It is impossible to imitate the inner light…. Graduates of the Rostov Conservatory - masters of the opera stage Natalya Dmitrievskaya
Singer Natalya Dmitrievskaya took me prisoner from the first meeting - for a long time and seriously. It was five years ago, at the end of May 2004. at the Rostov Conservatory. S.V. Rachmaninov passed the state exam in the specialty “ solo singing". The performance of 25-year-old N. Dmitrievskaya became a sensation: the girl sang the most difficult arias of the coloratura repertoire - Lakme, Shemakhanskaya Queen, Queen of the Night and others, literally stunning the jury members with the rarest freedom of voice, courage, stage emancipation, amazing ease of sound in the extreme upper register. Natalia's vocal possibilities seemed truly limitless. Artistic director of Rostov, who sat on the jury musical theater Vyacheslav Kushchev immediately invited the girl to audition in the theater. N. Dmitrievskaya was accepted into the troupe, her performance was included in the program of the encore concert, with which the musical theater traditionally ends each season. Natalya brilliantly performed the most difficult Cavatina of Lyudmila (Ruslan and Lyudmila by M.I. Glinka), and it became clear to everyone: a new star shone in the musical firmament of Rostov.
N. Dmitrievskaya was born in Kislovodsk in creative family: father - tenor singer, who worked for 30 years at the Kislovodsk Philharmonic; mother is a ballerina. Both brothers of Natalia played in the symphony orchestra of the Kislovodsk Philharmonic - however, the elder preferred business to music, and the younger, Andrei Dmitrievsky, still works at the Philharmonic as deputy director and accompanist of the group percussion instruments symphony orchestra.
After the ninth grade, Natasha entered the music school. Safonov in the city of Mineralnye Vody. They say the truth - it is not important WHERE to study, it is important, FROM WHOM. Dmitrievskaya fell out happy ticket: she got into the class of the Honored Artist of Buryatia Olga Fedorovna Mironova, long years who served in the opera houses of Ulan-Ude and Novosibirsk. Mironova graduated from the Novosibirsk Conservatory in class People's Artist USSR, one of the best mezzo-sopranos of the Soviet opera stage Lydia Myasnikova. Dmitrievskaya thus became the "vocal granddaughter" of the great Myasnikova. The school received by Natalya at the school allows her to feel confident in the profession. When in 2000 the young singer entered the Rostov State. conservatory in the class of Professor M.N. Khudoverdova, Margarita Nikolaevna, a brilliant singer and a wise teacher in the past, realized that Dmitrievskaya's vocal school did not need polishing, and worked with the girl mainly on the artistic side of musical works.
At the Rostov Musical Theater, Natasha met her love: between her and the trumpeter of the orchestra, Vadim Fadin, mutual attraction immediately arose. In the summer of 2007, Natalia and Vadim became husband and wife. According to the horoscope, Natasha is Sagittarius on the border with Capricorn, Vadim is Virgo. “As befits a Virgo, Vadik is very gentle and unusually responsible by nature. It's very easy for me to be with him. We have practically no disagreements. Even preferences, including musical ones, for the most part coincide with us. We love Rachmaninoff very much. Of the ballets, both for me and for Vadim, Spartacus is in the first place. The husband's second love (I would clarify: the third - after Natasha and music. - N.K.) - is sports. He is engaged in bodybuilding, visits the gym three times a week. We both treat everyday life very calmly, it is not at the forefront of our life, ”says N. Dmitrievskaya.
Natalia is the winner of two international competitions- XXI them. M.I. Glinka (2005, IV prize) and the I International Competition for Young opera singers Galina Vishnevskaya (2006, III prize). In the fall of 2008, Natasha was honored to sing at the opening of the 2nd G. Vishnevskaya Competition. Galina Pavlovna asked the singer several times: “Did you win the first prize at our first competition?” This, by the way, is far from the first such flattering assessment of the art of N. Dmitrievskaya from the lips of the “most-most”. Outstanding Pianist Alexei Skavronsky, hearing Natasha in Kislovodsk, exclaimed: “Girl, where are you from? We don’t sing like that in Moscow!” Shaken by the singing of Dmitrievskaya, then a second-year student at the Rostov Conservatory, Skavronsky asked the great Zara Dolukhanova to listen to Natasha. When the meeting took place, Zara Aleksandrovna, no less amazed than A. Skavronsky, suggested that the girl be transferred from the RGC to the Gnessin Institute in Moscow, where she taught. Dmitrievskaya refused. Z. Dolukhanova gave Natalya several vocal lessons. Once Zara Alexandrovna gave up: “Your school is amazing, and personally I can’t teach you anything.” Natalya is very dear to the high appreciation of her art by one of the greatest musicians of all times and peoples by Mstislav Rostropovich, who was on the jury at the 1st G. Vishnevskaya Competition ...
