Albina Shagimuratova official. Opera diva Albina Shagimuratova about the "sweet life" and the pluses of Russia

Albina Shagimuratova in The Magic Flute opera. Photo = Emilie Brouchon

The long-awaited debut of Albina Shagimuratova took place at the Bastille Opera.

Even after the victory of Shagimuratova at the International Tchaikovsky Competition in 2007, a member of the jury, National artist USSR Evgeny Nesterenko noted:

“She is very talented and performed brilliantly in all three rounds and in the concert of laureates. But, besides this, she has a good core, human and professional.

I know that Albina entered the Moscow Conservatory only the third time. She has a real fighting character, although she is sweet, charming and modest, which is noticeable even in personal communication. She has, I would say, a large vocal reserve, the top notes, which are a stumbling block for many singers, are excellent with Albina. She went first and endeared herself to both the audience and the jury.”

In Mozart's The Magic Flute, staged by Canadian director Robert Carsen, the Russian singer plays the role of the Queen of the Night.

- You have traveled all over the world, and, finally, it is the turn of Paris. Has the Bastille fallen?

- For me it an important event. I was supposed to perform here back in 2015, but then, due to the birth of a child, I was unable to fly to France. Now everything has worked out. By the way, this is my first work with Carsen.

- The queen of the night is yours business card. What kind of performance is this?

– Unlike other singers, I don’t think so. She first tried on this image in 2008 at the Salzburg Festival under the guidance of maestro Riccardo Muti, then she sang in Vienna Opera, "La Scala", "Metropolitan", "Covent Garden", in the theaters of San Francisco, Los Angeles, Berlin, Munich.

Albina Shagimuratova. Photo - Stanislav Krasilnikov / TASS

In general, this party is very fertile. First of all, she keeps her voice in good shape. I have a fairly complex repertoire, but after the Queen, the rest is easy. I again decided to draw a line under my heroine at the Salzburg Festival in 2018.

- The queen of the night is performed by a few - perhaps five singers. Mine is full of drama, she is very strong, powerful, sexy. She needs not only power, but also love. The Magic Flute seems like an easy thing, but it actually touches on many serious issues.

- You have a special relationship with the director of the Paris Opera, Stefan Lissner, don't you?

- They started from the time when Lissner headed La Scala, where I first performed in 2011. With his arrival in Paris Opera The French are getting smaller. He strives to keep the level, invites Russians, Germans and others. For example, the director put me in the first squad, and a Frenchwoman in the second.

– You were born in Tashkent. They studied at the Kazan and Moscow conservatories, and then completed their postgraduate studies in Moscow. What was the most difficult part of your development as a singer?

“Nothing was easy for me. My path was quite difficult and required a lot of work.

– Was your victory at the International Tchaikovsky Competition in 2007 a springboard for you?

- Undoubtedly. She meant a lot to me. But the competition itself was very difficult. A few months before the opening, its president, Mstislav Rostropovich, passed away.

Psychologically, it was very difficult. I didn’t want to participate, and I didn’t have any support on the jury, but my teacher from the conservatory, Galina Pisarenko, insisted. Then our famous bass Evgeny Nesterenko said: “You came out, sang the first thing, and it immediately became clear who the winner was.” A week later, maestro Riccardo Muti listened to me and invited me to Salzburg.

- Probably, it helped in my career and " golden mask", which you received for the part in "Lucia di Lammermoor" by Tatarsky academic theater opera and ballet in 2012?

- Not too much. Still, the Tchaikovsky competition and the Golden Mask are incomparable things.

Who is the hardest to find mutual language: with the director, conductor, fellow soloists or the public?

Albina Shagimuratova in Lucia di Lammermoor

- With a conductor. Real, opera, less and less. After working with such masters as James Levine or Riccardo Muti, I felt elated. They love singers, they always try to help.

In the middle generation of conductors, there are more and more of those who think only about themselves. They are not interested in what is happening on stage. On the contrary, I almost always manage to get along with directors.

- To defend your point of view, you can go to the conflict?

Everyone has their own truth, but there is always a way out. We must find a compromise. If I am ready to make concessions, but the other side is not, then things are going to break.

- Do you offer the interpretation of the image yourself or rely on the director?

- Depending on the director. I always come with my understanding. But I am an open person. I agree if I feel that I can trust. For example, when Dmitry Chernyakov staged Ruslan and Lyudmila, I had my own understanding of the image of Lyudmila, but he convinced me of his own concept, and I accepted it.

