in order to take revenge on your loved one for your pain.

By the way, it is “Medea” that we will take to Abkhazia this year. The festival “Khibla Gerzmava invites...” is 15 years old - I can’t even believe it!

Khibla Gerzmava. Photo by Vlad Loktev.

- By the way, what field do you see your son in?

We tried to put everything good into Sandro. He is a great student, plays the piano and guitar beautifully. He has an excellent mathematical head. I thought he would go to the Financial Academy or MGIMO. But he is a theatrical child, he grew up with us in the theater, sang in a children's choir, and of course he gravitates toward acting. But the most important thing is that he is growing up to be a real man, well-mannered and beautiful both internally and externally. Sandro knows well that a man must be the leader and stronger than others.

-Are you also a strong person? And does a woman need to hide her strength from the man she loves?

I am Capricorn, I have such a Capricorn character. A singer must be strong; the weak do not survive in our world. To be first, you need will.

And at home I am a very, very soft, “pajama”, fluffy person. I have gone through a lot in my life in order to stop being weak. I'm not talking about theatrical intrigues - they have always been, are and will be. I'm talking about the early death of my parents... My mother has been gone for almost 29 years. And I can still sometimes cry like a girl at 46 years old; I really miss my mother. Mom and dad are buried on our estate in Abkhazia. I visit their graves. These are my wings, which, if something happens, will cover me.

Khibla Gerzmava is one of the leading opera singers on the planet. Her name, translated from her native Abkhazian, means “golden-eyed.” Her unique voice secured her the first Grand Prix in the history of the International Tchaikovsky Competition and many other victories. It combines many different things - a truly feminine love for beautiful outfits, which she easily gives away, charity, for which Khibla often gives more money than she keeps for herself, motherhood and friendship. She doesn't like listening to her CDs and is convinced that live sounds much better than recorded ones. “It is impossible to sing without love and without warmth,” says Khibla Gerzmava. “And the sound should be warm and golden.”

The star of the world opera stage visited Minsk to perform at the “Vladimir Spivakov Invites” festival and found time to talk with an SB correspondent.

You dedicated your December concerts in Germany to the victims of terrorism, and donated your fees to a fund that provides support to the relatives of the victims. Was it an impulse or a conscious decision?

The decision was impulsive, it came after the disaster over Sinai, when I saw a photograph of a small child at the window at the airport - I still cannot forget this girl. Many tried to see a political statement in my action, but there was no politics, just mental pain.

You lost your parents early. Was it difficult to make your way without feeling parental support, to cope with everything alone?

Very hard. I was 16 years old when my mother died, and 18 when my dad left. My parents died very young, beautiful, we had a luxurious family. And in Moscow, of course, it was not easy for me, an absolutely homely provincial Pitsunda girl. I won’t talk about my hardships or go into details now, because it’s still difficult for me without my mother. You know, along the way I always met people who helped me. And the Lord, apparently, rewarded me for once taking my parents, and always sends the right right people who love me. And my parents... They left early, and it hurt. To this day, I can sometimes cry like a little girl. Because, for example, I would really like my son Sandro to be raised by his grandmother when I’m on tour somewhere. And in general, when my mother is nearby, at home, drink delicious coffee together and just hug her, kiss her... I even remember the smell of her creams and I think it will never go away. And if it passes, it means I will understand that part of my life has gone. Because I still feel my mother. And dad, he was very strong. They still support me, I believe in it. Everyone needs parents. And if the Lord made it so that they are not there, then the child is very strong. A person who loses his parents early is probably given some other force that moves him forward so that he does not fall. And if you still fall, then you need to get up and move on. With open eyes, a bright face and sunshine inside. This is how I live.

- Once upon a time, before serious vocal studies, you wanted to play the organ, did this dream come true?

