“You can study vocals all your life, but not become a musician”

In December 2014, all music world celebrated the anniversary of Viktor Sergeevich Popov, an outstanding choirmaster, teacher, founder of the Academy of Choral Art, who would have turned 80 years old. This event became the reason for meeting with Vasily Ladyuk, one of his star students.

The anniversary celebrations continued throughout the year, and the first one ended in December. music festival"Opera Live", organized by Vasily, one of major events which was a concert in memory of the Teacher, dedicated to the 80th anniversary of V.S. Popov.

We think there is no need to introduce the hero of the column - the fame of Vasily Ladyuk has far crossed the borders of our country. This singer is known and loved not only in Russia. But, judging by our conversation, thank God, star fever he is not in danger - we communicated sincerely, Vasily was open, and in general, listening to his voice so close - not from the stage, but eye to eye - is a rare pleasure. True, a shade of slight sadness inevitably seeped into the words - on this day Moscow said goodbye to Vera Vasilievna Gornostaeva, whose influence and personality are surprisingly similar to the influence and personality of Viktor Sergeevich Popov...

-Today is such a sad day. I’m just leaving after saying goodbye to Vera Vasilyevna Gornostaeva, she left so suddenly, and I’m left with a terrible feeling of irreversible loss. Did Viktor Sergeevich also leave so unexpectedly?

-Viktor Sergeevich is a comet man. A comet that had a huge tail of flame, and it was burning. How a comet burns up in the Universe, when this happens, no one knows. I think this is the same case where it was impossible to predict. We knew that there were various troubles, and he was very sick. But, of course, everyone hoped that he would get out of all the stories, especially since shortly before tragic events, for six months, there was a similar moment when he felt bad, and he was still able to overcome it, went to work and did concerts...

-Do you still have a feeling of something unsaid? What did you not have time to do something?

The saddest thing is that Viktor Sergeevich did not see the fruits of his activities, which he cultivated over the last decade, when at the Academy choral art- his brainchild - a strong vocal department finally appeared. Yes, when we, his students, became laureates, he saw it, but what we are doing now in life, how our careers are developing, and what successes we have on world stages - unfortunately, he no longer sees this. But, of course, a person lives in his students and in our memory for as long as we remember him. Of course, all the events that take place are connected with the Academy of Choral Arts. For example, Dmitry Korchak and I are presenting the annual V.S. Popov Prize - Mitya gives it to the two best students of the Academy, I give it to the two best students of the choir school. The Academic Council meets (this is competent people- teachers, rector of AHI), decide and determine by voting those students who will be awarded prizes. Despite the fact that in my case I received Slava Kozlenko twice in a row, despite the fact that I want to encourage different students. There are such cases...

And the concert that took place at my festival on November 29 “In Memory of Viktor Sergeevich Popov” - these are the very moments that indicate that we remember him, that he lives in our hearts, and, of course, we hope that from there from above, a person looks at everything that happens on mortal earth and even somehow helps, protects, like a guardian angel.

-When such people leave, the question always arises, who will come instead of them? Viktor Sergeevich left. And after him, did anyone of the same caliber appear?

I think in every generation, as long as music has existed, every time everyone thinks about who will be next. And it’s probably right that there are only a few such people, and not every second or every third. Then we would not understand the value of creativity, skill, talent of such people who leave us.

-How did you end up at the choir school? Did you go straight to first grade?

No, I entered second grade. We didn’t know anything about the choir school at that time; by chance, on some piece of newspaper advertisement, my parents read that “announced additional set V choir school" And this sounded like a salvation, because my mother had to take me to music school, we spent an hour and a half on the road. And in a music school these are classes: choir, solfeggio, piano full program three times a week. When, after reading the advertisement, the parents realized that the boy could be given away for the whole day, only to be brought in the morning and picked up in the evening, and there were general education classes, and music, and food, and warmth, they went straight to Bolshaya Gruzinskaya. I still remember the audition. First there was Alexander Aleksandrovich Shishonkov, then Viktor Sergeevich himself made him knock and sing. Then they said - bring him on September 1st. That's how I was enrolled in the Sveshnikov Choir School. I still found the time of training on Bolshaya Gruzinskaya in that famous mansion. In fact, I understand this now; then I had a very mediocre attitude towards music, and the teachers called me “dull.” I understood that I simply hated solfeggio.

-How did you start your relationship with music? Did you start singing with some instrument or straight away?

I started very simply: in kindergarten sang the song “Cruiser Aurora” on the seventh of November.

-When did you feel the urge to sing?

I didn't feel any cravings at all. This is all untrue. I began to need music itself in the eighth-ninth grade. Some children at the age of three themselves ask their parents for a violin. These are some kind of prodigies. I remember very well that throughout my childhood I was envious of friends who played football and hockey, who spent Saturday and Sunday not at the piano, but, as they say, if you did your homework - “done the job, go for a walk safely.” And two days off. I've never had anything like this in my life. But as the years pass, when you become an adult, you understand that time puts everything in its place. Of those who lived in the same yard with us then, my friends and peers, in fact, none of them achieved anything outstanding in life. I can't say that I have achieved anything outstanding in life.

-Vasily, don’t be modest!

