Winner of the gold prize of the International Festival “April Spring” (Pyongyang, DPRK, 2006)
Laureate of the Moscow open competition “Romansiada without borders” (1st prize, 2006)
Winner of the International Tatar Song Festival named after Rashit Vagapov in the nomination “For the best performance of a Tatar song by a representative of another nation” (Kazan, 2007)
Laureate of the Review-festival of vocalists - graduates of music universities in Russia (Kazan, 2010)
Biography
Born in the city of Dmitrov, Moscow region.In 1995 he graduated from the Faculty of Philology and in 1998 - graduate school at Moscow State University. M.V. Lomonosov, at the age of 23 he defended his Ph.D. thesis. Then he simultaneously worked at the Institute of World Literature of the Russian Academy of Sciences, wrote his doctoral dissertation and studied at the vocal department of the Moscow Conservatory. P.I. Tchaikovsky, from which he graduated in 2010 with honors (class of Pyotr Skusnichenko). In 2011 he defended his doctoral dissertation.
Since 2003, regular concert activity singer in Moscow (Conservatory, Concert hall them. Tchaikovsky, Moscow International House of Music, Hall of Columns), other cities in Russia and abroad (Spain, Italy, Greece, Cyprus, Germany, France, USA, Argentina, Uruguay, Japan, North Korea, China, etc.).
In 2012, he took part in the production of the opera “La Traviata” by G. Verdi at the Bolshoi Theater, performing the role of the Marquis d’Aubigny (conductor Laurent Campellone, director Francesca Zambello).
We talked with Moscow bass Fyodor Tarasov, who came to the Philharmonic with a program from the repertoire of his namesake Fyodor Chaliapin: about the great Russian bass, about Fyodor Dostoevsky, who plays an important role in the singer’s life, and why our guest ended up on the student bench at 29 years.
Your first literary impression was your acquaintance with the Gospel text. What was your first musical impression?
The first musical impression is the record “Trio of Accordion Players”. By the way, we sat after the concert with Gennady Ivanovich Mironov and Alexander Tsygankov (an outstanding virtuoso dom-player - ed.), and recalled different interesting points from life, including this record. I no longer remember the artists who recorded it: Tsygankov named several names, but, unfortunately, they were never etched in my memory. But then it was a strong impression: I wanted to play the accordion.
- And you played?
Yes, and I got the instrument from my father, and he, in turn, from his uncle, an accordion player. I was so small that I couldn’t hold the button accordion in my hands - I just put it on the bed, stood next to it and pulled the bellows, trying to extract sounds from it. This gave me tremendous pleasure! As a result, I went to study at music school to accordion class.
Still, after graduating from music school, you decided not to connect your life with music and chose literature...
You know, when I graduated from music school, I was still just a child. I have a new hobby - painting. I started studying in an art studio. I even had thoughts of connecting my life with painting... But then another important discovery happened for me: Dostoevsky. As a teenager (I think I was in the seventh or eighth grade then), I began to become engrossed in Dostoevsky and read, if not almost all of his works of art, then a large number of them. This fascinated me so much that I decided to study literary studies, entered the Faculty of Philology of Moscow State University and successfully graduated.
- At the philology department, did you know from the very beginning that you would study Dostoevsky?
Yes, you can say that this is why I did it. I wanted to study his work in great detail and deeply. This fascinated and inspired me a lot. I studied with pleasure, defended my diploma on the works of Dostoevsky, and then my PhD thesis. Scientific life was very interesting! After studying in graduate school and defending his PhD, he went to work at the Institute of World Literature of the Russian Academy of Sciences. I worked there for a long time, about six years, in my opinion: I was the eldest research fellow, was engaged in the planned work of the institute. In particular, I was preparing a collection of Tyutchev’s works, since the preparation and celebration of the poet’s anniversary fell precisely in those years. At the same time, he continued to do his work. As a result, in 2004 I decided to go to doctoral studies and write a doctoral dissertation. The topic is: “Pushkin and Dostoevsky: the gospel word in literary tradition" At the same time, I entered the Moscow Conservatory in the vocal department, and it so happened that I devoted the years of my scientific leave mainly to vocal training.