I grew up in Pitsunda, and the 9th century temple, which is located three minutes from our house and where a wonderful organ, probably played a role in my passion. I graduated from a music school with a degree in piano, I wanted to play since childhood and never thought that I would sing in opera. But every person must know his place in life, choose something global. For me, the only thing that was important was the vocals. And I studied the organ for three years as an elective at the Moscow Conservatory, but purely for myself. I was interested in the registers, I was curious what I could do behind the organ, whether I could... For me this is a very important step, because instrumentalists, in my opinion, sing differently. And they think, and learn the repertoire, and work on the clavier differently. The piano and organ are a very good school for me as a singer. I sing differently, structure phrases and even breathe differently.

Now very often ballerinas, for example, act in films, stylists begin to sing. Have you ever been tempted to try yourself in a different capacity?

An opera singer is a good dramatic actress who sings. I hold on to this very much because I have been through and experienced a lot. Feeling like an actress with a voice is completely different than just singing. And that's exactly how I feel. Of course, I would love to play in some good movie. Recently, director Alexander Sokurov in Abkhazia filmed “Sofichka” based on Fazil Iskander - I would star in such a film, of course. Or in general in a picture that is interesting to me, perhaps historical. But so far no such proposals have been received.

- Is there work that has not yet been done, a part that you would like to sing, but have not yet sung?

Of course, the part and role of Desdemona in Othello. But soon I will sing it, in April - May at the Metropolitan Opera - the first theater in the world. I have a special, reverent attitude towards this role, I am preparing for it, because I am an absolute Desdemona in my voice and as a singer I now sound very good in this role.

- What do you miss in life?

Catastrophically - sleep and rest. I really want to rest, but I have absolutely no time. Now is a period in my life when I am torn. And while you are a sought-after person, you must work. As long as they love you and want to hear and see you, you need to move forward. In the next life we ​​will rest, sleep, and eat croissants with butter. (Laughs.) I really love croissants with vanilla, I dream of one day eating five of them at a time, while no one is looking. Just kidding, of course.

It’s very feminine to fight for a beautiful figure and wear chic outfits. It is known that you have a whole team of stylists and a huge stage wardrobe...

There are really a lot of dresses in my collection; they no longer fit at home; in the theater there is even a separate compartment for them. I think a singer should be very beautiful on stage. When I go out to the public, I need to be impeccable, stylish, elegantly dressed - I think that this makes me sing better.

- The theatrical environment is quite tough, have you encountered, let’s say, unfair competition?

We have a tough world, of course, there are envious people and people who don’t really like you. Nobody bothers me, because I have my own level in life, I didn’t take anyone’s place, I always did my own thing and never interfered with someone else’s. Although there is a lot of competition, and you need to monitor it every day. But if there are people who are annoyed by me or who think badly of me, I just pray for them. And then I go to sing.

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Gerzmava Khibla is a famous Russian opera singer originally from Abkhazia. She sings soprano. Currently she is a soloist at the Nemirovich-Danchenko Musical Theater located in Moscow. She has the title of People's Artist of Abkhazia and People's Artist of Russia. Well known not only in our country, but throughout the world. She has performed on the stage of the Mariinsky Theatre, Metropolitan Opera, Rome Opera, Royal Opera Covent Garden in London, the largest and most popular stage venues in the world.

Biography of the singer

Gerzmava Khibla was born in 1970. She was born in the Abkhaz resort town of Pitsunda. Translated from the local language, her name means “golden-eyed”.

A caring father brought three-year-old Khibla Gerzmava a piano from Germany. Since childhood, she began to sing, and over time, play the piano. The heroine of our article spent her childhood under the walls of the Orthodox church in Pitsunda, she constantly listened to the organ music coming from there. Even at school age she began performing in pop groups. She achieved her first success in the song and dance ensemble "Sharatyn" in Pitsunda.

Her youth was tragic. By the age of 18, her father and mother had died. This had a strong influence on her worldview.

She went to a music school in Gagra to receive a music education. In Sukhumi she graduated from a music school in piano. Since childhood, I dreamed of becoming an organist, impressed by what I heard as a child in the cathedral.

In 1989, Khibla Gerzmava, whose photo is in this article, set off to conquer Moscow. She entered the capital's conservatory, from which she successfully graduated in 1994.