We started the conversation with Viktor Sergeevich Popov - this is outstanding man, who has done very, very much in his life. And he is, let's say, an ascetic musical culture, who was not just involved in his own personal career (in fact, he often didn’t give a damn about himself, because he lacked a careful attitude towards his health). He was burning at work, burning like a match, like a comet, like a star. Yes. It burned...And burned out. This is probably the only thing the greats can do. Burn. There is no other way. And Viktor Sergeevich, of course, is an example for us to follow, an example for performing important actions in life that relate not so much to yourself, but to society, to culture. It is no coincidence that I conceived the “Opera LIVE” music festival.

True, it is not only operatic: it will combine different genres. And I hope that in ten years, when we celebrate the first decade of the festival, we will be able to look back and ask ourselves the question: did we manage to do something socially significant? Or can everything that has been done be thrown into the trash? If the festival gets social float, in the sense that it is recognized by the public, our cultural governing organizations - the Ministry of Culture and the Department of Culture - then you will understand that you are doing what needs to be done. If this remains unnecessary, then you can close the project and start doing something else.

-After the first festival ended, did you still have the desire to continue?

Yes, I can say that these days I am planning the next festival.

- Is it already known when it will be?

It will take place at the same time - autumn and early December. I don’t try to fit it into a particular week so that events follow each other. Viewers, it seems to me, should somewhat reflect on where they have been and what they have seen. In 2015, I already see that if the first time there were five events, this time there will be seven or eight in Moscow, and there is an idea to hold a couple of concerts in St. Petersburg. These will be joint events with the Elena Vasilievna Obraztsova Foundation, most likely related to the Gala concert of the laureates of her competition. I’m telling you a little secret... We are still negotiating this matter with her foundation.

-Youth competition opera singers Elena Obraztsova takes place at the end of August in St. Petersburg, and are you planning an event at the same time?

No, we will do this in October. And at this competition we will definitely establish special prize. We don’t know yet whether it will be an audience award or something else. It will be presented to the competition participant with an offer to perform in a solo or Gala concert of our festival. Our prize will become such a wild card for the participants of the Elena Vasilyevna Obraztsova competition.

Will the program expand? Are you planning to involve anyone else, for example, choir groups?

Choirs will perform. The first festival was a trial step. We held it, one might say, in a truncated format, and my name was present everywhere. But this is not strange, but rather natural. Of course, in the future I want to move away from this. My participation in the festival should be limited to some specific set of events, and so that some events would fit under the auspices of the festival, but without me. We have a lot of young wonderful artists who have their own individuality, and my participation in the concert is absolutely not necessary. Therefore, in 2015 I already see two concerts without me. Although I am free at this time and will be in Moscow. Maybe I will attend these concerts as a spectator. But other people will perform.

-Let's talk about the Vocal Crossroads festival with baritones at the Novaya Opera, in which you are taking part. Why are you performing Sviridov? Did you choose it yourself?

I love the work of Georgy Vasilyevich, it is very close to me, and I really really like the way he wrote vocal compositions.

-What will you do?

-Six romances based on Pushkin’s poems, then there will be a piano trio, and a vocal cycle “Petersburg”. This is what Georgy Vasilyevich wrote specifically for Dmitry Hvorostovsky.

-I heard “Ring-Suffering” and “In October” performed by you, it’s something incredible... tears appear in my eyes. How do you do this?

What exactly?

-Sing so soulfully.

Well, I don’t know...Lord God, I guess.

-Recently the 25th Glinka Vocal Competition took place, and I noticed such a thing there. The jury itself believes that a singer on stage should be an artist. There must be drama, emotion. Vocalists must not only sing, but also convey the full depth of the image. And on the sidelines (among the spectators there were teachers, musicologists, and fans) the opinion was voiced that “there is no need to play with your face.” Cannot be used stage movement to enhance the image. We must stand and sing. In your opinion, how should a singer behave on stage?

I will not argue with teachers and I will not argue with the jury. And facial expressions, as you understand, can be completely different. If these are attempts related to sound production, then this is facial expression of a certain nature. If these are facial expressions and gestures associated with the dramaturgy of the image that is being performed, this is completely different. And this is very clearly visible. You don't need to look at a person under a microscope to understand whether he is experiencing problems or whether it is his feeling music performed, from experiencing the image.

I know different singers. Some people spend more, some less. My view of this is exactly similar to the understanding of the jury of the Glinka competition. The image must be lived from beginning to end, because there is an end consumer - a viewer who, if he wanted to listen to music, would buy a CD and listen to it, feeling the emotional experiences of the performer, but not seeing his facial expressions and gestures. To the person who comes to the opera to watch opera performance, or for a concert, I think sound alone will not be enough. He needs emotion, he needs life, he needs truth. It was for this truth that he came here. Because depending on the music being played, a person can be in different states. Someone, perhaps, is missing this in life, and he came to see how it happens. This is very important.

-Is this exactly what they teach at the Choir Academy?

And this is not taught anywhere. But this is not the problem of the Academy of Choral Arts. This is the problem of all music universities in our country. I think that not only in our country, but throughout the world. Unfortunately, acting - if it is not a theater drama school - is given as an elective.

By the way, I was faced with the fact that at the beginning of the 2000s, opera houses, in particular, the New Opera, large quantities started taking graduates Faculty of Music GITIS. And upon closer examination, it turned out that their vocal abilities were quite average, but on stage they could do anything they wanted. They could at least perform somersaults and then sing, because they were taught this.

