Sing like Muslim Magomayev - an interview with the finalist of the show “The Voice” Emil Kadyrov. The best voice of the Earth: the most famous songs of Muslim Magomayev Who sings like Magomayev

All-Union fame came to Muslim Magomayev after a performance at the Kremlin Palace of Congresses at the festival of Azerbaijani art in 1962, followed by solo concerts, an internship at the La Scala theater in Italy, and a tour in Paris.

Magomayev was offered a one-year contract to work in Europe, and they promised to make him a world-class star. But the USSR Ministry of Culture prohibited it: the singer had to perform at government concerts.

Magomayev's repertoire included more than 600 works. He hosted television programs about the lives of world opera stars and wrote books. One of his last songs was the composition “Farewell, Baku,” recorded in 2007.

In honor of the anniversary of the great singer, TASS has compiled a playlist of his most popular songs.

In the cartoon "In the Footsteps of the Bremen Town Musicians" (1973), Muslim Magomayev performed the roles of Troubadour, Detective and Atamansha. The music for "Troubadour Serenade", which is also known as "Ray of the Golden Sun", was written by Gennady Gladkov. Words by Yuri Entin. In the ranking of the 100 best Russian songs, which was compiled by the Russian Reporter magazine using open voting, this composition takes 35th place.

“Blue Eternity” is often called the main song of Muslim Magomayev. He wrote the music for the composition himself, and the lyrics were written by his friend Gennady Kozlovsky. Magomayev performed this song in Cannes at the International Festival of Recordings and Music Publishing MIDEM. As the singer later recalled, they clapped for him longer than other singers.

“I wrote it in a very interesting situation. The melody arose during dinner with friends in a restaurant. I quickly began to write down the notes on a starchy snow-white napkin, which I later took for myself, paying for its cost,” Magomayev wrote in his memoirs.

The song “The Best City on Earth,” the unspoken anthem of Moscow, was recorded in 1964. The music for it was composed by composer Arno Babajanyan. It was broadcast on radio for only a month, after which it was banned on the orders of Nikita Khrushchev. "Twist about Moscow? Ban it!" - he exclaimed. But soon Khrushchev was removed, and the song was rehabilitated.

"Beauty Queen" is another song written by Arno Babajanyan. He collaborated for a long time with Muslim Magomayev and with the poets Evgeny Yevtushenko, Robert Rozhdestvensky, Andrei Voznesensky and Leonid Derbenev. They created many musical masterpieces that are still heard on radio and television.

Muslim Magomayev recalled about the song “Ferris Wheel”: Arno did not allow “Ferris Wheel” to unwind to its full extent: he did not wait for it to reach the peak of its popularity, and immediately “gave out” “Wedding”. Babajanyan’s impatient talent seemed to be stepping on its own toes. The melodies “pressed” him, being born one after another.”

"Along the Piterskaya" is a Russian folk song, performed by Fyodor Chaliapin. Magomayev called it his only Russian song, while the rest were international. He performed with her at La Scala, but Minister of Culture Ekaterina Furtseva did not like his performance. She asked the artist to stop “singing pseudo-Russian songs.”

“I was not allowed to sing this song at the government concert. Furtseva explained: “I know that they really ask you to sing “Along Po Piterskaya.” But I don't like the way you sing it. Can you sing normally? You see, it’s normal,” Magomayev recalled.

The Italian song "Bella Ciao", according to legend, was written by one of the partisans who participated in the Resistance movement during World War II. In the Soviet Union, it became popular after it was performed by Muslim Magomayev in 1963. He sang it in Italian and Russian.

Victoria Salnikova

Experts have assessed the singer’s voice in their own way: “the lower register is magnificent... because of it, Magomaev’s dramatic baritone can be mistaken for a bass-baritone”, “the most delicate upper notes”, “warm, as if three-dimensional sounds of the middle register”, etc. and so on.

But, without even noting to ourselves such features of the singer’s voice, we understand how good it is: to sing the way Magomayev sings!

He sings like a bird, easily, joyfully, surrendering to music and the gift of making it with his voice.

...Three years ago, at a concert of the Song and Dance Ensemble of the Baku Air Defense District, young soloist Muslim Magomayev, recently accepted into the ensemble, performed. After the concert, the opinions of those present were divided. No one denied the singer’s magnificent natural abilities - the debate was about the artist’s penetration into his musical character. Magomayev sang “Buchenwald Alarm”. He sang beautifully, energetically, but there was no high pathos of emotions - bitterness, anger, sorrow - in the singer's voice. The performance was such that the song asked for other words, less significant in their meaning...

