“I never imagined that I would sing` `The norm  » someday”-Kommersant

About the approaches to one of the most famous opera parties in the world Albina Shagimuratova told Vladimir Dudin.

– Do you remember when you first thought about fulfilling the batch of norms?

– I wanted to sing the norm even when I trained in America from 2006 to 2008. The conductor Patrick Summers, the main conductor of the Houston Opera, when I debuted there in Lucia di Lammermur in 2010, gave me the Clavier of Norms. I was surprised: « Why is the norm? » Still, Lucia and the norm are two too different planets. « You will sing the norm, remember my word. » And after 15 years this happened. If you are about a completely early childhood, then in my head the famous prayer of the norm “Casta Diva” performed by Maria Callas has long been in my head. But I never imagined that I myself would sing her someday, as I could not imagine that I could even become an opera singer. In my opinion, I got early for this party, it seems to me that this was supposed to happen a little later. But Maestro Gergiev has driven me for the past few years, so I had to agree.

– When you study the list of singers who dared to fulfill and record the norm, you are surprised that you do not find so many stars in it, which, it seems, could have done it.

– It is not entirely clear what voice the composer wrote the norm for. This is a borderline party, it cannot be considered purely dramatic, it is not longing. In addition to Kallas, she was sang and Renat Scotto, Montserrat Kabalier, and Joan Sasraland, and Edita Grooburova, who is the standard for me of the queen of the night in a “magic flute”, which brilliantly coped with this party. The range here is very wide – from Xi Malaya Oktava to the third octave. In my opinion, this is not written for a dramatic soprano, but for the coloratural and dramatic soprano, which owns equipment, passages, and fullness. I went to this party for a long time, did not immediately take up it. At first, she studied only the aria, then Kabeletta, recitables, which are very complex here, how complex and all ensembles are the terrace in the finale of the first act, duet with adaldjise. Here there should be a very accurate casting with an accurate hit by both norms and adaldzhiza, which in cadents could merge with you perfectly, and Pollion, of course.

– You probably know the record of “Norms” with Bartoli Chechilia on Decca, where she performed the title party. Mezzo-soprano really have the right to it, as you think?

– By the way, I was invited to this entry – in 2008, after I debuted with the Queen of the Night at the Salzburg festival with the maestro mow. Bartoli Chechilia herself went to me with a proposal to write down with her to the Adaljis. I took time for thought and, having consulted with different conductors, musicians, nevertheless refused, they dissuaded me. And when I heard Sumi Yo in the final record, I realized that it was the right choice. After all, the tonality that Bartoli adapted for herself is changed. Chechilia is an amazing artist, a real musician, I listened very carefully to this entry, analyzed how she builds recituctions, how she phrases, comprehended her thinking in this party. This is really a very interesting interpretation, unlike everything else, unlikely, but worthy of attention.

– What are the relationship between Valery Gergiev with the style of Belcanto, in your opinion? Still, Bellini is not Wagner, his main idol.

– Wagner called “norm” to his beloved opera, he was so impressed with her that he composed an additional aria for the orovezo, which we wanted to include now in the performance, but it did not work out. This is far from the first time I sing Belcanto with Valery Gergiev, we sang both “Luchia” and “Puritan”. He approaches this music with marginal delicacy, with attention to the singers – even reduced the orchestra hole for the “norm”, changed the seedling of musicians in the orchestra in order to build a balance with singers, realizing that the main opera is the main thing – it was vocalists. It seems to me that for him Belcanto is the same native as Wagner, Strauss, Tchaikovsky. And I am very glad that he began to record Belcanto’s operates – he wrote down the “hatch” with Natalie Dessee, and recently with me.