- How do you feel about extreme versions? It seems that in the London "Covent Garden" in the opera "Lucia di Lammermoor" the heroine has a miscarriage, and she appears on stage covered in blood ....

I was invited to participate, but I refused. That's what I always do when something doesn't suit me. Although this is rare. Usually I try to smooth out unacceptable moments. Once in Munich she sang Donna Anna in Don Giovanni. I had to pull off my partner's pants and everything. But I grew up in a fairly strict family and could not afford this. Then I offered to limit myself to a shirt. She reminded me: we are still at the opera. They agreed with me.

– For a long time You performed mainly in the West. However, Vladimir Spivakov, whom you call your godfather, persuaded to return to Russia?

- Even after winning the Tchaikovsky competition, I was not invited to the Bolshoi Theater. I was terribly offended. During that period, I trained in America. Toured all over the world. At the end of 2009 or at the beginning of 2010, Vladimir Teodorovich called: "Come to Moscow."

I am very grateful to him, he brought me back to Russia. Now I often sing at the Mariinsky. Invite to the Bolshoi. At the end of March I give a concert at the Moscow House of Music with the National Philharmonic Orchestra conducted by Maestro Spivakov. I will perform together with the famous pianist Helene Mercier, her husband Bernard Arnault (a major entrepreneur, owner of the Louis Vuitton - Moet Hennessy concern) and their son Frederic. They will play a Mozart concerto for three pianos.

– Is there still a more reverent attitude towards art, and in particular towards music, in our country than in the West?

- A sacred fire burns in Russians. No offense to others will be said, but we are more emotional, rich and generous natures. Like no one else, we worry about our Motherland, rejoice in its victories.

Albina Shagimuratova in Don Giovanni, Covent Garden

– How do you explain the success of our soloists in the West, especially younger generation?

- Russia is a country of big beautiful voices, both male and female. They are more interesting and sonorous than many, so our singers are in demand more than ever. Unfortunately, they don’t teach at domestic conservatories foreign languages, and without them it is difficult to make a career.

– Has the Russian opera school survived? Is there anyone to grow talents?

- Undoubtedly. A youth group was created at the Bolshoi Theater opera program, which is headed by a wonderful teacher Dmitry Vdovin. I myself worked with him. He takes care of our school.

But the manner of performance by Irina Arkhipova or Galina Pisarenko is no longer there. Younger, more mobile artists came. Only with excellent health can one withstand huge flights - from Tokyo to Vienna or from Moscow to New York.

- You went beyond the opera and starred in Karen Shakhnazarov's "Anna Karenina" in the role of singer Adeline Patti. Does it mean something to you?

– An invitation to shoot such a landmark film is a great honor. In the rest of the film adaptations, Anna's visit to the theater is either absent altogether, or she is watching a ballet or some kind of performance. Tolstoy's we are talking specifically about Patti's concert. Karen Georgievich follows the novel in everything - he doesn't change anything. I also have other interesting plans in the cinema, but I can’t talk about them yet.

- Did you name your daughter Adeline in honor of the Italian diva?

– Indeed, we named her in memory of the great singer. And a month after the appearance of my daughter, a call came from Mosfilm and I was offered to play Adeline Patti. I believe in such omens, it was a sign from above. The child was born, and the voice became stronger, the technique improved. It became easier for me to sing.

- Is the family a hindrance to creativity?

On the one hand, these things are incompatible. If you are serious about opera, then you don’t need to start it at all. But what to do when you meet such a wonderful man as my husband. My family lives in Moscow, I don't take my child with me on tour. Adeline is not luggage to carry around the wide world. My daughter is taken care of by her father, a nanny, and every day I communicate with her via Skype.

– Your zodiac sign is Libra. Does it have any meaning for you?

“I need balance. At one time I felt the uncertainty inherent in Libra, it was not easy to make a choice. But my husband was born under the sign of Leo - he stands firmly on his feet. In addition, he is a psychiatrist. Thanks to him, I learned to confidently go through life.

Albina Shagimuratova in La bohème, Vienna State Opera

Primadonnas are famous for their capricious temper. Your case?

- Now the word "prima donna" has generally disappeared from everyday life. We cannot afford any whims. Of course, there are singers who make a reputation on their character, but many directors and directors refuse to work with such.

“I have no rivals,” said Maria Callas, “when other singers sing like me, play like me, and perform my entire repertoire, then they will become my rivals.” Do you agree?