It took time for this song by Muslim Magomayev to truly sound like a majestic requiem for the fallen, like a call to the highest human duty. Has your voice changed? Maybe so, but - what is much more important - the intonations have changed, the content the young singer puts into the words has changed and grown immeasurably...

Today, when Muslim Magomayev appears on stage, he brings his own, very special fullness of feelings. Its own special atmosphere - in each song it is different and Magomayev is different. Transformation on the opera stage and in a concert is ambiguous neither in its quality nor in the strength required by the actor. To be an opera singer or to be a pop singer, where a rapid change of images, characters and heroes takes place before the viewer, as in a fight “with the visor raised”? The nakedness of art as labor here, on the concert stage, manifests itself with such force that in an inexperienced singer it often gives rise to stiffness and uneven performance, while in an experienced singer it gives rise to that virtuosic manner that, although stunning, soon becomes familiar. Magomayev's best songs do not have cold virtuosity; they bring the joy of great art.

We are familiar with Magomayev both as an opera singer and as a concert vocalist performing works by Tchaikovsky, Rachmaninov, Babajanyan. In last year's performances, Muscovites noted him both as a dramatic and character singer (Mephistopheles' couplets, Iago's monologue from Verdi's Othello, Figaro's cavatina) and as a lyrical singer (Mizgir's arioso, Demon's romance).

Many experts have found pronounced “Italian” features in Muslim’s voice: a specific timbre, characteristic “aggressiveness” in the presentation of sound, energy and passion of vocalization. It was also noted that, despite the “Italian” voice, the singer does not limit himself to the sphere of Italian vocal style: the program of his concerts is varied, including such works as the epithalamus from Rubinstein’s opera “Nero”, Onegin’s arioso, Aleko’s cavatina and “The Dream” Rachmaninov, “Elegy” by Massenet and “Song of Florence” by Tchaikovsky. In the performance of many of these works, Magomayev showed himself to be a truly professional singer. This is not only a masterful command of the voice, not just an accurate knowledge of the musical text - starting from the music, Magomaev creates bright, sharply defined and memorable images, and behind the bold, broad strokes that depict the character, one can feel the artist’s great work on every vocal intonation, every movement and gesture. Brilliant in its rich melody, subtle humor and temperament, the performance of Figaro's aria revealed an enviable stage ease and the makings of a genuine comedic talent.

However, Magomayev disappointed the audience with Massenet's "Elegy", he performed Onegin's arioso purely outwardly, his Aleko was dry, and the artist still clearly did not find his way with the roles of Mizgir and Demon, although he has been singing them for several years.

In one of his letters to Gorky, Chekhov wrote: “To talk now about the shortcomings of talent is like talking about the shortcomings of a large tree that grows in the garden. Here, after all, it’s mainly not about the tree itself, but about the taste of the one who looks at the tree.” This is true, of course. But perhaps the participation of the person speaking about talent is not limited to just an assessment; it also involves helping the tree not to grow at random, just to be spreading and lush...

What pushes an artist to replace real emotions with techniques of external representation? “Musical Life” quite rightly reproached him for this earlier this year. Inexperience of youth or reduced demands on oneself?

Why does Magomayev’s performance sometimes reveal an “art of external form”, in which vocal mastery is devoid of rich internal content, a lively stage image is replaced by a beautifully performed arioso, and the singer-actor’s understanding of the idea of ​​the entire musical score as a whole fades into the background? Isn’t it a shame that this happens specifically to Muslim Magomayev, whom nature has so extremely generously endowed?

Passion for music since childhood, composing his own musical works, interest in the skills of the greatest vocalists, and then - the conservatory, Milan, La Scala, the class of Maestro Barra, concerts in Baku and Moscow... (It is perhaps worth noting that Magomayev is not the first envoy of Azerbaijani art in Italy. But before the revolution, the wonderful singer Shevket Mamedova came to Milan thanks to the donation of the oil industrialist and philanthropist Tagiyev. Soon the philanthropist forgot about his ward, and Shevket was forced to interrupt her studies and return back. Only 20 years later she came to Italy again, already an envoy of Soviet Azerbaijan...) So, today Magomayev’s “Italian” voice determines both the range of his repertoire interests and his manner of performance. This is not so noticeable on stage, but on the radio Magomayev admits this more openly, performing mainly Italian songs.