Today Natalya Dmitrievskaya is the leading soloist of the Rostov Musical Theatre. Her repertory baggage is very impressive: Musetta ("La Boheme" by G. Puccini), Rosina ("The Barber of Seville" by G. Rossini), Gilda and Violetta ("Rigoletto" and "La Traviata" by G. Verdi), Marfa ("The Tsar's Bride" N .A. Rimsky-Korsakov), Queen of the Night ("The Magic Flute" by W. Mozart), Michaela ("Carmen" by J. Bizet). Recently there was a premiere of a concert version of the opera by A.P. Borodin "Prince Igor". In the small role of the Polovtsian girl, Natalia managed to enchant the audience with angelic singing, Once again proving the rightness of the great K.S. Stanislavsky: "There are no small roles, there are small artists."
What determines the timbre and sound of the singer's voice? Let's discard now the gift of nature, vocal school etc. My personal opinion: the sound of a vocalist depends on how he FEELS, whether he knows how to love and compassion, whether he serves God or his antipode. Natalya Dmitrievskaya, both on stage and in life, carries a powerful charge of positive energy. Her heroines are radiant and luminous, because Natasha herself is very sincere, open, generous person. For there are qualities that even a great actor cannot imitate, and the inner light is from this series. Dmitrievskaya, both in life and on stage, is unusually feminine, I would say: divinely feminine. She dearly loves each of her heroines, but Violetta (La Traviata by G. Verdi) stands apart in the gallery of her stage creations.
For the first time, the artist sang this part on May 13, 2000 on the stage of the Pyatigorsk Operetta Theater for the 200th anniversary of the Caucasian Mineral Waters, accompanied by the Pyatigorsk Symphony Orchestra. The opera was performed in concert. Arias and scenes from La Traviata Natalya sang at each of the musical competitions in which she participated. In the performance of the Rostov Musical Theater (stage director Susanna Tsiryuk), the singer was introduced in the fall of 2007, on the eve of the tour opera troupe RGMT in England. The image of Violetta, like hardly any other in the world repertoire, gives the actress a lot of opportunities: there are so many subtexts in this role that you can change accents every time without distorting the director's concept. “For me, the most difficult thing in this role is to play an uninhibited socialite in Act I, and especially the episode when the half-dressed heroine dances on the table during the performance of the most difficult aria,” says the singer. Well, God be with her, with a socialite, since that is not the main thing in Violetta. In my opinion, the semantic dominant of the image embodied by Dmitrievskaya is the unconditional acceptance of everything that the Creator sent down to Violetta, almost Christian humility. And that is why there is no intonation of doom in this Violetta - even in the face of death. There is a light, a premonition that soon her soul will ascend to heaven and find long-awaited peace.
Violetta's antipode is the image of the Queen of the Night in Mozart's " Magic flute"(Director - Konstantin Balakin). Before "Flute", all the heroines of the artist were the personification of beauty, light and kindness. The combination of malice, vindictiveness and deceit in the character of the Queen of the Night was painful for Natalya - none of these qualities are present in her personal nature. In the performance, the heroine has only two exits, but each is accompanied by an extremely difficult aria. “When we were working on The Flute, everything was boiling inside me, but nothing came out. K.A. Balakin, as a wise director, sometimes tried to deliberately anger me as an actress in order to achieve the desired emotional state. And when the bitchiness began to pour out of me, the director was satisfied,” says N. Dmitrievskaya.
The director is important for an opera artist, perhaps even more than for a dramatic one. Natalia was lucky: she did her most significant roles in the Russian State Museum of the International Theater Theater with Konstantin Balakin (except for the Queen of the Night, this is Musetta in La Boheme; Martha in new version"The Tsar's Bride" in 2007 - the performance was played with great success on tour in England) and with people's artist Russia Yuri Laptev (Gilda and Michaela).