This is a problem for universities where the main education is music. Given the load that falls on a student, it is clear that there are main directions - this is precisely the specialty - and there are side ones. Triggered protective function organism: he simply brushes aside what is less important to him now. It is important to get an excellent education in your main specialty, and then take on the rest. I went through this myself, and I remember myself very well, my debut on big stage. I thought how wonderful it was! But I was brought down to the ground very quickly, including Viktor Sergeevich, by the way. But now I understand that it really was baby talk. Everyone must go through this, but at the same time, of course, that inner core, charisma, is not acquired over the years, it can only be strengthened, but it is obtained at birth. It either exists or it doesn't.

-Did you immediately want to be a vocalist?

I didn’t want to be anyone! We didn’t talk about our passion for music, we went off topic... So, until the eighth grade, I didn’t want to be a musician at all, because for me it was torture. There was torment, you know? I think that these are the majority.

-But they sang “Cruiser Aurora”...

So what. They said - sing. And I sang.

-Consciously, by at will when did they start singing?

The understanding that I began to like music came in the seventh grade, when I received a positive mark for solfeggio for the first time. Not a C, but a positive assessment, an annual one. I couldn't do it. Well, I didn't like it. Who loves solfeggio?! Only theorists, probably. Or those who have absolute pitch.

I remember very well our conversation with Viktor Sergeevich when I graduated from the Academy of Choral Art, before entering graduate school. We had to get three “excellent” marks in state exams - conducting, vocals and thesis. All this was done at a serious level, everything complied with the standards and rules. But, having received an “excellent”, Mitya Korchak and I came to Viktor Sergeevich’s office and said: “Viktor Sergeevich, we thought that this is your graduate school... There you will also need to write a candidate’s minimum... all sorts of works... Well, we don’t need that ! In general, we won’t go anywhere.” To which we were told in very “strong” expressions, as Viktor Sergeevich loved, what he thinks about us, who we really are, and what we must do in the next thirty seconds, otherwise “you will find out what will happen to you.” Viktor Sergeevich also had one life story, when he was already the dean of three faculties at the Gnessin Institute, he was called to see him by Sveshnikov, who was then the rector of the Moscow Conservatory and said that “you will be involved in the choir school.” And Viktor Sergeevich already had a Bolshoi at that time children's choir Central Television and All-Union Radio. And according to Soviet laws, the next place of work was free. That is, he did not receive anything for this, and the workload was already enough. A day is not rubber, it only has 24 hours.

Photo from the archives of the V.S. Popov Academy of Choral Art

And it is clear that the dean’s office of three faculties, plus the Big Children’s Choir, ate everything free time, if possible in in this case generally talk about free time... But Sveshnikov said: “You will study at the choir school.” Viktor Sergeevich replied that there is no time, there won’t be. Alexander Vasilyevich threatened - “I’ll rot!” And in fact, Sveshnikov’s figure at that moment was such that if Viktor Sergeevich had dared to say something else in response, the oxygen would have been cut off in two seconds. Not because Alexander Vasilievich was bad person. But because it was also a comet, and he saw his brother and forced him with all his might to get involved in the process. Like in a forge, this is a small flame, they fan it with bellows, and then it burns for hours. It was the same here. And Viktor Sergeevich did exactly the same to us - he forced us with kicks, blows, strong words, but he treated us like his own children. Of course, we were not offended by him, but perhaps we did not understand much. Now that so much time has passed - we graduated from graduate school in 2003 - you understand how right he was then. In all situations - life and professional. Moreover, despite his dictatorship, he was a very democratic person, because he knew how to listen, even to jerks: there were cases when we understood that we were in a discussion with him. Let's just say he listened to us. This is already important.

- Somehow I came across a list of AHI graduates. This is just the composition of the Novaya Opera and more. All the leading theaters in the country, so to speak.

I'll move on. And I will say that when Katya Lyokhina received First Prize at the Placido Domingo competition in 2008, at the reception after the awards presentation Placido asked her: “Katya, I’ve been trying to understand for a year now. I know the Moscow Conservatory, the Gnessin Academy in Moscow, I know the Conservatory in St. Petersburg, but I don’t know the Choral Academy in Moscow. Why are you already the third winner of this at my competition? educational institution?. So this proves that we are doing something right. And Viktor Sergeevich did everything right.

-Soon the Academy of Choral Arts will host spring enrollment. What could you say about your alma mater to convince parents to send their children to study there?

I always tell my colleagues that it’s worth it, and point to myself - look at me, I went through this school, and not only me, there are a lot of examples that you can look up to, who graduated from the Sveshnikov Choir School and Choral Academy. I understand that not everyone is directly involved in choral work, some teach, but they revolve somewhere around music, and this successful people. And the educational foundation that is laid precisely at the choir school is grandiose. How much easier it is to exist in the profession later, it cannot be expressed in words. You can study vocals all your life, but not become a musician. And the choir school provides the most important thing - it makes musicians. That is, your main profession is that you are a musician. And then there’s the conductor, or the vocalist, or the guitarist, or the double bassist. These are already flowing. And my friends ask me: my son has hearing, where should I give it? If you already want to connect your child with music for life, then go there. If you indulge - music school. And you will continue to see whether you have indulged yourself, or whether this will still become a profession.

-Vasily, you have a daughter?

-How old is she?

-Recently, a discussion arose about whether it is possible to create an opera that would be interesting to children. Or the concept of “opera for children” is an oxymoron. How to get a child interested in opera?