It would be naive to say that we are against it. We don’t mind - going to a concert of La Scala artists was our dream, and we fully share the artist’s sense of gratitude to this school, but still... After all, any school is needed in order to get stronger, learn and move on in search of your path , your decision, and not in order to, even having passed the exam with “excellent” marks, again and again with ecstasy repeat the brilliantly learned lessons.

But, of course, it’s not just a matter of external changes in the repertoire. The repertoire is the repertoire. And the singer is free to choose it based on his capabilities and inclinations. But choose, and not “freeze” yourself in a certain, pre-limited space.

I really want his national strings to sound stronger in the “Italian” voice of Muslim Magomayev. His originality as a singer, as a person, will not only not suffer from this, but will be established as a genuine originality, always having folk roots.

Nuri Sheikh-zade

We talked with him about his musical calling, about performing on the big stage and about his hometown - Baku.

Emil, tell us about your calling. How did you get into music?

In fact, I came to music absolutely consciously. In the sense that initially I really liked it. I remember as a child I really wanted to play the guitar. This probably happened when I was 10 years old. I came to my parents and said that I wanted to study music. They gave me freedom of choice and gave me an instrument. Over time, when faced with the first difficulties and obstacles, I accepted the idea that this was not for me and I needed to leave music. But after some time, having overcome myself and all the difficulties that arose at the beginning of my studies, I realized that it was becoming much easier and more interesting. In general, I believe that if you overcome some kind of special barrier in life, you will understand that this is really your calling and you really need to do it.

The “Voice” project actually gave me a big boost and served as a springboard in my life and creativity. Of course, a lot of people learned about me after the project. Both in my home country - in Azerbaijan, and in Russia - people began to recognize me often and invite me to concerts. A lot of people began to come to my concerts, listen to music, and write me good wishes. But it should be noted that participating in such a project is incredibly difficult, psychologically it is a huge responsibility.

Tell us about your mentor, the incomparable Alexander Borisovich Gradsky. What are the most important pieces of advice you received from him? What have you learned?

Alexander Borisovich is an absolutely amazing mentor, a legendary musician, a man who sang and sings, probably, in all conceivable and inconceivable genres: from rock and classical to pop and jazz. Alexander Gradsky understands any music that can exist. I still get advice from him to this day. Even after the end of the show, he and I are in excellent relations: we are friends, we communicate, he supports me in every possible way. In addition, I am a soloist of the Alexander Gradsky Theater, and at the moment we are actively working with him and developing what was given to me by nature. It is a great happiness to know and be friends with such a great musician.

In fact, comparison with the great Muslim Magomayev is very pleasant for me as an artist, but we all understand that we are very far from him. This is not just a great musician, this is a legend, this is a scale of universal significance. People like Muslim Magomayev are born once every thousand years. Despite all this, I still want to sing my own songs and develop in my own genre, in my own repertoire, but as a vector of some kind of development, Muslim Magometovich will always be an example of what to strive for both in life and in creativity.

A couple of months ago you performed at the international festival “Heat” in Baku. The event is large-scale. How do you like the Baku audience?

For the second year in a row, I have been participating in the “Heat” festival at the personal invitation of my friend Emin Agalarov, for which I am very grateful to him. This is a wonderful festival that takes place in the summer on the shores of the Caspian Sea and the audience and its energy are very warm. It simply cannot be otherwise in Baku. And performing on your native soil, for your native audience, brings double pleasure and happiness. Today, the festival has acquired international status, and it is very gratifying that projects of such a scale are being implemented in Azerbaijan - in my home country.

At the Heat festival this year, in addition to Russian artists, representatives of the Azerbaijani scene also took to the stage. How do you assess the state of Azerbaijani show business?

Very good question. There are a number of performers in Azerbaijan who represent our country very worthily. These performers show themselves at a high level not only in Azerbaijan, but also abroad, in international arenas. I will not name their names so as not to offend others. There are not many worthy people, but, thank God, they exist. I really hope that Azerbaijani show business will move towards concerts, towards cultural and mass events, and not just focus on business. Unfortunately, today in Azerbaijan the entire music industry is geared towards the wedding business. But there are 6-7 real artists who live in Baku and perform and work for the sake of art. I bow to them and have great respect for them and their work.

Which Azerbaijani performer would you like to record a duet with?