It seems to me that creativity and science require different mindsets. Are these two directions not in conflict with each other?
For some reason, it turned out that these two sides are combined in me. I will even say that they do not conflict with each other, but, on the contrary, one area of activity is a help to the other. The only thing that creates some kind of conflict here is that it is very difficult to study both seriously and deeply at the same time. You are literally torn into two parts. At some point I realized that this was simply physically impossible. You need to make a choice. But then it was obvious: the singing had pulled in its direction.
- How old were you when you entered the conservatory?
I was already 29 years old - an adult. Of course, it was a little scary to change my life so dramatically. Firstly, my philological activity developed quite successfully. Secondly, going back to university and returning to student status was completely unthinkable. I couldn't imagine starting from scratch again. Then I also had doubts... Thank God, at that moment my parents supported me morally: I always listen to their advice, they are very wise people. I remember that a lot of things were planned for that period of time. I entered the conservatory with a feeling of complete liberation: I didn’t worry, I didn’t think that if I failed the exam, it would be a disaster.
- Did you have to write an introductory essay on Russian literature? What was it about?
It was about the image of Tatyana Larina in Pushkin’s “Eugene Onegin”. The funny thing about this situation was that I recently wrote an article about the role of gospel texts in shaping the image of Tatiana. I decided to use it when writing an essay in order to please the commission with material that they, apparently, had never encountered before in their lives. Started writing school essay on four sheets... I sat for a long time. I remember that all the applicants had already written something, submitted it and, in the end, I was left alone. I had just started copying the final copy when a woman from the commission came up to me and said that the time was up. I asked for at least 10 more minutes to rewrite. But she replied that there is no time anymore - put a mark in the draft in the place to which you managed to rewrite it completely, and then we will check the draft. I didn’t even have time to check the essay, but, thank God, the Moscow State University school did not let me down, so I received my A for the essay. But the feeling was fantastic: I, a candidate of philological sciences, senior researcher at the IMLI RAS, am writing a school essay!
Maxim Gorky said that “in Russian art, Chaliapin is an era like Pushkin.” Do you agree with this statement?
To some extent I agree, of course. As before Pushkin there was a very powerful tradition in literature, which he knew very well, and, nevertheless, laid the foundations of the literature of the new historical period, so did Chaliapin. He came to the vocal world, which already had its own powerful traditions, and introduced his own coordinate system, which absorbed the roots that existed before him. Yes, the situations are typologically very similar indeed. Maybe the scales are not exactly the same.
Why do you think Chaliapin became such a well-known figure? Even those who have never heard a recording know his name...
Chaliapin possessed not only vocal skill, but also a brilliant acting gift, and in addition, he existed as a singer in a real collaboration with outstanding cultural figures of his time, which could not but affect the scale of his creative consciousness and the fame of his name.
TO When you perform arias and songs from his repertoire, do you focus on Chaliapin’s performance?
It’s hard for me to name a bass who doesn’t focus on his performance. Another thing is that he cannot be imitated. You will never sing like that, and you don’t need to. Some aspects of his style already look somewhat comical in our time. Nevertheless, his method, his artistic approach is very valuable. Listening to him enriches you enormously. These methods can and should be used in modern performance.
- Is there anyone besides Chaliapin whom you look up to?
Eat. I would even say that for me this bass is in some sense a greater standard than Chaliapin, in relation to modern performance. Although this singer is also not our contemporary - this is the Bulgarian singer Boris Hristov, a follower of Chaliapin. I listened to his recordings a lot, studied from them, they gave me a lot. I even tried to imitate Christ at some points, without fear that it would be somehow caricatured. He is a universal artist, who paints stunning pictures with sound with such a wealth of nuances, with such depth that in some moments, from my point of view, he surpasses Chaliapin. Those colors that Christ found on this moment are not an anachronism.