By personal example. My child studies in kindergarten musical theater young actor, led by Honored Artist of Russia Alexander Fedorov. This theater is already 25 years old. And I see children there of different ages with absolutely happy eyes. They do it themselves. This is where the interest arises - my daughter constantly asks me to perform. And the way her grandmother later tells me, she sits and listens attentively, speaks of the interest she has in what is happening on stage, in this profession. Only by personal example.

-She’s lucky, your daughter has someone to follow her example from. But the average ordinary family- where can parents take their child so that he or she does not immediately reject opera? There's practically nowhere to go .

No, that's not true. There are places to go, a lot of musical things have been done for children. And in Bolshoi Theater, and at the Novaya Opera. Many theaters have shows for children. It’s just that today, due to some mood of society, we don’t notice this. We pay attention to loud “premieres” in quotes, where someone walked with their bare ass, someone else did something... It seems to me that parents should have the desire to teach their child something if they want to introduce him to high art .

-Well, how can a child survive four hours at the opera?

Elementary. The main thing is to captivate. Of course, a three-year-old child will not sit through an opera for four hours, but for this there are operas that last an hour. “Kai and Gerda”, again, “Guide to the Orchestra”, “Child and Magic”. It seems to me that the answer lies in the question: that the average parent himself is not interested in anything. Although, I can note that lately, about five or six years old, I see that the audience is getting younger. The age group is changing, young people are more interested in high art. But, in fact, time is changing. We are changing. Or maybe it's me coming out young and I understand that I didn’t notice these before, but now I see that I’m getting older.

-The Moscow public is different from others.

It has always been this way. Moscow and St. Petersburg have always been trendsetters. And, like it or not, Peter is Mariinsky Theater, Moscow is the Bolshoi Theater. These are the pillars around which everything else revolves.

-Do you like living in Moscow?

-Aren’t you going to leave yet?

I think not “yet”, but in principle. Unless, of course, some kind of cataclysm happens. I don't think anything can force me to leave this city. I feel very comfortable here.

-And in five years, where and who do you see yourself as?

I don't know yet. I'm not a seer.

-Do you have a part that you dream of singing? Dream party.

Everything goes in its own time. Just as it’s funny to sing Eugene Onegin at 50, it’s just as funny to sing Rigoletto at 35. Each part has its own specific age, and here I probably won’t be original. There are certain stages in life. At one stage you sing this, at the next - this. And if at the later stages you can afford to sing something from the early ones, great.

-And at this stage where you are now?

Now I'm working on the part of Rodrigo from Don Carlos. I will make my debut in this role in February at the Bolshoi Theater. Now this is my dream. If it works, we’ll start dreaming about something else.

-Are you planning to do any other projects with Dmitry Korchak?

-Will you invite him to your festival?

I would really like that. I feel very comfortable with him on stage, but Mitya has a very difficult schedule.

-However, fortunately for us, I noticed that he comes to Moscow more and more often lately.

So, is something changing in Moscow? Or maybe in Mitya itself?

-Last question. What did Viktor Sergeevich leave you with, the most valuable? What did you teach, in a nutshell?

The choir school is the work of Viktor Sergeevich. He taught me to be a musician. And quality is honesty. Extreme honesty towards the profession. When you can answer for yourself. The most difficult thing here is not to lie to yourself whether you are doing something right or wrong. This inner honesty is then transferred to the viewer. This is exactly how we started the conversation. How you go on stage, and what part of yourself you can give to the audience. This is honesty.

-Have you ever thought about starting to teach?

I didn’t think so, because this, in addition to attraction, takes time. There is no time. I don’t know any artists who would fully combine their creativity and teaching. Either - or.

-Do you often go to the chorus? Do you communicate with the guys, do you advise them on anything?

Yes, and I recently noticed that they started calling me “Vasily Vladimirovich.” When you start to pay attention to it, it hurts your ears.

-I think it's not because of age. It's just a respectful attitude.

Interviewed by Irina Shymchak

Photos from the personal archive of Vasily Ladyuk

The latest news from the Novaya Opera Theater again shocks with its shockingness. The theater, which was once a repertory theater, has turned into concert venue, and also, part-time, in the ring for fights without rules! On Cosmonautics Day, April 12, 2016, a regular orchestral rehearsal for the play “Romeo and Juliet” was taking place on the stage of the New Opera Theater. The incident occurred unexpectedly for everyone and shocked with its impudence, and subsequently, impunity.