But this is the answer to the question of which of the Azerbaijani performers is worthy. In fact, there are a lot of wonderful songs that we would like to perform together with our performers. But, as I already said, I don’t want to name names. If I ever record a duet with someone, listeners and viewers will know about it. I hope that I will have such a chance, but I don’t want to think ahead yet.

And if we talk about Baku, what does this city mean to you?

This is, of course, the city of childhood. This is the city of my parents, my city. I was born, raised, graduated from school in Baku, spent my entire youth there and developed as a person, as an artist, in this city. Which makes me immensely happy. Baku left a big mark on my soul and my creativity. Those traditions that live in me, in my heart, I try to preserve them. Therefore, every time I come to my hometown, I am charged with energy, and this is a huge charge that lasts for a long time. In general, Baku is a city with a special energy, very kind and hospitable.

What is your favorite place in Azerbaijan? Is there a place you head to immediately upon arrival?

Yes, sure. There are such places. My favorite places are: the Boulevard and the observation deck on the Alley of Martyrs. Upon arrival from Moscow, I constantly walk there and look at my favorite city from a bird's eye view. And so, a lot of places connect me with this city.

You became the star of a popular show, managed to work with the country's most famous performers, shot a video, give concerts... What are Emil Kadyrov's plans for the future?

For the next year I am planning a big tour of Israel. There will be about 12 concerts there. In February I will give a big concert in Baku, which will be held at the Mugam Center. On March 2, I will have a big concert in one of the amazing halls in Moscow - Vegas City Hall, and I hope that this concert will be a great success.

Interviewed Leili Khalilova

Methodie Bujor is a wonderful singer with a beautiful timbre and a huge vocal range, artistic and sensitive to the melody, as well as the best performer of Muslim Magomayev’s songs.

The star of Methodie Bujora lit up on the musical Olympus quickly and brightly, and his brilliant professionalism and experience of working on the best opera stages in the world, vocal and dramatic talent helped him consolidate his success.

Today he is the idol of the St. Petersburg public, and thanks to his brilliant performances in Channel One projects, he has become a favorite performer for viewers throughout the country. He is equally capable of operatic arias, ancient romances, world hits, domestic song classics and modern pop songs.

Methodie Bujor was born on June 9, 1974 in Moldova. He owes his bright and memorable Greek name to his father.
After graduating from the Chisinau Musical Academy “named after Gavriil Muzichescu” in 2000, he began his career by working in the troupe of the Moscow Novaya Opera Theater under the direction of Evgeniy Kolobov. He made his debut as Sparafucili in the opera “Rigoletto” by G. Verdi, with the participation of Dmitry Hvorostovsky in the role of Rigoletto. After a successful debut, he performed the roles of: Gremin in the opera “Eugene Onegin” by Tchaikovsky, Cecil in the opera “Mary Stuart” by Donizetti, Salieri in the opera “Mozart and Salieri” by Rimsky-Korsakov, etc...


Methodie Bujor becomes a laureate of International Opera Singing Competitions:
07-2004 1st prize at the 5th International Competition of Opera Singers in Sarzana, Italy.
08-2002 2nd prize at the 2nd International Opera Singers Competition named after. “Elena Obraztsova” St. Petersburg, Russia.
07-2001 3rd prize at the International Opera Singers Competition named after. “HarecleaDarkle” Braila, Romania.
01-2001 3rd prize at the International Opera Singers Competition named after. “FrancescoVinas” Barcelona, ​​Spain.
After winning the competition. “Elena Obraztsova” in St. Petersburg, was invited as a soloist of the Mariinsky Theater Academy of Young Opera Singers. Here he performed the roles: Thomas in the opera “The Enchantress” by Tchaikovsky, Frost in the opera “The Snow Maiden” by Rimsky-Korsakov, under the direction of conductor Valery Gergiev.

In 2003-2005 invited as a soloist to Opera Leipzig. During this period, he performed the following roles: Colin in the opera La bohème by Puccini, Ramfis in the opera Aida by Verdi, Mephistopheles in the opera Damnation of Faust by Berlioz, Ponte in the opera Troy by Berlioz, Biterholf in the opera Tannhäuser by Wagner, Serse in the opera “Themistocles” by I.K. Bach.

On the stage of theaters and concert halls, he proved himself not only as a singer with a powerful and velvety timbre of his voice, but also as a performer with dramatic acting skills.