In general, the combination of traditions with modern sounds and motifs is very important to me. Thanks to this, it is possible to respond to today's challenges and pressing issues. Answer not with some immediate superficial answers, but offer those options that, like Christ’s, will not fade with time. This is probably why I turn to him even more often than to Chaliapin. But this does not at all negate the greatness of the latter. Chaliapin came to vocal art at the right time. If he had not existed, it seems to me, there would have been no Christov, there would have been no Gyaurov (Bulgarian bass - ed.), there would not have been our famous Russian basses, the Pirogov brothers, Nesterenko...
- Since we are talking about Russian basses, why is this particular timbre associated with Russia?
It seems to me that bass is the timbre face of Russia. The bass in the color of his voice is such power, epic breadth, depth, richness, masculinity. And then... Low male voices In general, there are few in the world, and they are not born everywhere. For some reason, it so happens that in Russia there are much more of them than in other countries. Perhaps our country itself, its scope, the conciliar nature of its worldview contributes to the fact that such voices are born in it. The voice is very closely related to hearing, and hearing greatly influences the voice. And hearing is directly related to the world in which you live, to the sounds that surround you, to your perception of the world.
- Which opera characters are closest to you?
I'm closer dramatic images, maybe even tragic, majestic, noble. Tsar Boris, for example, in the opera “Boris Godunov” by Mussorgsky, King Rene in the opera “Iolanta” by Tchaikovsky, King Philip in “Don Carlos” by Verdi - characters strong-willed, with a pronounced moral principle, suffering for themselves and for everything that happens, aware of their responsibility for what is happening around them, with the rich inner world, with many different feelings, sometimes in harmony, sometimes in conflict with each other.
- You say that philology helps music. What exactly?
Everything is simple here. Vocal art is a combination of music and words. Moreover, the vast majority of vocal compositions are written based on the texts of famous literary works, poetic or prosaic. Knowledge cultural context helps in performance, helps to embody all this in voice.
- You analyze texts separately vocal music?
I can't do it any other way! It is very important. There are, of course, vocalists who don’t pay attention to the lyrics special attention. I think this is wrong. This leads to the fact that even if you have a very beautiful voice, then in the first moments you naturally impress the audience with it, but a minute passes, two, three, and then you want to understand what you want with yours. in a beautiful voice tell us. This is where other laws come into play. Therefore, if you haven’t done some work, if you don’t have this content in your soul, in your mind and in your heart that you want to convey to the public, then excuse me: the listener will start yawning and won’t come to you a second time.
You've probably seen the opera The Brothers Karamazov. Did you like it? How do you feel about the idea of creating a tetralogy of operas based on Dostoevsky? To what extent does Dostoevsky rely on music?
You know, Dostoevsky connects very well with music. Moreover, he loved music very much and had a keen understanding of it. Music plays a very important role in his works. Even the most famous one says this scientific work about Dostoevsky - Bakhtin's work about polyphonic novel Dostoevsky, which played a colossal role in the study of the writer’s novelistic work. There is a musical term already in the title. Therefore, here all the cards are in hand, as they say. This is a productive idea. I liked the opera. There are, of course, questions, but they always exist. I liked the fact that it was aimed at identifying what Dostoevsky wanted to say, but with the help musical means. After all, often in our contemporary art people turn to the works of the greats in order, relatively speaking, to “show off at their expense”: you don’t have your own interesting content, which you could convey, and you take what has already gained fame. You mock it a little, try to do something witty and get away with it. But it is very sad that we often encounter this today. In the opera The Brothers Karamazov the situation is completely different. One can see the desire to combine deep literary content with musical language. I fully support this.
- Which Dostoevsky novels would you set to music?
Naturally, his famous “Pentateuch”: “Crime and Punishment”, “Idiot”, “Demons”, “Teenager”, “The Brothers Karamazov”.
- Do you feel more like a vocalist today?
Yes, definitely.
- Do you think this is the final choice?