N.D.: Konstantin Arkadyevich gives the actor some minimum of the proposed circumstances and does not prevent him from fantasizing other circumstances of the role. In The Tsar's Bride, Balakin very clearly built the relationship of the characters. It helped me to “blind” my Marfa. Yuri Konstantinovich Laptev has a different approach - he himself is a singer-actor, and often works by showing. The main thing for an actor is good brains, which will allow you to extract a rational grain from everything ...
Natalia maintains a tender and reverent relationship with her teacher O.F. Mironova, who has long lived in Moscow and teaches at Russian Academy theatrical art. When Olga Fedorovna looked at the disc with the recording of “Carmen” by the Rostov Musical Theater (Mironova herself sang Mikaela with success), she said to Natalya: “You have grown to Mikaela - that says a lot!” For it is extremely rare for the Queen of the Night and Mikaela to coexist in the repertoire of one singer ...
Yes, Natalya Dmitrievskaya took place. At every performance, every concert, she surpasses herself. She is already in that artistic rank when there is no need to judge the vocals separately, the role separately. This is aerobatics.
To draw parallels between artists is unseemly. But I'll still take the risk. If you look for an analogue of Natasha's voice among the luminaries - this is the fantastic, inimitable Australian singer Joan Sutherland - by the way, one of Dmitrievskaya's idols. Both have one type of voice - a dramatic coloratura.
Natalia KRASILNIKOVA
Laureate of the XXII International Vocalists Competition. M.I. Glinka (IV Prize, Chelyabinsk, 2005); I International Competition opera artists Galina Vishnevskaya (III prize, Moscow, 2006); I All-Russian music competition Ministry of Culture of the Russian Federation (I prize, Moscow, 2010).
Diploma student All-Russian festival-competition young vocalists. ON THE. Obukhova (Lipetsk, 2006) and the Contest of Vocal Competitions of the Sobinovsky Music Festival (Saratov, 2007).
Biography
Born in Kislovodsk.
In 1997 she graduated from the V. Safonov Mineralnye Vody Music College with a degree in choral conducting.
In 2004 she graduated from the Rostov State S. Rachmaninov Conservatory with a degree in solo singing (class of M. N. Khudoverdova).
In the same year she became a soloist of the Rostov State Musical Theatre.
Repertoire
Violet(La Traviata by G. Verdi)
Gilda(Rigoletto by G. Verdi)
Musetta("La Boheme" by G. Puccini)
Rosina(“The Barber of Seville” by G. Rossini)
queen of the night(The Magic Flute by W. A. Mozart)
Madame Hertz(“Director of the Theater” by W. A. Mozart)
Michaela("Carmen" by J. Bizet)
Serafina("The Bell" by G. Donizetti)
Martha("The Tsar's Bride" by N. Rimsky-Korsakov)
Mimi, Musetta("La Boheme" by G. Puccini)
Iolanta("Iolanta" by P. Tchaikovsky)
Tour
In 2007 and 2008 toured with the troupe of the Rostov State Musical Theater in Great Britain and Ireland ("La Traviata", "The Tsar's Bride").
On tour in Italy, she performed Mozart's motet "Exsultate, Jubilate" and took part in a gala concert with the Carlo Felice Theater Orchestra (Genoa) conducted by Maurizio Dones, where she performed arias and duets from the operas "The Barber of Seville", "Don Giovanni" and " Magical flute".
On tour in Barcelona, Madrid and other cities of Spain, she performed the soprano part in V.A.'s Requiem. Mozart, K. Orff's cantata "Carmina Burana" and L. van Beethoven's Ninth Symphony.
In 2011, she took part in the tour of the Rostov State Musical Theater in Moscow as part of the All-Russian theater festival « golden mask(part of Yaroslavna in the opera Prince Igor). In the same year, she took part in the Moscow tour of the Rostov Musical Theater on the stage of the K.S. Stanislavsky and Vl. I. Nemirovich-Danchenko - "Prince Igor" by A. Borodin (Yaroslavna) and "The Tsar's Bride" (Marfa).
In 2010 she made her debut at the Bolshoi Theater as the Queen of the Night (The Magic Flute by W. A. Mozart).