Great King of all opera scenes Mira hit his subject because he submitted his petition incorrectly! But seriously, soloist Vasily Ladyuk was not satisfied with the mezzanine, which was performed by the choir artist. Or rather, not fulfilled. Since the play was nominated for Golden Mask, the director of the play, who specially came from France, was sitting in the hall. And Vasily Ladyuk tried his best to impress him. Apparently, the choir artist let him down greatly, as he refused to make a dangerous throw of the dagger, for fear of hitting the soloist standing next to him with it! For this reason, the choir artist was repeatedly humiliated behind the scenes by an important soloist, cursed with obscene words, and a little later simply beaten! Ladyuk, apparently considering himself higher in status, decided to show everyone that he had the “thickest sexual organ and the largest steel balls.” He himself loudly declared this to everyone present, but doubting the sincerity of his own words, in response to the grin of that same choir artist, he swung his hand and slapped him right in the face with all his might. We will not refute the statements of soloist Vasily. Let us only add to what he said that in addition to strong support in the belly and worldwide fame, he also has overly high self-esteem!
The article would hardly have been written by me if the offender had gotten what he deserved! But since in recent years, the life of the choir artists of the Novaya Opera Theater is getting worse and worse, we have to write and talk about it! The most humiliating thing for everyone on stage at that moment was that after the incident, the rehearsal was not stopped. All the bosses, the director, assistant directors, the choir master, the choir director, seeing the blow with their own eyes, simply ignored it and pretended that this was a purely personal matter of the men who had quarreled! And only when almost the entire choir did not appear on stage, the situation moved to the office of the Director of the New Opera Theater Dmitry Sibirtsev!
Unfortunately, justice did not prevail in Mr. Sibirtsev’s office either! Through half-hour negotiations in a closed office, reconciliation took place between the soloist and the choir artist. Vasily Ladyuk apologized to the offended choir artist through clenched teeth, stepping over his selfishness and pride! And that's all! But there is an article of the Criminal Code of the Russian Federation for such an offense. And the punishment for what he has done is serious. Three months in prison or a large fine! Excuse me, no one wishes harm to the soloist Vasily. But for what he allowed himself to do, the director was obliged to at least remove him from the performance and reprimand him! So that next time neither he nor other artists or directors will have the habit of letting themselves go like this!
The purpose of this article is not to humiliate the soloist Vasily Ladyuk. He humiliated himself. The Russian soul always demands the triumph of justice! And if the soloist himself publicly apologizes for such daring act if you don’t want to, and the theater administration doesn’t give a damn about it, then let the truth come to the surface and ruin the reputation of these stars! Let people know to whom they shout “Bravo” when they come to performances with the participation of Vasily Ladyuk! Talent is talent, but you need to remain human in any situation!
Well, for those who are planning to audition for the choir of the Novaya Opera theater this season, I’ll say it briefly! The current management has done everything to ensure staff turnover in the theater! The same goes for the choir! Salaries have not been indexed in the theater since 2008. But people understand that difficult times have come for Russia and are at least happy that they are not being demoted! But the authorities, under the guise of a crisis, are not at all trying to make life easier for people! On the contrary, people were no longer given normal bonuses. Even the annual bonus was cancelled! But at the same time, the theater legalized irregular working hours! And thanks to this, the choir artists are in the spotlight, from morning to night! As for vacation, it was almost halved! The question is, who needs this!? Theater is not a production facility, not a factory, not a plant!
By the way, again about the poor choir, which no longer has defenders in the theater. This summer, on June 15, they will have another certification with one interesting innovation. The choir will be auditioned by a commission and, at the same time, each choir artist will be individually recorded on video and audio equipment! For what, it’s unclear! Maybe to intimidate or just to get on people’s nerves! Whoever came up with this clearly loves this activity! I just wonder how legal this is and whether such an innovation is practiced in other theaters of the Russian Federation!?

Star baritone Vasily Ladyuk explained why he remains loyal to Moscow and its Novaya Opera

Just recently, baritone Vasily Ladyuk was one of the up-and-comers, but now he is one of the most popular and beloved opera singers by the public, for whose performances all tickets are always sold out. On the stage of his native theater - the capital's Novaya Opera - Vasily gave a concert on Tuesday in a duet with soprano Irina Lungu, known more in Europe than at home in Russia. The artist told a Trud correspondent about this evening and about life at several theaters at once.

— How did the idea of ​​a concert with Irina Lungu come about?

— After the premiere of La Traviata at the Bolshoi Theater, I really wanted to continue collaborating with the conductor of this performance, the Frenchman Laurent Campellone. He liked the idea of ​​a joint concert. It is logical that the maestro proposed the music of his compatriots for the program. We gave the first section to the works of Ambroise Thomas, Charles Gounod, Jules Massenet, and the second section we dedicated to Giuseppe Verdi, whose 200th anniversary the whole world is celebrating. For the fullness of the program, I wanted to fill it with duets. Irina Lungu is a wonderful singer: a soloist of the Voronezh Theater, in 2003 she received a scholarship from La Scala Theater, and then gold medal at a prestigious International competition named after Maria Callas. And today he sings in the best theaters world, but, unfortunately, not in Russia. So for our current audience, she is a new face, and meeting her is a good intrigue for the concert.

— Recently came to the New Opera new director Dmitry Sibirtsev. Have you become more comfortable or more difficult in the troupe?

“The job of a singer is to go on stage and sing well. The management’s job is to provide conditions under which the artists would feel comfortable, so that they would not lose the desire to return to their native walls after performing in other theaters. I always have this desire.

— Diplomatic answer.

— I am a non-conflict person by nature. If I don’t agree with something, I calmly and reasonably express my opinion. Some take this into account, then it works for the performance. Others don't. But the main thing is that the situation does not go beyond the framework of civilized relations. In this context, I was very sad to learn about the wild incident with choreographer Sergei Filin. This criminal history casts a shadow on the first theater in the country, on all art. Everything will pass, but a residue will remain. Bad. I would like to think, forgive the pathos, about lofty things: about performances, about music, but such things personally “put me down.”

— You sing a lot at the Bolshoi Theater, you have contracts with legendary opera houses - La Scala in Milan, Metropolitan in New York, but you still remain a soloist of the New Opera.