I'm not a seer, so I can't say. From the point of view of my feeling today, yes. And then as God wills.
- Finally, three short question. Everything is clear with your favorite writer. Who is your favorite composer?
Mussorgsky.
- Favorite novel by Dostoevsky?
"The Brothers Karamazov".
- Favorite literary character?
This complex issue. I think he “lives” somewhere with Pushkin. Maybe it's Petrusha Grinev from " The captain's daughter" I'm not sure because I'm Lately I haven’t thought about this question, but as life progresses, shades of worldview and preferences change.
Fedor Tarasov - organization of the concert - ordering artists on the official website of the agency. To organize performances, tours, invitations to corporate events - call +7-499-343-53-23, +7-964-647-20-40
Welcome to the official website of agent Fedor Tarasov. Homeland of the future famous and talented singer became a small village near Moscow. As Fedor recalls, he grew up in an amazing atmosphere of closeness with nature and true harmony. And this amazing peace was complemented by enchanting sounds classical music. His parents graduated from Moscow State University and were comprehensively developed people, as evidenced by their rich collection of books and albums with paintings.
Creative achievements
From three years old little Fedor I tried to master my father's button accordion. The boy was also interested in literature, so it is not surprising that he later entered the Faculty of Philology at Moscow State University. He even became a member of the Russian Writers' Union. But the singer’s talent prevailed. Even during his student years, Fyodor surprised his classmates with his excellent performance of opera roles. Soon the singer's powerful bass aroused the interest of professional musicians. He starts singing in the church choir.
2002 - the first step towards vocal Olympus was victory at the International Youth Arts Festival. Then the guy had neither academic vocal education nor numerous performances. Fyodor Tarasov was able to organize a concert already in 2003.
2004 - Fedor becomes a student of the vocal department of the Moscow State Conservatory. He graduated with honors. In the same year, the singer began to actively perform in concerts. Fyodor Tarasov could organize a performance at the best concert venues in the capital. He also actively tours abroad. The most sophisticated listeners in Japan, Spain, Greece, Germany, Cyprus, and Italy obey him. His amazing bass conquers Europe and America.
The singer became a laureate of numerous competitions and festivals. The secret is simple. He performs professionally best arias one of the most famous operas European and Russian composers. But he didn't stop at the classics. Fedor's repertoire always includes tender romances, urban, military and folk songs. They will conquer the soul and heart of any listener.
Nowadays
Now it is quite possible to order a performance by Fyodor Tarasov. Although it is better to do this in advance, because the singer has an extremely dense tour schedule. He also actively collaborates with other famous opera stars. That’s why Fedor’s concert always turns into a celebration and a monumental theatrical performance. You can learn more about Fedor Tarasov on his official website.
The namesake of Dostoevsky and Chaliapin, the owner of a powerful, deep bass, Fyodor Tarasov successfully combines the research of a Dostoevsky philologist with a career as a singer. According to him, “vocal art itself connects music with words, so that philological baggage for a singer is simply a treasure!” First, Tarasov’s amazing bass was noticed by classmates at Moscow State University, and then by professional musicians. In the spirit of centuries cultural tradition Fyodor Tarasov's singing life began in the church choir. In 2002, when the International Youth Arts Festival was held in Moscow, Fedor, not yet a professional singer and without concert experience, took part in the competition and became its winner in the category “ academic singing" Being a candidate of philological sciences and a senior researcher at the Institute of World Literature of the Russian Academy of Sciences, Fyodor Tarasov entered the vocal department of the Moscow Conservatory and graduated with honors in 2010.
Since 2003, the singer began his concert activities on the best concert stages in Moscow, in other cities of Russia and abroad (Spain, Italy, Greece, Cyprus, Germany, France, Switzerland, USA, Argentina, Uruguay, Japan, North Korea, China, Latvia , Estonia, etc.).