– The words are ambitious and self-confident. See how tragic the end of her life was. I do not compare us, but I will never say anything like that. Sometimes I feel jealousy and envy of some artists, but I try not to notice it.

- You are going to conquer a lot more opera heights?

- Yes, while I am only at the very beginning of my journey, although I have performed in many theaters. The worst thing for an artist is to stand still. I have my own program for the future: to perform Bellini's Norma, as well as Rossini's Semiramide and Donizetti's Anna Boleyn.

One of my favorite heroines is Violetta from La Traviata. It must be sung in such a way that the audience will cry. For such a party, life experience experienced drama. Now it is very popular to show oneself - “Look what I have Beautiful face, body, dress.

Albina Shagimuratova was born on October 17, 1979. The future opera diva graduated from two state conservatories - Kazan and Moscow.

In 2004–2006 She was a soloist of the Moscow Academic Theater named after Stanislavsky and Nemirovich-Danchenko.

Albina Shagimuratova as the Queen of the Night in The Magic Flute. Photo – Mike Hoban

From 2008 to the present she has been a soloist of the Tatar Academic state theater opera and ballet. People's Artist of Tatarstan (2009). Sings on the stages of the world's leading theaters.

She performed at the G20 summit in the Konstantinovsky Palace in St. Petersburg, at the opening of the Universiade in Kazan. Participated in the "December Evenings of Svyatoslav Richter" in State Museum fine arts named after A. S. Pushkin. Shagimuratova's repertoire includes about twenty operas by Glinka, Stravinsky, Mozart, Beethoven, Verdi, Puccini.

(1979-10-17 ) (40 years)

Shagimuratova Albina Anvarovna(born October 17, 1979, Tashkent) - Russian and world opera singer (soprano), laureate of the International Competition. P. I. Tchaikovsky, People's Artist of the Republic of Tatarstan.

Education, the beginning of creative activity

Albina Shagimuratova graduated from the vocal faculty of the Kazan Conservatory (2004) and postgraduate studies (2007) from the Moscow State Conservatory. P. I. Tchaikovsky. Bright victory at the International Competition. P. I. Tchaikovsky in 2007 (First Prize and Gold Medal) attracted the attention of the world opera community, and already in 2008 Shagimuratova was invited to the Salzburg Festival to perform the part of the Queen of the Night in Mozart's opera The Magic Flute conducted by the famous maestro Riccardo Muti .

Albina Shagimuratova is an honorary graduate of the Houston Grand Opera Studio. She is currently continuing her studies with Dmitry Vdovin in Moscow and Renata Scotto in New York.

Career

Awards, titles

Laureate of international competitions: them. M. Glinka (Chelyabinsk, 2005, 1st prize), im. F. Viñas in Barcelona (Spain, 2005, III prize), im. P. I. Tchaikovsky (Moscow, 2007, 1st prize and Golden medal).

Laureate of the Russian national theater award"Golden Mask" in the nomination " female role in the Opera” (for her performance as Lucia di Lammermoor in a performance by the Tatar Academic State Opera and Ballet Theater named after M. Jalil)

Award Winner music critics"Casta Diva" for the performance of the part of Lyudmila in the play Bolshoi Theater"Ruslan and Lyudmila" and Lucia in the performance of the Tatar Opera and Ballet Theater "Lucia di Lammermoor"

Repertoire

part of Lyudmila (Ruslan and Lyudmila, M. Glinka);

part of Lucia (Lucia di Lammermoor, G. Donizetti);

part of the Queen of the Night (“The Magic Flute”, W. A. ​​Mozart);

the part of Gilda (Rigoletto, G. Verdi);

part of Violetta Valeri (La Traviata, G. Verdi);

the party of Zaytuna (The Poet's Love, R. Akhiyarov);

part of Adina (“Love Potion”, G. Donizetti);

the part of Amina ("La sonnambula", V. Bellini);

part of Antonida (Ivan Susanin, M. Glinka);

part of Donna Anna (Don Giovanni, W. A. ​​Mozart);

party Manon ("Manon", J. Massenet);

Musetta's part ("La Boheme", G. Puccini);

part of the Nightingale (The Nightingale, F. Stravinsky);

the part of Flaminia (Lunar World, J. Haydn);

soprano part (Stabat Mater, G. Rossini);

soprano part (Eighth Symphony, G. Mahler);

soprano part (Ninth Symphony, L. Beethoven);

soprano part (Requiem, W. A. ​​Mozart);

soprano part (“War Requiem”, B. Britten).