In 2013 she took part in the production of the opera The Child and the Magic by M. Ravel at the Bolshoi Theater, performing the roles of Fire, the Princess and the Nightingale (conductor Alexander Solovyov, director Anthony MacDonald).
February 18th, 2012 , 10:06 pm
The Rostov Rachmaninov Conservatory is celebrating its 45th anniversary. IN great hall Musical Theater On February 15, a festive concert was held, in which graduates of the Conservatory took part
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3. The orchestra was conducted by Alexander Polyanichko, Honored Artist of Russia, Laureate of the first prize of the VI All-Union Conductors' Competition (1988). 
A. Polyanichko graduated from the Rostov Conservatory in violin class in 1977 with Professor M. Dreyer, as well as the faculty of opera and symphony conducting and an assistant internship at the St. Petersburg State Conservatory. H.A. Rimsky-Korsakov under the guidance of Professor Ilya Musin (1988). He was the chief conductor and artistic director State chamber orchestra Belarus (1986-1989). He taught at the departments of opera and symphony conducting of the Leningrad and Belarusian State Conservatories (1986-1989).
Conductor since 1989 Mariinsky Theater, with whose troupe he toured in Europe, as well as Israel, the USA, Taiwan, South Korea and Japan. As a guest conductor, he performs on the stages of famous opera houses: Australian Opera, English National Opera, Bolshoi Theatre, Welsh National Opera, Royal Danish Opera, Deutsche Opera, Royal Opera Covent Garden, La Scala, Metropolitan Opera, Royal Norwegian Opera, San Francisco Opera, Paris National Opera, Stuttgart Opera, etc.
Works with leaders symphony orchestras Russia and CIS countries, as well as Australia, Belgium, Great Britain, Denmark, New Zealand, Norway, France, USA.
Member of the jury of the International Competition for Young Opera Singers. H.A. Rimsky-Korsakov (1995). Together with the Royal Baltic Festival and the Hermitage Academy of Music, he regularly conducts international conducting master classes. Member of many famous music festivals in Russia and abroad.
4. Natalia Dmitrievskaya Coloratura soprano. Graduated from the Rostov State Conservatory. Rachmaninov in 2004. Laureate of international competitions. Khachatur Badalyan. Tenor. Continues to study at the Conservatory and since 2012 has been enrolled in the troupe of the Mariinsky Theater 
5. Agunda Kulaeva Mezzo-soprano, guest artist Bolshoi Theater and Novosibirsk academic theater opera and ballet, Sergei Muntyan Tenor graduated from the conservatory in 2006, since 2007 soloist of the St. Petersburg Opera 
6. Gevorg Grigoryan graduated from the Rostov Conservatory in 2009, class of Honored Artist of Russia, Associate Professor P. Makarov, guest soloist Mikhailovsky Theater opera and ballet, Natalia Dmitrievskaya, Khachatur Badalyan
Natalya Dmitrievskaya possesses unique vocal abilities - a lyric-coloratura soprano with a very beautiful silvery timbre and a huge (three octaves) range. In determining the type of her voice, even extra-class masters are not unanimous: after the singer’s performance in the third round of the competition that bears her name, Galina Vishnevskaya asked: “Who inspired you that you are a coloratura? You are a lyric soprano with a good high and a full-blooded middle!” Dmitry Vdovin of the Bolshoi Theater perceived Dmitrievskaya's voice as a "dramatic coloratura".
Today Dmitrievskaya is the undisputed prima donna of the Rostov Musical Theatre. Her repertoire is very impressive: Mimi and Musetta (La Boheme by G. Puccini), Rosina (The Barber of Seville by G. Rossini), Gilda and Violetta (Rigoletto and La Traviata by G. Verdi), Marfa (The Tsar's Bride) N. Rimsky-Korsakov), Queen of the Night (The Magic Flute by W. Mozart), Michaela (Carmen by J. Bizet). Dmitrievskaya-actress is not characterized by a tragic attitude. Explosive, open temperament, juicy, sharp, contrasting strokes - not her element. In her acting palette - semitones, pastels. Dmitrievskaya is the type of creative person who definitely needs a director, but one that allows the performer to fantasize the details of the role.