In 2006, Fyodor Tarasov became a laureate of the competition “Romansiada without Borders” (Moscow, 1st prize), the International Arts Festival “April Spring” (Pyongyang, gold prize), and in 2007 - laureate International competition them. R. Vagapova (Kazan, 1st prize), in 2010 - laureate of the competition-review of graduates of Russian conservatories.
In 2011, the singer defended his doctoral dissertation, and in 2012 he became a guest soloist Bolshoi Theater Russia.
From 2004 to 2009, as a singer of the Sretensky Monastery choir, he took part in numerous patriarchal events, in a round-the-world tour dedicated to the unification of the Russian Orthodox Church and the foreign Orthodox Church, on a tour of Latin America, in concert performances and solemn services. Fedor’s solo performances became part of other church events, including the presentation of Patriarchal literary prize. Fyodor Tarasov also represented in Switzerland as a soloist the world-famous work of Metropolitan Hilarion (Alfeev) “St. Matthew Passion”.
The singer's repertoire includes opera arias, oratorio and chamber works by Russian and European composers, Neapolitan songs, folk, Cossack and military songs, pop works of the Soviet period and modern composers, spiritual chants.
Fedor takes part in many music programs with leading soloists opera houses, V feature films, television programs central channels and radio broadcasts.
Fyodor Borisovich Tarasov (b. 1974) - philologist, literary critic. Graduated from the Faculty of Philology and graduate school at Moscow State University and the Moscow Conservatory. Candidate of Philology. He worked as a senior researcher at the Institute of World Literature (IMLI) of the Russian Academy of Sciences, and became a doctoral student at IMLI. Published in the collections “The Gospel Text in Russian Literature”, “The Spiritual Potential of Russian Classical Literature”, etc. The monograph “Pushkin and Dostoevsky: the Gospel Word in the Literary Tradition” is being prepared for publication.
There are many examples in history when physicists made good lyricists, but professional humanists achieved outstanding success in other professional fields much less often. Fyodor TARASOV, Olga RYCHKOVA’s interlocutor, is a happy exception: in addition to a successful career as a Dostoevist philologist (he graduated from graduate school at the age of 23, and entered doctoral studies at the age of 30), he has other achievements...
Fyodor, for most of my classmates, Dostoevsky was one of the most boring writers. More precisely, “Crime and Punishment,” which was part of the literature program. You “fell ill” with Dostoevsky as a high school student...
I really “got sick” of Dostoevsky, probably in the ninth grade, when I read his famous “Pentateuch” in one gulp - five great novels from “Crime and Punishment” to “The Brothers Karamazov”, written by Dostoevsky after hard labor. Then, of course, I read his other works, but it was this moment that became the birth of my real research interest in literature and predetermined my subsequent philological life. However, it cannot be said that such a passion for Dostoevsky arose unexpectedly, spontaneously. Apparently, the soil was unwittingly prepared from childhood, and even from infancy. The longer I live, the more grateful I am to my parents for the fact that I was born and throughout my preschool years, together with my older brother, lived without a break in a small, then completely remote village near Moscow, where they went after graduating from Moscow University (it should be noted - in defiance of the general reverse flow from the villages to cities). From the cradle in my soul freestyle country life With subsistence farming, the cries of roosters and the mooing of a neighbor's cow and the sound of poems by Pushkin and Yesenin, records by Bach and Haydn, Russian classical music and ancient Russian chants. The open spaces outside the window of our old wooden house with a Russian stove and albums with reproductions of masterpieces of world art coexisted freely. But it all began, of course, with an unconscious infant assimilation of the main Book - with the victoriously chewed off clasp of a large old leather liturgical Gospel.
With such childhood impressions behind us, how could it be possible, even in the most impulsive of adolescence, not to respond to the eternal questions of Dostoevsky’s “Russian boys” that stir the consciousness? And when I graduated from school at the age of fifteen, there was no doubt: only to the philological faculty of Moscow State University, to study Dostoevsky. As life has shown, this aspiration turned out to be quite serious, and not just a teenage impulse, because then there was a diploma on Dostoevsky and a Ph.D. thesis, which I defended at the same philological faculty of Moscow State University.