— My life began at Novaya Opera professional career. Here I became an opera singer, and the theater became my home. When I had the opportunity to go beyond the New Opera, the theater was not jealous, but, on the contrary, supported me. Nobody put a spoke in my wheels - they always met me halfway. And I am mutually ready to act in the interests of the theater, on whose stage I always appear with pleasure and trepidation. Singing at the Bolshoi Theatre, Mariinsky or La Scala is interesting, prestigious and responsible, but I don’t chase the number of theaters and awards. It sounds corny, but it's true: singing is a priority in my life.

— Being a graduate of the famous Choral Academy under the direction of Viktor Popov, you have been singing since childhood. Have you never in your life felt tired of singing, or wanted to give up everything and do something else?

- No. But the older I get, the more often I remember my years of study. As boys, we sometimes hated “sharu” - that’s what we still call horovushka in our own way. Suffered from the boarding school system and horrors (in children's perception) vocational training, highest level which we all understood only much later.

From a young age we performed on the adult stage, often together with great artists. The most interesting thing is that we were not afraid of anything then - neither the stage nor the audience. We just didn't think about it. Happy time! The only thing we were afraid of, or rather, who, was Viktor Sergeevich Popov, our artistic director. One look - I still remember it - and you are simply gone. Later, when I took my first steps in the profession, the very fact that Viktor Sergeevich was nearby, in the hall or behind the stage, gave me confidence. It's like when you were a child, when you feel completely safe in the presence of your parents. But in early years, out of stupidity, you don’t appreciate much. Awareness of the significance of a person like Popov in your life comes later. Viktor Sergeevich will forever remain with me as an internal adviser, critic, support. It’s funny to say, but then, in childhood, even his slaps on the head helped. Now his slaps on the head are being replaced by bumps that you inflict on yourself.

"Best Russian Evgeniy Onegin" about the Tatar opera divas, problems with the cotillion at the Chaliapin Festival and a quarrel with the Metropolitan Opera

Second year on Kazan posters opera festival The name of the soloist of the New Opera and the Bolshoi Theater Vasily Ladyuk is written in the largest font. The famous baritone in the capital of Tatarstan again performed in main party“Eugene Onegin”, as well as in the force majeure concert of Albina Shagimuratova. "BUSINESS Online" Ladyuk spoke about European theaters, where they like to bully soloists about the difference between shockingness and the search for new forms, and expressed his readiness to become Minister of Culture, but only after... Denis Matsuev.

“JUDGING THE ADVANTAGES AND DISADVANTAGES OF OTHER PERFORMERS IS NOT FOR ME”

Vasily, almost all materials in the press related to you are full of epithets “the best Russian Eugene Onegin”, “one of the best baritones in the world”, “opera star” and so on. Do these definitions somehow influence you? It seems that there is simply nowhere to move further...

Criticism, reviews - all this is wonderful, any person is pleased when they speak well of him. But it is not criticism that moves you forward in your profession, it only gives an assessment of what and how you do. A serious professional must be able to correctly assess his capabilities at this stage, as well as his prospects further growth, development, taking into account a number of factors. Therefore, it is strange for me from time to time to hear the same question: why don’t I still sing Rigoletto? Why not ask about Iago then? I proceed from the fact that everything has its time. The voice matures, changes, strengthens.

- It’s surprising, for example, that your repertoire does not include the role of Count di Luna...

And you know, right now I’m trying to change this situation. If everything goes according to plan and goes well, then in March I will make my debut at Troubadour ( Later it became known that Ladyuk’s debut in “Troubadour” was postponed to September- approx. edit.). Considering the vocal richness of this part, the tessitura, the readiness of my vocal apparatus for the role, I would like to take tentative steps in a small theater, the ideal place would be my native New opera. Still, this role is intended for a dramatic baritone. On the other hand, even Domingo sings the part of di Luna.

You are only so critical of yourself. Does this rub off on others in terms of professional relationships?

I'm not entirely clear what you mean when you talk about professional relationships...

Can you afford to publicly criticize your stage partners, conductors, musicians, directors?

Professional relationships must be correct. As for professional qualities, it’s normal to be critical of yourself, otherwise you will stagnate in one place and you can forget about moving forward and professional growth. It’s not for me to judge the merits and demerits of other performers. There are critics for this. In a circle of close friends and colleagues, we can criticize each other, express our opinions, and only if asked.

“REMEMBER INNA CHURIKOVA IN THE FILM “THE BEGINNING,” WHEN THE DIRECTOR PROPOSED TO SAW OFF THE HANDS THAT INTERFERED WITH HER HEROINE? I WENT THROUGH THIS TOO"

Do you agree that from an acting standpoint? last decades Have the requirements for an opera singer become much more stringent?

Yes, I agree. Because in the last two decades, opera has become, so to speak, more directed.

- Why did this happen?

The spirit of the times. We live in an era of show. If used to be opera was static, there was almost no action, the audience was satisfied with beautiful singing in a beautiful setting, in beautiful costumes, but now everything has changed - you need nerve. This is where the directing comes in foreground. Otherwise you won't be able to keep the audience. I myself witnessed how whole rows of people left the hall. And in decent theaters. Objectively, there are quite a lot of such cases.

- But often it is the director’s experiments that cause such outcomes...