“It seems to me that the main work of an actress on a role does not begin when you see an order on your appointment on the board. For me, this work is a continuous process, and much happens not at the level of consciousness. Of course, you try to read good literature - fiction, history, art criticism. I listen to outstanding singers a lot, I watch recordings of operas. But if I get the role of, say, Gilda, I stop watching videos, I just try to listen to different singers. In general, it is important for me to do in any role in a way that other performers, even the most eminent ones, did not have. I love to watch people in real life, especially on vacation (sea, beach): here people are usually relaxed, they take off their social masks. Then I'll take a look at them! This is the most exciting activity! The most interesting thing is to note the features of plasticity. All this is deposited in the piggy bank of my emotional memory, and when it is extracted from there, only the Creator knows: this is a spontaneous process, ”the singer says about herself.
Dmitrievskaya, both on stage and in life, carries a powerful charge of positive energy. Her heroines are radiant and luminous, because Natasha herself is a very sincere, open, warm person. For there are qualities that even a great actor cannot imitate, and the inner light is one of them. Dmitrievskaya is unusually feminine, but without extravagance, which today is in abundance on stage and on television. Her femininity is not loud. The actress dearly loves each of her heroines, but Violetta stands apart from her stage creations.
For the first time, the artist sang this part shortly after graduation. music school(May 13, 2000) on the stage of the Pyatigorsk Operetta Theater, accompanied by the Pyatigorsk Symphony Orchestra. The performance dedicated to the 200th anniversary of the Caucasian Mineral Waters (directed by German Kiselev) was traditional.
In the production of the Rostov Musical Theater, staged by Susanna Tsiryuk, Violetta is one of the carnival masks: the carnival element brings the heroine to the surface of life, but the same element absorbs her. According to Tsiryuk, the tragic carnival masks symbolize the drama of Violetta, who is dying not from consumption, but from love. The heroine of Dmitrievskaya is the only genuine person at this carnival, because she strives to fill relationships with a living feeling. The drama of this Violetta is in the lack of demand for love, because there is no person in her environment whose ability to love would be commensurate with hers. Not everyone in life has the luxury of living without a mask: Violetta, as Dmitrievskaya represents her, is in this sense the chosen one of heaven. Another important feature of the image is the unconditional acceptance of everything that the Lord sent down to Violetta. That is why there are no intonations of doom in it even in the face of death.
There is nothing more exciting for a creative person than to mold on stage a character that is diametrically opposed to his own. Such is the role of the Queen of the Night in Mozart's The Magic Flute (stage director - main director RGMT Konstantin Balakin). Before the "Flute" all the heroines of Dmitrievskaya were the embodiment of beauty, light and goodness. The task of presenting an insidious, vengeful fury at first seemed unrealistic: none of these qualities exist in the nature of an actress. Balakin sometimes deliberately sought to anger the performer in order to achieve the desired emotional state. Thus, an image was born that was not like the usual: Dmitrievskaya, skillfully using femininity and charm, showed our eyes a kind of seductive bitch. In the arsenal of means of conquest male hearts- "a particle of the devil" that lives in the depths of every true woman, making her unpredictable. The reproduction of the vocal side of the part of the Queen of the Night (with an extremely high tessitura and puzzling passages) is beyond praise!
Other acting tasks were set for Dmitrievskaya in The Magic Flute at the Bolshoi Theater by director Graham Vick. The action of the opera has been moved to the present day. The queen of the night is here socialite, and, as befits it, unusually seductive and sexy. She appears in a white fox fur coat, high heels, with a trendy short haircut. Three ladies from the Queen's retinue are modern, very beautiful long-legged girls. In the first act they are dressed in police uniforms, in the second - in medical gowns, in the finale they appear in tiger coats. And if in the first act the Queen of the Night enters the stage from a black Volga, then in the finale the car transforms into a hearse. Three ladies, the Queen of the Night and Monostatos crawl towards this car, trying to hide. The heroine of Dmitrievskaya pushes her partners away, gets into the car and drives away. The opportunity to work in such an unusual version of a familiar composition was very captivating for the actress. A special revelation for her was the solution to the second aria of the heroine (“Thirst for revenge burns in my chest”), usually served in an aggressive manner. Here the mother's monologue sounds like a daughter's affectionate reproach: "I believed you, but you betrayed me!" The Queen of the Night is a very young mother: if Pamina is 16-17 years old, then mother is a maximum of 34 years old.