Methodie Bujor has extensive touring activities, both opera and concert throughout the world. Since 2003 he has been collaborating with opera festivals and theaters in Italy, Germany (OperaLeipzig, OperaHamburg, France (OperaTulus), Holland.

Performs concerts in America, England, China, Switzerland, Spain. He has performed and collaborated with such conductors as: Valery Gergiev, Riccardo Shai (Italy), Christov Rosse (France), Evgeniy Kolobov, Jean Carlo Minotti (Italy), Ivan Angelov (Bulgaria), Mikhail Yurovsky (Germany), Ion Marin (Austria) , Daniele Rustioni (Italy).

Since 2008, he has been invited as a soloist in the premiere performances of the Mikhailovsky Theater: “Honor Rusticana” by Mascani, “Pagliacci” by Leoncavallo, dir. Liliani Cavani, Donizetti's "Elisir of Love", etc.
By his vocation, Methodie Bujor is a performer of a wide genre, which allows him to perform both the operatic repertoire and classical pop and original songs. His repertoire consists of such works as: “Wedding”, “Melody”, “Ferris Wheel”, “Winter Love”, and other famous melodies. He mainly performs the repertoire of Muslim Magomayev, Eduard Khil, Evgeny Martynov, Yuri Gulyaev.


Methodology Bujor: “I grew up listening to the world classics, and now I love the classical Soviet stage with all my heart. This is some kind of treasure trove of brilliant melodies and heartfelt poems, wonderful orchestrations - a huge bouquet of beautiful and very interesting works for a serious singer. And Magomayev was not the only one who shone in those years. I perform not only songs from Magomayev’s repertoire, I also enjoy singing hits from other artists of the 60-80s. I am also interested in classical pop music - Frank Sinatra and other Western celebrities. Of course, I would be glad to expand my repertoire with works by contemporary authors, but now they don’t write like that...”

The method brilliantly manages to cover compositions from the repertoire of legendary performers. In 2007, Bujor managed to meet opera and pop singer Muslim Magomayev, who immediately appreciated the aspiring artist’s extraordinary singing abilities and his sparkling talent. In 2012, at a concert dedicated to the blessed memory of Magomayev, Bujor won the hearts of the audience with his magical voice. It was this event that opened many doors for him; it was after that concert that the media became interested in him and his fans began to appear. Also in 2012, Methodie Bujor took part in the music TV show “The Voice” on Channel One. On this project, Bujor brilliantly performed the song “Tell me, girls.”

Now Methodie lives in St. Petersburg. As for Bujor's hobbies, in addition to music, he is also interested in biology, fine arts, foreign languages ​​and sculpture.

When the wonderful singer of “all times and peoples” Muslim Magomayev passed away, some performers tried to sing songs from his repertoire - at concerts, at memorial evenings, in retro programs... There were two categories of such brave ones: “popular singers” and “opera singers”. The first ones frankly fell short, squeaked, wheezed and often did not “come out” even at the expense of drama and artistry. In short, they were frankly funny, absurd and, in addition to laughter, they also evoked a feeling of pity: well, where are you going?! Why embarrass yourself? The latter had good vocal abilities, but they also did not have that charm, that energy, that magnetism that the great Magomayev possessed, and the songs turned out to be flat, inexpressive, a kind of semblance of their former splendor, faded reproductions. Willingly or unwittingly, the viewer began to compare both the “variety singers” and the “opera singers” with the original, and in a hundred cases out of a hundred the comparison turned out to be not in favor of the former. When women sang - well, no matter what, at least a woman’s voice is different from a man’s in any case and the comparison method no longer worked. As a result, most connoisseurs of both a good song and fans of Muslim Magomayev have developed a reflex: they hear a song from his repertoire in a different performance on some channel - and immediately switch the channel. I also developed such a reflex. Although I don’t watch TV, why should I? Negativity to cling? But one day my good friend sent me a link - knowing that I don’t watch TV. There was a note: “Listen - you won’t regret it.” Opening: First Russian Channel, show program “The Voice”. I winced. Variety shows always make me wince. I frowned even more when I saw the inscription under the video clip: “The Bujor method and Evgeny Kungurov. "Blue Eternity" “Blue Eternity” is associated exclusively with Muslim Magomayev. This song is also colloquially called “Oh, sea, sea.” Again, I think they will nasal or squeal and ruin a good song...