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An excerpt characterizing Shagimuratova, Albina Anvarovna

Anna Pavlovna smiled and promised to take care of Pierre, who, she knew, was a paternal relative of Prince Vasily. The elderly lady, who had previously been sitting with ma tante, hastily got up and overtook Prince Vasily in the hall. All the old pretense of interest was gone from her face. Her kind, weepy face expressed only anxiety and fear.
- What will you tell me, prince, about my Boris? she said, catching up with him in the front. (She pronounced the name Boris with a special emphasis on o). – I cannot stay longer in Petersburg. Tell me, what news can I bring to my poor boy?
Despite the fact that Prince Vasily listened reluctantly and almost impolitely to the elderly lady and even showed impatience, she smiled affectionately and touchingly at him and, so that he would not leave, took his hand.
“That you should say a word to the sovereign, and he will be directly transferred to the guards,” she asked.
“Believe me that I will do everything I can, princess,” answered Prince Vasily, “but it’s hard for me to ask the sovereign; I would advise you to turn to Rumyantsev, through Prince Golitsyn: that would be smarter.
The elderly lady bore the name of Princess Drubetskaya, one of the best families in Russia, but she was poor, long gone from the world and lost her former connections. She has come now to secure a position in the guards for her only son. Only then, in order to see Prince Vasily, did she name herself and come to Anna Pavlovna's for the evening, only then did she listen to the history of the viscount. She was frightened by the words of Prince Vasily; once her beautiful face expressed anger, but this lasted only a minute. She smiled again and gripped Prince Vasili more firmly by the arm.
“Listen, prince,” she said, “I never asked you, I will never ask, I never reminded you of my father’s friendship for you. But now, I conjure you by God, do this for my son, and I will consider you a benefactor,” she added hastily. - No, you are not angry, but you promise me. I asked Golitsyn, he refused. Soyez le bon enfant que vous avez ete, [Be a good fellow, as you were,] she said, trying to smile, while there were tears in her eyes.
“Papa, we will be late,” said Princess Helene, turning her beautiful head on antique shoulders, who was waiting at the door.
But influence in the world is a capital that must be protected so that it does not disappear. Prince Vasily knew this, and once he realized that if he began to ask for everyone who asks him, then soon he would not be able to ask for himself, he rarely used his influence. In the case of Princess Drubetskaya, however, after her new call, he felt something like a reproach of conscience. She reminded him of the truth: he owed his first steps in the service to her father. In addition, he saw from her methods that she was one of those women, especially mothers, who, once taking something into their heads, will not lag behind until they fulfill their desires, otherwise they are ready for daily, every minute pestering and even on the stage. This last consideration shook him.
“Chere Anna Mikhailovna,” he said with his usual familiarity and boredom in his voice, “it is almost impossible for me to do what you want; but in order to prove to you how much I love you and honor the memory of your late father, I will do the impossible: your son will be transferred to the guards, here is my hand to you. Are you satisfied?
- My dear, you are a benefactor! I did not expect anything else from you; I knew how kind you are.
He wanted to leave.
- Wait, two words. Une fois passe aux gardes ... [Once he goes to the guards ...] - She hesitated: - You are good with Mikhail Ilarionovich Kutuzov, recommend Boris to him as adjutant. Then I would be calm, and then I would...
Prince Vasily smiled.
- I don't promise that. You do not know how Kutuzov has been besieged since he was appointed commander in chief. He himself told me that all the Moscow ladies conspired to give him all their children as adjutants.
“No, promise me, I won’t let you in, dear, my benefactor…
- Dad! - the beauty repeated again in the same tone, - we will be late.
- Well, au revoir, [goodbye,] goodbye. See?
- So tomorrow you will report to the sovereign?
- Certainly, but I do not promise Kutuzov.
- No, promise, promise, Basile, [Vasily,] - Anna Mikhailovna said after him, with a smile of a young coquette, which once must have been characteristic of her, but now did not go so well to her emaciated face.
She apparently forgot her years and used, out of habit, all the old women's means. But as soon as he left, her face again assumed the same cold, feigned expression that had been on it before. She returned to the circle, in which the viscount continued to talk, and again pretended to be listening, waiting for the time to leave, since her business was done.

Tatarstan, June 1, AIF-Kazan. On May 17 she gave a concert at the Big Concert Hall of the Republic of Tatarstan, on July 6 she will perform at the opening of the Universiade. “Having traveled around the world, I understand that I want to live in Russia,” the singer says, “no matter how good or bad our country is.”