Professional career

Gerzmava Khibla not only successfully graduated from the vocal department, but also attended elective classes for three years to learn how to play the organ.

She attracted the close attention of foreign experts when she took third place at a competition in Italian Busseto, and then second at the prestigious vocal festival in Spain in Viñasa and the Rimsky-Korsakov competition, which took place in St. Petersburg.

During her student years, the heroine of our article achieved a major victory at the international Tchaikovsky competition, which took place in the Russian capital in 1994. She performed the arias of the Snow Maiden and Rosina, deservedly winning the Grand Prix.

In 1995, she began performing at the Nemirovich-Danchenko Musical Theater. She still remains his soloist. Even though in 1998 she received an invitation to perform at the Bolshoi Theater, but was forced to refuse due to a busy tour schedule.

The singer's creativity

During her career, singer Khibla Gerzmava performed dozens of roles in famous productions of the capital's musical theater.

Among the most successful, experts note Lyudmila in the opera “Ruslan and Lyudmila” by Glinka, the Swan Princess in “The Tale of Tsar Saltan” by Rimsky-Korsakov, Rosina in “The Barber of Seville” by Rossini, Adele in “Die Fledermaus” by Strauss, Medea in the opera of the same name by Cherubini .

Participation in festivals and competitions

Gerzmava Khibla has won many victories at prestigious competitions. For example, in 2008 she triumphantly performed at the Crescendo music festival. In the same year, she performed the role of Tatiana in Tchaikovsky's opera Eugene Onegin on the stage of Covent Garden in London. During her career, she visited the most famous theater venues in the world.

In 2010 she made her debut at the Metropolitan Opera in New York. There she got the incredibly difficult role of Antonia in an opera written by Jacques Offenbach called “The Tales of Hoffmann”. Few of the world's opera stars dare to perform it, because this is the only performance on the world opera stage in which a soprano has to be performed by four different voices at once within the framework of one work. The heroine of our article succeeded brilliantly, after which she earned the title of one of the greatest opera singers in the world. Nowadays, only one other opera performer successfully implements such experiments - the German Diana Damrau.

Since 2011, Gerzmava has been performing at the Rome Opera. There she performs the role of Mimi in Puccini's La bohème, as well as the role of Liu in another Puccini opera called Turandot.

In 2012, Khibla returned to the Covent Garden stage as Donna Anna. Mozart's Don Giovanni was a great success in London that season. At the same time, the singer performed the role of Liu from Turandot at the Metropolitan Opera.

At the same time, her experiments with a unique voice continued. She appeared on the stage of the Vienna Opera in La Clemenza di Titus with the complex role of Vitelia, which today, in general, few people undertake to perform. In this Mozart work, she presented her signature recitatives as well as lengthy arias with a varied vocal range. She performed the same role that season at the French Grand Opera.

Participation in modern productions

It is noteworthy that the heroine of our article regularly takes part not only in classical, but also in modern experimental productions. But he always emphasizes that he agrees to sing only in operas with taste, in which the creators do not cross the line of theatrical convention.

During foreign performances he successfully popularizes Abkhaz culture. Her songs in this language are always asked to be repeated as an encore. According to her own estimates, the most demanding and experienced audiences flock to opera productions in New York and Moscow.

For many years, Gerzmava has been fruitfully collaborating with and implementing a project with director Alexander Titel. She has repeatedly performed on the same stage with Denis Matsuev, the National Philharmonic Orchestra of Russia.

Personal life

The singer does not like to talk about her personal life. This is understandable. Khibla Gerzmava’s husband has been living separately from his family for a long time. They are divorced. Journalists were unable to obtain detailed information about who this person was.

It is known that in 1999 they had a son, and soon after that their paths diverged. Now Sandro, as the boy was named, is being raised by Khibla herself. She actively attracts him to creativity. Her son performs in the children's choir of the capital's musical and Nemirovich-Danchenko.

Interestingly, after the birth of her son, the singer’s voice changed. As experts note, he has become much softer and more lyrical. Tremolation, which previously often prevented her from performing, has disappeared. The romantic notes intensified, something she had strived for from the very beginning of her career.