Opened it. And she disappeared. She disappeared for two hours. First I listened to this song - five times in a row, then I found other videos where Methodie Bujor performs the songs of Muslim Magomayev. And I realized: for the first time in my practice as a fan of Muslim Magomayev, I found a performer of his songs, at the sight of whom I would not change the channel. Moreover, if such an opportunity arises, I will go to his “live” concert. Because even on a dead screen you can feel the absolutely frantic energy, not to mention the talent and inimitable vocal abilities - Metodie has a deep baritone, rich in overtones.

I could have listened for more than two hours, but it was time to sleep. The next day I read everything I could find about Bujor.

But first, about the impression - maybe someone hasn’t seen or heard it yet. By the way, I look forward to the pleasure that the people of Baku will receive when they hear this wonderful voice! Tall, charming, slender, intelligent Moldovan, with the already mentioned baritone and what is called “charisma”. At the same time, he is very, well, just very, very similar in appearance to Muslim Magomayev. Some even consider Methodie either Magomayev’s younger brother or son. But this is not so, and Methodie himself says that he is “not a clone or double of Magomaev.” Apparently, he was sick of this resemblance, which literally catches the eye: facial features, height, stature, motor skills, voice timbre - everything is painfully reminiscent of the late Magomayev. But Methodie does not at all imitate Muslim Magometovich, he was just born that way (just as former Baku resident Andrei Ofitserov, who is considered the best performer of Vysotsky’s songs in the entire post-Soviet space, does not imitate Vysotsky - God also simply sent him a voice, like two drops of water similar to Vysotsky’s voice).

And this is what I found out about the new wonderful singer. It turned out that Muslim Magomedovich himself was familiar with Methodie, was delighted with him and said the following: “If I pronounce a melody, then Methodie sings it with her heart.” Hearing such praise from the master’s lips is worth a lot. And it turned out like this. Methodie Bujor, at forty years old, is not at all a newcomer to the stage, he is a well-known singer in opera circles, he sang solo parts at the Moscow Novaya Opera Theater, at the St. Petersburg Mariinsky Theater, at the Opera House in Leipzig, and as a soloist at the St. Petersburg Mikhailovsky Opera Theater and ballet He is a laureate of international opera singing competitions in Spain, Romania, Russia, and Italy. The singer's touring geography is also extensive. As a soloist in opera performances and in concerts, he performed and collaborated with opera houses in the USA, England, China, Switzerland, Spain, Italy, Germany, France, Holland... And while working in the opera, he suddenly “fell ill” with Magomayev. And not at all because he is similar in appearance and voice. The young singer just suddenly realized what a huge spiritual wealth the work of Muslim Magomayev is, and realized that he could and should carry this immeasurable wealth further, giving it to viewers and listeners and instilling in them, spoiled by vulgar pop music, a taste for good music and good pop music . In one of his interviews, Methodie Bujor said: “I grew up listening to the world classics, and now with all my heart I love the classical Soviet stage. This is some kind of treasure trove of brilliant melodies and heartfelt poems, wonderful orchestrations - a huge bouquet of beautiful and very interesting works for a serious singer. Of course, I would be glad to replenish my repertoire with works by modern authors, but now they don’t write like that...” Magomayev is a model for him, but not for imitation, but for further improvement, a titan whose repertoire is not suitable for every voice, but certainly If you master it, success is guaranteed. The main thing is not to drop the banner, not to lower the bar that the great singer set.

And when Metodie realized all this and began to sing not only songs from the repertoire of Muslim Magomayev, but also other classical pop performers of the 60-80s, a turning point occurred in his life: he met Muslim Magomayev and Tamara Sinyavskaya, and this acquaintance grew then into friendship.

Muslim Magometovich, as you know, regularly maintained his own website, on which he noted not only what was related to his work. There were entire pages dedicated to young talents, and not only in the field of vocals. On February 15, 2007, an entry appeared on the page of this site (M. Magomaev’s spelling style is given without changes): “Yesterday the singer METODIE BUJOR came to visit. Moldovans are famous for their BEAUTIFUL VOICES! And this BASS-BARITONE surpassed all of ours and T.I. expectations!:-) I heard a lot about Him, but “LIVE”... :-))) We played music... I played Escamilio for him, and then He wanted to sing me songs from my repertoire :-) I thought... “WELL, WELL ":-) We know how you - opera singers - sing songs - like ONE VARYAG GUEST!!!:-((But what I heard was SHOCKING. Between young MM and G.OTS:-)) Only... If I , in some intimate confessions I pronounce the music - He sings it with his Heart!! :-) Yes!!! It turns out that the Musicians-Singers have not moved away :-)!!! »

This is such an emotional record. It speaks about the breadth of the soul of Muslim Magometovich - to admit without the slightest jealousy that there are still wonderful performers, and about the creativity of Metodie - to know that he is in fact an excellent performer, since Magomayev HIMSELF has such an opinion of him.