Something else happens in Europe: unsuccessful lineups of performers, when the theater wants this or that artist to perform. main role, and the agency attaches 10 more carriages to it as a load, which do not quite correspond to the level of the theater. These are, you know, such games. Large agencies often actively intervene and influence issues related to employment, casting, even in the most famous theaters, and the public rebels against this approach, demands quality performance and, expressing its disagreement, simply bullies those who do not satisfy it. And she does it quite aggressively.

The question of acting did not arise by chance. In one of your interviews, you said that, having a choral academy behind you, at the start of your opera career you felt a lack of acting training. Perhaps due to the lack of conservatory education?

No, that's not exactly what I said. At the choral academy, where I studied, and at the conservatory, there are no such subjects as stage movement, acting skills, unlike, say, musical comedy departments theater institutes. At the conservatory, this is somehow compensated for by classes in the opera studio. We also had something similar, but this, of course, is not enough.

Therefore, when entering the theater, young singers face quite serious problems. They may have very decent vocal abilities, but it is one thing to sing in a class, in a studio, and quite another thing to sing on a professional stage. Well, you still somehow cope with this, but the acting side is more difficult. First of all, you think about musical image, about overcoming vocal difficulties, there’s no time for acting stuff. So you look like a log: you don’t know where to put your feet, where to put your hands. Do you remember Inna Churikova in the film “The Beginning”, when the director suggested sawing off the hands that were getting in the way of her heroine? I went through this too.

But do you study acting with experts in this field? And in general, how accepted is this in the opera world?

To be honest, it's not very accepted. That is why, when developing the training program at the Elena Obraztsova Academy in the capital, Ildar Abdrazakov and I proposed to focus on drama, acting special attention so that beginning singers have a certain set of knowledge, skills and abilities.

There is, of course, a subjective factor: it happens that a person has innate talent and moves like a god. But this is given to few. With the rest: it will work out or it won’t work out, they will swim out or not. This is how people lose their profession. It is necessary to teach in a timely manner, even basic things: how to give a lady a hand, how to take her out, if, for example, this classical production with dance, waltz and mazurka.

- By the way, waltzing in Kazan - was it easy for you?

Waltzing - no, but with the cotillion in Onegin at the Chaliapin Festival it was more difficult.

- Yes, it was noticeable that you were a little out of step with the others...

The fact is that the original idea was flawed: the semantic and vocal accents, tempo rhythms of the main character and the characters around him did not quite coincide with the choreographic pattern that the choreographer proposed. I tried it and said: “Listen, there should be either dancing or singing. It’s not very easy to combine one with the other.” As a result, we agreed that at first we move in unison, and then I, seemingly carried away by the dialogue, fall out of it. Well, so as not to embarrass myself.

“IN MY VIEW, IT IS NECESSARY TO MAKE A DISTINCTION BETWEEN THE SEARCH FOR NEW FORMS AND THE DESIRE FOR SHOCKING”

- Is it possible to say that in eternal dispute adherents of classicism and fans director's opera are you somewhere in the middle?

Remember what Chapaev said in a similar situation? So I won’t choose. For me, the criterion is quality, and it may be present or absent in both cases. Let’s take as an example Chernyakov’s controversial play “Eugene Onegin” at the Bolshoi Theater. I think that in assessing this production I cannot be accused of bias. I auditioned for the role of Onegin and... didn’t fit the format. That's what I was told, at least. I didn’t understand what this was supposed to mean, but, as they say, I had to wash myself. Later, Chernyakov himself invited me to perform in the play at the Grand Opera, La Scala and Covent Garden. He was received with a bang everywhere. My opinion is that this is one of the best productions operas in our time.

How did you feel about the naked ladies from Mimamsa at the opening after reconstruction? historical building Bolshoi Theater in Chernyakov’s “Ruslan and Lyudmila”?

Well, the theater opened with a concert staged by Chernyakov. The performance then happened...

- But the first performance after a long break on such a legendary stage is also not an ordinary event...

I watched it with a friend. He's a traditionalist, let's put it that way. Wrote a devastating review. Well, he has the right, but there were other opinions. In my opinion, we need to make a distinction between the search for new forms and the desire to be shocking. In both cases, the authors of the productions want to attract new audiences to the theater or excite the old, faithful ones a little. Some do this by creatively rethinking the classics, others - through scandal. As a singer, I was more interested in the musical fabric of the performance: successes or failures in the presentation of solo parts, in the presentation of the choir, in the work of the orchestra - in the unity of all these elements. I must say, by and large I was satisfied with all this.

A similar story happened at the New Opera with “The Queen of Spades” staged by Alexandrov. The performance caused sharp rejection. It was quickly removed from the repertoire. The same traditionalist friend of mine was furious. I saw the performance from the inside, I was like its meat. Then you get used to the image, to the performance itself, you see the logic of its construction... On the other hand, if the director’s thought did not reach the audience, and so en masse, then it means that he miscalculated somewhere.

“DON’T HURRY THE PROGRESS OF EVENTS, DON’T BE FAST WHILE IT’S QUIET, BUT THEN THE SWITCHES WILL GO THROUGH THE BACK STREETS!”

But in Kazan the situation is exactly the opposite. The Jalil Theater is an apologist for the “old, good and eternal”, and this is very actively postulated by the management. And someone here just lacks productions in which the viewer would see the director’s face.

Don’t rush the course of events, don’t get up to speed while it’s quiet, otherwise the scraps will go down the back streets! You won't be able to collect the bones.