Marfa in N. Rimsky-Korsakov's "The Tsar's Bride" is not a winning role either in vocal or dramatic terms. Often in the aria of the second act (“We lived next to Vanya in Novgorod”), the performers of this role often hear intonations of doom, forebodings of tragedy. In the performance of the Rostov Musical Theater (stage director Konstantin Balakin), Marfa Dmitrievskaya does not imagine that there is evil on earth that will someday strike her. She is full of life, the joy of being. One of the paradoxes of this opera is that royal bride Marfa is on stage for a relatively short time. Gryazny and Lyubasha have much more vocal and stage material. With such a balance of power, Dmitrievskaya manages to make her Martha truly the center of the performance, its dominant. “The most difficult thing for me in the role of Martha is that there is no dramatic development of the image as such, and in the finale it is necessary to leave her as a girl who is not to blame for anything. It is like an atoning sacrifice. Passions rage around her, but she sincerely does not understand why she was so punished. And the voice for the part of Martha needs a special one - so cosmic, unearthly, ”Dmitrievskaya said about her work. She has this “cosmic, unearthly” voice. In the fourth act, in the famous scene of madness, Marfa Dmitrievskaya is, as it were, beyond the bounds of earthly existence. In the aria "Ivan Sergeyevich, do you want to go to the garden?" the crystal timbre of the young singer recalled the incomparable voice of Galina Kovaleva, People's Artist of the USSR - by the way, the idol of our heroine.
I will take the liberty of asserting: there is no singer in the world who has in her repertoire the Queen of the Night, Gilda and ... Yaroslavna ("Prince Igor" by A. Borodin). The news that Dmitrievskaya was being introduced to this role (stage director Yuri Alexandrov) stunned even vocal connoisseurs: Yaroslavna's part is very strong, tessitura not too comfortable, requiring a "fleshy" center and sonorous bottoms. Rostov music lovers, admirers of Dmitrievskaya's talent, were especially alarmed: would the singer shake her voice by boiling in the dramatic cauldron of Borodino music?
The role of Yaroslavna Dmitrievskaya "sculpted" with Yuri Alexandrov, who is famous in professional circles careful attitude to the nature of the actor. In an interview on the eve of the premiere of "Prince Igor" in Rostov, he said: "I do not pull my concept on different performers: what is subject to the actor N., for example, is unacceptable for the actor H. - simply because of his physical data. I am convinced that the ability to bring to life the special, individual qualities of this or that singer is the main task of the director.
In working with Dmitrievskaya, Alexandrov was guided by the appearance, texture, and specifics of the voice - light, mobile, flying. Yaroslavna Dmitrievskaya is flexible and plastic. This young woman is almost a girl: fragile, vulnerable, but there is an inner strength in her, an inconspicuous dignity - personal and feminine. These qualities of Yaroslavna-Dmitrievskaya turned out to be especially important in the scenes with Galitsky and the boyars (the finale of the first act). The director did not try to achieve a dramatic richness of sound from the singer; on the contrary, he asked her to sing lightly, not to overload the lower register. Yaroslavna Dmitrievskaya was perceived as a symbol of eternal femininity.
The actress brilliantly conducts the scene of Yaroslavna's Lamentation. The final is decided by Alexandrov as an action taking place beyond the threshold of earthly existence. Aged, gray-haired Yaroslavna turns to the Sun, the wind, to the Dnieper. The expressive plasticity of Dmitrievskaya, her "singing" hands, the impeccable command of vocal intonation (and this is the main means of creating character in the opera) in the Lamentation scene make the audience freeze. With her performance, the actress seems to let us understand: here, on earth, everything is vain, transient, and we should live our lives in such a way that we are allowed to return to the Upper world. Yaroslavna Dmitrievskaya, like her Violetta and Martha, atoned for earthly sins with suffering, and therefore her soul, having ascended to heaven, found peace ...
Natalya Dmitrievskaya took place as a singer and as an actress. Today she is able to successfully perform parts written for lyric, lyric-coloratura and, as it became clear recently, even for lyric-dramatic soprano. The actress is just over thirty - a great age for creativity and faith: all the best on stage and in life is ahead ...