When Muslim Magomayev left us, the fame of Methodie as the best performer of the great singer’s songs began to spread, and the further, the faster. Because the young opera singer succeeded in the main thing: to become his own, close person - for every viewer. For those whose youth coincided with the rapid rise of the young Magomayev, for younger fans of his work. The former not only enjoyed the skill of the singer’s performance, but also involuntarily plunged into memories, and the latter discovered the “planet of Magomayev,” whose unique beauty and harmony were conveyed to them by the Bujor Method.

It was also pleasantly striking that the singer excelled at lyrical, dramatic, and funny songs from the repertoire of the great Magomayev. Each piece is not only impeccable in terms of vocals, but it is precisely determined in terms of mood, artistic decision, and the artist’s plasticity and motor skills. He does not imitate Magomayev in his movements - these movements are natural for him, I personally checked by watching Methodie’s recordings when he sings opera arias or pop songs of other performers.

Watching Methodie, you become infected with his energy, you come into wild delight and goosebumps run all over your body. It’s not just the effect of Magomayev’s presence, no, the voice is still different, but it’s not different as beautiful from good, it’s just that he’s not really a clone! He is different, he is a personality, and he brings something of his own to each of Magomaev’s songs, but at the same time manages not to deviate from the style of the time in which the song was written, and to preserve the spirit of the great maestro. And you understand - here it is, mastery! And you don’t understand, how is this done? And you understand something else: when you don’t see how it’s done, then this is a sign of mastery.

Methodie Bujor also sings in a duet. With the same Evgeny Kungurov and with other performers. For example, with the Honored Artist of Azerbaijan, soloist of the Moscow Bolshoi Theater Dinara Aliyeva. In a duet with this magnificent singer, he performs several songs from the repertoire of Muslim Magomayev, including “Blue Eternity”. Methodie Bujor practically alone sang the entire second part of the concert “I thank you for everything...”, dedicated to the memory of the great Magomayev in St. Petersburg. This concert was generally significant in the cultural life of Russia: during this period, many concerts were held dedicated to the memory of Muslim Magomayev, and it was recognized as one of the best. It was broadcast by all channels, it was completely posted on YouTube, and the number of views exceeded several hundred thousand. Interest in Muslim Magomayev did not fade away with his passing, and this is not surprising: the work of Muslim Magomayev is an entire era in the musical culture of the USSR and other, later independent republics; more than one generation grew up on his songs. Magomaev became a legendary singer very young and throughout his life he deservedly enjoyed incredible fame and absolutely fantastic love from viewers and listeners. They say about such people - “a true folk singer.” Accordingly, the organizers of the concert faced the most difficult task: to match the level of the legendary maestro, to convey his highest performing and acting skills, and the exceptional aesthetic beauty of his art.

Therefore, the main hope for success was Methodie Bujor, who by that time in the musical circles of Moscow and St. Petersburg had already been recognized as the best performer of songs from the repertoire of Muslim Magomayev. By that time, Methodie had already performed on many Russian channels with Magomayev’s songs, participated in various shows, including “Property of the Republic,” where Tamara Sinyavskaya personally chose the best performer of her beloved husband’s songs. When Methodie sang, Tamara Ilyinichna cried without hiding her tears.

It is very difficult to measure the degree of success, as well as to find an exact definition for it. Yes, you probably shouldn’t do this. It seems to me that something else is important here: the bright, talented singer Methodie Bujor convincingly, with dignity, and masterfully reached a huge audience. Before this, opera lovers knew about him, now - largely thanks to the songs of Muslim Magomayev - the entire Russian-speaking space knows about him, as well as admiring Europe and America. And there are new frontiers ahead. And new countries to conquer. I would really like him to conquer Azerbaijan too. Probably nowhere will Methodie Bujor find such love and understanding of his work as here. I would very much like the relevant officials from the Ministry of Culture to pay attention to him and arrange a tour for him in Baku. Public satisfaction is guaranteed!