Albina felt like a musician at the age of five: together with her father, she performed Tatar songs on stage. folk songs. He worked as a lawyer, but also musical education: played the button accordion, composed songs and took his daughter to a music school. But on opera singer she began to study only at the age of 20 on the advice of the famous Tatar singer Khaidar Bigichev. Today, the singer has no competitors among the coloratura sopranos in terms of the beauty of the sound and the mastery of the bel canto style.

- Albina, during the time of Chaliapin, basses were in fashion. It's soprano time now, even men are trying to sing like women.

Because women are now much stronger than men. They strive to make a career, then get married. The institution of the family is changing.

- You travel a lot around the world. How do Europeans and Americans differ from Russians?

The French love art. What a Louvre they have! There is no such museum anywhere. Italians love their opera and pizza. Germans and Austrians are a bit pedantic. Spaniards are lazy...

Wherever I am, I am always drawn to Russia. Why, I don’t know, but I want to come here at least for a week. Inhale the Russian air, and then leave again. Some kind of magnet ... In Kazan favorite place- Kremlin. Well, where else in the world is there a white Kremlin? White is the color of purity...

I always come to Vienna with great pleasure. In its palaces, parks, ancient opera house there is something mesmerizing. A very musical city. You enter the subway, and the Strauss waltz sounds. Where else can you hear this? If the Americans are always in a hurry somewhere, then the Viennese, thanks to their love for music, are very sincere and calm. We need to learn this.

My second city is New York. It is especially beautiful at sunset, when the skyscrapers of Manhattan are lit up with lights. America is a very free, comfortable country, but the mentality there is not mine. Americans can learn to work hard. They are workaholics, they can come to work at 5 in the morning and work all day. But there is no soul, there is no our Russian sincerity ... People behave somehow mechanically.

Russia has, of course, its minuses, its pluses. But, having traveled around the world, I realized: each country has its own problems, and my home is in Russia.

Such as now, our country was not even 10 years ago. In the 90s, we saw only empty stalls, rice, buckwheat on coupons. Now we have an average standard of living European country. This is an achievement for our state, which began its journey only in 1991.

- And yet there are many dissonances in our lives.

The world today is so narrowed down to mercantile interests that spirituality, humanity, decency have receded into the background. I feel it every minute when I meet different people different social strata.

Commercialism is increasingly asserting itself in the world of art. There is not enough depth, a deep reading of the work, composition, professional performance. Lacks, ultimately, vocal professionalism. Few teachers can teach you to really sing.

Russian phenomenon

- But Russian singers, like no other, are in demand in the West. What is their secret?

In phenomenal performance. Hvorostovsky, Netrebko, Guleghina were brought up by their former teachers. Work also helped them. Will new generations Russian singers also in demand on world stages? This is a question...

TO opera singers requirements are now quite different from those Soviet times. You have to win competitions, break through, constantly prove something, know a huge number of languages, games, speak fluent English. If earlier the Russian singer was provided with an interpreter at rehearsals when he participated in productions in the West, now he has to do everything himself.

Scandal in Moscow: someone threw acid in the face of the artistic director of the Bolshoi Theater Sergei Filin - a purely Russian phenomenon?

What happened to Filin is a huge tragedy - not only for the Bolshoi Theater, but for Russian culture in general. This is a return to the 80s - 90s of the XX century. I don't think this would happen in Europe...

In Russia theatrical life was never sweet - even 50-70 years ago. I don't know ballet world, but I imagine what a hard job they have. The profession of a singer is very dependent. We depend on the conductor, on the director, on the employer - in particular, on the director of the theater. Management works differently for each singer: someone is active, someone is completely passive. To some to CEO the theater likes just such a singer, someone does not. That is, subjectivity in the assessments of performers exists and will exist.

- How to overcome it?

Work, incredible work capacity. To sing even better, you need to constantly raise your professional level, enrich yourself with a new repertoire. Now my "calling card" is the Queen of the Night from " magic flute» Mozart. Let this part be difficult, but very grateful part. Today it is sung by a few.

Don't lie to the public

- What is your life filled with, besides opera?

I read a lot. One of the most interesting books behind Lately- "Like a River" by Paolo Coelho. It allowed me to see the world with different eyes. Think about what is really important.

There is practically no respect in society for each other, other people's opinions now. We are impatient, we want to achieve everything at once. Make a career in five minutes. But there is a lack of fundamentality in education, correct, wise advice. We are rushing somewhere, earning money ... And the soul is leaving.