Are you hinting at the peculiarities of the local mentality? But we are not in the Caucasus, but in the Middle Volga. Tatars are absolutely European nation, so said our fellow countryman Vasily Aksenov.

What are you saying about the Caucasus? Georgia, for example, has always been famous for its advanced theatrical thought.

The Caucasus is different. However, like the preferences in art of different representatives of Russian, Tatar and any other nationality. But do you agree that the repertoire of any self-respecting opera house should include a number of daring productions?

I would not put courage first when solving such issues. If you have interesting thoughts, ideas, interesting material responsive to requests today(classics in such cases are often in demand, that’s why they are classics), then the flag is in your hands. And if at the same time you have also found a form that may seem too bold to some, but which is appropriate, logical and evokes a response from the viewer, then here is your answer.

How much experience do you have in communicating with provincial Russian opera houses? I know that you sang in Krasnoyarsk in “The Queen of Spades”.

Basically it's the same concert activity. I sang in opera houses only in Krasnoyarsk, Samara and Kazan.

Looking at our opera house, can we say that there is something that other theaters can profit from here, some ideas? Or maybe Kazan still needs to learn something?

Getting to know your colleagues is always useful. Not only the small one can learn from the big one, but vice versa. This is a process of mutual enrichment, and it remains to be seen who will give more to whom.

Your theater has traditional ties with the Netherlands, where it regularly goes on tour. My friend and colleague Alexey Tatarintsev was on such a tour with your theater, and another friend, the one who is a traditionalist, visited these performances in Amsterdam, in The Hague. I heard their feedback. Such compact, well-prepared performances with good composition singers and a wonderful sounding orchestra can only cause white envy. Kazan is famous for its rich musical traditions It is no coincidence that the Chaliapin Festival has been successfully held here every year. In addition, your city gave the world such wonderful singers as, I say with pride, my partners.

“I HAVE SUCCESSFULLY AND REPEATEDLY PERFORMED AT THE METROPOLITAN OPERA...”

By the way, despite your status as an opera star, it seems that you mostly sing in Russia. Is this a conscious choice or maybe you should change your agent?

Yes, I really sing less abroad now, at the moment I'm fine with that. I have a busy - sometimes even too busy - schedule of performances not only in Moscow and St. Petersburg, but throughout the country, as well as on television and radio. As for foreign contracts, there is one point: if you agree to cooperate with some agencies, then the bulk of the work will no longer be in Russia, I will have to give up a lot that I have been building at home over the years. I don't want to fall into such dependence.

I successfully and repeatedly performed at the Metropolitan Opera, and then they offered me to insure Mariusz Kwiecienia ( Polish baritone in the play "Eugene Onegin" - approx. ed.). If the proposed contract included a certain number of my performances, I would agree. As it is, I'm not interested in that. They don't like it when you refuse them.

Then there is a protracted financial crisis everywhere - and fees in the West are paid with very late, and so far everything is on time. In addition, the Opera Live festival, which I head, takes up a lot of my time. This will be the third edition this year. It started in Moscow, then St. Petersburg was added, and now proposals are already coming from more distant, but no less interesting places.

- You obviously have a business sense: “ Opera Live”, Elena Obraztsova Academy... Would you like to eventually head an opera house?

Somehow you take it too small. For that matter, it would be better to become the Minister of Culture, for example. True, let Denis Matsuev try it first, and I’ll take a closer look ( laughs). But seriously, I can’t imagine my life without a stage, without singing. It's like a drug: once you go out in public, get high and fly away... forever, irrevocably. A festival is a slightly different story, where you can gather friends, like-minded people and create, deliver and have fun with them. And this is drug number 2.

“WE ARE PROUD TOGETHER OF THESE WONDERFUL GIRLS”

You mentioned Albina Shagimuratova and Venera Gimadieva, with whom you sang in La Traviata at the Bolshoi Theater. They are our Tatarstan pride. What can you tell us about them?

You see how we agree. Together we are proud of these wonderful girls. Albina has already firmly taken her place on the opera Olympus. She is distinguished by filigree technique and the finest sense of musical text. Her performance of Alyabyev’s “Nightingale” can be compared to an iridescent string of precious pearls. Venus - rising star. Actually, it began with that “La Traviata” in 2012 promising career, followed by performances at Covent Garden and the Glyndebourne Festival.

It seems to me that there is no need to worry about them anymore. We can only wish both of them a successful creative path.

- What about your Olympus? Do you still have a long way to go or are you satisfied with your current situation?

I'm already on Olympus. Our theater "New Opera" is located practically on Olympic Avenue. As for my position in time space, then perhaps you know that there is no present as such. This is a constantly moving point. Everything that you have achieved is already in the past, and my Olympus is moving into the future with me.

I can’t help but ask: aren’t you offended by the popular opinion that among representatives of the world classical music opera singers, shall we say, not the most intelligent? Because, first of all, working with the vocal apparatus is important for them.

I would like to quote here the words of my friend, vocal teacher Professor Dmitry Vdovin, who, in response to a similar question, said: “All the great singers with whom I had the opportunity to meet and communicate were smart, deep people and, as a rule, well educated. Another thing is that not all singers are great. And among instrumentalists and conductors, there are a dime a dozen stupid ones. Don’t trust stereotypes too much.” I’ll add on my own behalf: in order to work correctly and effectively with the vocal apparatus, you also need a head, and there are plenty of fools everywhere.