Tatyana Kaminsky biography

On the eve of her benefit, in the play “Sinderella, or the Tale of Cinderella,” asked Tatyana about how she came to the opera, her favorite roles and unusual cases on stage. How do you understand that you want to connect your life with the opera? This is a dream from early childhood. There was practically no day that I did not perform-at a music school, in a vocal and instrumental ensemble, where I was a soloist.

I was engaged in dancing, graduated from a music school as a pianist and dreamed of becoming a singer, saw myself on the stage. Therefore, I entered the music college not on the piano, but at the Faculty of Conductor. It was this faculty that my idols of that time ended - Alla Pugacheva and Sofia Rotaru. In the first lesson in classical vocals, the teacher - opera singer - opened an opera voice from me.

At that time I was 16 years old, I sang a low alt, and she said: “Baby, do you know that you have a Matsso-soprano? The only name that was heard by me is Elena Obraztsova. And the teacher just cited it to me as an example, saying that I have a similar voice, a similar category. This moment turned my life turned over - I forgot about the stage, spent all my free minutes in the musical library, read a lot, looked and listened.

My day literally began with the opera. I lived in a hostel and was terrible Sonya, and I had to get up at half past time in the morning to take classes for piano and solfeggio. My neighbors around the room woke me up by Aria of Lensky “I love you, Olga” performed by Vladimir Atlantov - they turned on the record, and I woke up to this music. Then I really did not yet understand how I could connect my life with the opera.

From childhood, dreaming of singing, I “changed” my profession of a choral conductor and went to embody a dream - I entered the conservatory for the vocal department. During our studies, the vocalist fairs were popular, where we were listened to the director of theaters, chose themselves graduate students. The administrator of the Perm opera in search of a couple came to the Ural Conservatory named after Mussorgsky, where I studied: Tenor and Mezzo-Soprano.

So my husband and I got to the Perm Opera and Ballet Theater. I very clearly remember the day, time and a feeling of listening on the stage with our orchestra. This was my first experience in my life, and I was in a half -fainting state, it seemed to me that my voice did not obey me. But after the performance of the two arias, when the first violin traditionally knocked on the remote control with a bow and the entire orchestra began to applaud with bow, I experienced great relief.

It was a year. According to my feelings, my formation as an opera singer began precisely in the Perm Theater. In the conservatory, they gave me a base, and real acting, the ability to see the role, lead it, live, interact with partners, hear the orchestra, be in the ensemble, own the voice on the stage of the theater - I gained all this experience in the Perm opera. These are my dear teachers - people's artists of Russia, professors Svetlana Vasilievna Zaliznyak and Margarita Georgievna Vladimirova, from whom I ended the conservatory.

Sometimes we can be confused in different life circumstances and even lose faith in ourselves. It is very important to have a nearby people like my dear “Margosha” - so we called Margarita Georgievna with love. She not only gave me sacramental knowledge, but also set her shoulder at the right time. I have several of them. The first place is certainly occupied by Carmen.

This party has been loved since childhood and suffered by me over the long years of its implementation. There was a long period when I went on tour to theaters around the country or to the festival every month, where I performed Carmen. At that time, these were classic productions - Spanish skirts, fans, castanets. I managed to possess the castanets well than I am very proud of. I always took with me on tour memorable real castanets that I bought in Barcelona.

Another love is Lyubasha in the “royal bride”. I am a woman with a Russian character, and it seems to me that I feel this role and understand every intonation of her melodics and harmony. And my voice immediately lay down on this party. I am loved by the Egyptian Queen Amneris from Aida - a luxurious role, a comfortable but insidious party. There is something to sing and where to learn.

I sang Amneris in our theater and abroad. There were several of them. For example, on tour in America, we moved from Boston to another city, the play “Aida” was scheduled for, and on the road we learned that the beginning in and the audience had already gathered in the hall. We sat and made up right on the bus. They lingered a little, but managed. Another case was at the play “Peak Lady”.

I was already in the Countess’s costume, prepared for the first exit and went out into the curtains to listen to how colleagues sing. The governess output was approaching, which was taken out on the stairs in the production of George Isaacan, and she sang from above. For some reason, the artist did not come out, but I was not at a loss and “on the machine” sang this party right from behind the curtains, standing near the remote control.

No one noticed substitutions except artists on stage. Even a conductor.From unusual experience, I can note the opera of Shchedrin Lolita, where I performed the part of Charlotte - the mother of Lolita. The big world premiere of the opera in Russian in the production of George Isaacan, and I survived the whole range of emotions before going on stage: from misunderstanding of music and rejection of the text, from hysteria and throwing of claviers to great love and triumph.

The opera has a complex musical language and a range, the role is unusual and rather frank - there was something to be nervous from. But when this music was weighed into me and sounded in me, everything turned out and the role was a success. It costs a lot to earn the praise of Rodion Shchedrin! I got the male role of Dera - a prison informer in the Gulag. The work of the opera singer is tremendous emotionally and physically, but it is beautiful.

The theater is my life and love, he gave me a vast experience in communicating with talented people, and in the Perm opera we developed an amazingly friendly team with a strong team spirit. These are talented young singers, conductors and directors. I really like to work with Vladislavs Nasashevs: now we have work on the "Dya adventures" with Andrei Prikotenko, where I, although I sing only 4 or 5 phrases, but I am the mistress of the second picture.

I will not spoil, the production will be very interesting. Previously, they found out, approached, took autographs. There was even a curious case in a public bath.

Now, of course, less often - I'm not so much in sight, I want more silence, tranquility. If earlier I was literally everywhere, at all the venues of the city, now I like to play exquisite and significant, albeit small, roles in the theater. And the moment came when I am ready and I want to share experience, give my knowledge to the young generation. I like to teach, I adore my students at the Perm Institute of Arts and Culture, I think that this is mutual.

I believe that I'm on the right track. My little parting words are young: "Great things are done by a series of little things collected together." Vincent Van Gogh.