- But money is important for any person.

They help to lead a decent lifestyle - nothing more. It is important for someone to be a millionaire or a multimillionaire. And for me creativity is much higher. Before each appearance on stage, I think about what I need to tell the audience. There were children at my concert on May 17 in Kazan. They probably don't go often. opera concerts. So, I had to sing in such a way that they would fall in love with opera and, perhaps, want to learn this most complex art, they would come back to opera performance. Then they will grow up as completely different people.

Russian soprano Albina Shagimuratova was born in Tashkent. The parents of the future singer were lawyers - however, for her father, coming to law was accidental, and she began her professional career as ... an accordion player. This man retained his love for music for life and passed it on to his daughter. At the age of five she sang songs Tatar people, her father accompanied her on the button accordion. Then she began to study music school. charm opera genre the girl discovered for herself at the age of twelve, having listened to a gramophone record with a record "" with in leading role. Albina sobbed from shock and since then often asked her parents to take her to an opera performance.

When the USSR collapsed, the Shagimuratovs moved to the capital of Tatarstan. Here Albina becomes a student of Kazan music school where she studied choral conducting. In the same specialty, she continued her education at the Kazan Conservatory. N.G. Zhiganova. But at the same time, the outstanding vocal abilities of the student were discovered, and she began to study in her second specialty - “opera vocals”. The next stage in the development of the future opera singer is associated with the vocal department and postgraduate studies at the Moscow Conservatory, where the future opera singer was mentored by Galina Pisarenko.

From 2006 to 2008, Shagimuratova trained in the USA, at the Youth opera studio at the Houston Grand Opera. It cannot be said that it was easy to study there - they demanded the strictest discipline from young singers, sometimes making exaggerated demands. So, once Albina - the only one of the pupils of the studio - was awarded an audition at the Metropolitan Opera. Soon a concert was scheduled in a provincial Texas town - and there were a lot of people in the studio, it was not difficult to choose the participants, there was no urgent need for Shagimuratova's participation, but the studio management included her in the program, and after listening to New York, the singer had to fly urgently for two thousands of kilometers to sing one aria at this concert - under the threat of expulsion in case of refusal.

Shagimuratova participated in many competitions, but she considers two of them to be especially important - competitions to them. and them. . She took part in the latter in 2007. A mysterious statement flashed in one of the Moscow newspapers: “Actually, the gold medal was intended for another Russian singer, but Shagimuratova’s advantage was so overwhelming that the jury could not help but award her first place.” For all their ambiguity, these words reflected the true state of affairs: Albina's superiority over her rivals was completely obvious, and this was noticed not only by the jury members. The hall was attended by Matthew Epstein, a famous opera impresario, whose word was listened to by many European conductors. Through his efforts, the young singer receives an invitation to the Salzburg Festival.

At the festival in Salzburg, the artist performed the role of the Queen of the Night. He conducted that performance, and this role subsequently took a special place in the singer's repertoire: she made her debut with her in many theaters - Covent Garden, the Vienna Opera, La Scala, the Metropolitan Opera. The performer calls it "the most difficult, but noble." Subsequently, she began to perform belkante parts in "", "", "". Both listeners and critics admire the voice, which they call "big" and at the same time "flying, clear". The audience is also captivated by the psychological depth of the stage images it creates.

The singer's talent was also appreciated at home. In 2009, she was awarded the title People's Artist Republic of Tatarstan (usually this is preceded by the award of the title of Honored Artist, but in this case an exception was made). She is a guest soloist of the Bolshoi Theater and a full-time soloist of the Tatar Academic Opera and Ballet Theater - and regrets that because of the dense tour schedule she cannot sing there often, but she promised the management that she would sing in this theater at least one performance a year - and she keeps her promise. The performer's repertoire is rich and varied: Antonida and the Swan Princess, Queen of Shemakhan and Adina, Donna Anna and Musetta... When historical scene The Bolshoi Theater opened after reconstruction, it was Shagimuratova who sang Lyudmila in the first production of "" after this.

According to the singer, being in different countries, she noticed her peculiarities everywhere: the French are very fond of art and beauty, in Vienna you can hear Strauss waltzes in the subway ... but wherever Albina Shagimuratova has been, she is always drawn to Russia. The artist especially loves the white-stone Kremlin in Kazan.

Albina Shagimuratova notes with pleasure the increased love for opera in modern society. According to her observations, this genre has now almost caught up with pop music in popularity.

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