What new did you bring to science with your PhD dissertation “The Gospel Text in works of art Dostoevsky"? And what is the topic of the doctoral dissertation?
By the time I took up this topic, it had already become quite popular in the literary community, which is understandable not only in the context of the general trend of humanitarian thought in the late 1990s, but also because of the obvious paramount importance for Dostoevsky’s work of the question of the role of the Gospel in it . Many studies by prominent thinkers have been republished late XIX and 20th centuries, unavailable during the Soviet period, works by modern authors have appeared. And there was an impression that the issue was fairly fully covered. However, when trying to rely on these various studies and create a complete picture of the laws by which the New Testament word entered and lived in art world writer, many contradictions arose.
Which ones?
On the one hand, the tendency to stick to the letter of the gospel word and focus on direct gospel references in Dostoevsky’s works led to straightforward descriptiveness, leaving behind the brackets the deep subtexts clearly present in the writer. On the other hand, the desire to “decipher” the “coded” biblical meanings by one artistic means or another led to arbitrary interpretations that were divorced from the analyzed material, and even to statements about a new “literary” Gospel and a “new” Christianity. Both logics inevitably encounter, during their consistent development, inevitable, irremovable contradictions and the need to cut off some of the “inconvenient” facts. Thus, the need to identify and formulate the laws of interaction between the word of the Gospel and the word of Dostoevsky, taking into account the specifics of the writer’s artistic method, and the totality of his works throughout his entire career.
How did you cope with the task?
A great help here is the unique Gospel of Dostoevsky, given to him by the wives of the Decembrists in Tobolsk on the way to the prison: for four years of hard labor, this was the only book that Dostoevsky read, and it preserved notes made by his hand. Their systemic analysis points to the integral whole that unites them. deep meaning, expressing for Dostoevsky the whole essence of Christianity and human existence in general. This meaning lays the starting point in artistic system coordinates of Dostoevsky, the scale of events happening to his heroes is a phenomenon of a completely different order than a literary quotation or “modeling” of the Gospel literary means. Delving deeper into this issue took me beyond the scope of Dostoevsky’s work. As is known, he persistently positioned himself as a successor to Pushkin, being a radically different artist from him. In the monograph “Pushkin and Dostoevsky: the Gospel Word in the Literary Tradition,” which formed the basis of my doctoral dissertation, I show that this continuity becomes obvious precisely from the point of view of the fundamental role of Gospel texts and meanings in their work.
Returning to childhood: in our time, many schoolchildren, albeit reluctantly, still overcame Dostoevsky and other classics. Most modern teenagers, as we are widely assured, do not read at all. Can philologists prove useful to school teachers in this regard?
And they should, and they can, and they turn out to be useful. I myself know such examples. One of them is the Korniliev educational readings, regularly held in the gymnasium of the town of Pechora, at which prominent scientists from leading universities in Russia, including Moscow State University, directly share the latest knowledge with school students. scientific achievements. One of the important indicators of accuracy, depth and truthfulness scientific research- the author’s ability to tell and explain the essence to a student.
Do film adaptations of literary works bring classics closer to the people?
From a formal point of view, in the context of a clear roll modern culture to visual genres for the broad masses, the film adaptation of literature, of course, reduces the distance between them and the classics, making it “ours.” But this is a double-edged sword: in essence, such a formal rapprochement can also turn out to be a bridge between the people and classical literature, and an abyss that destroys the path to it. Film adaptations of Dostoevsky eloquently illustrate this, for example, the novel “The Idiot”. In the early 2000s, the parody film “Down House” by Roman Kachanov and the television series “The Idiot” by Vladimir Bortko appeared one after another. The first of them “modernizes” the writer’s plot as much as possible, fitting it into reality popular culture, practically leaving nothing from Dostoevsky himself except external plot analogies. The second, on the contrary, tries to preserve the spirit and letter of the author of the novel as much as possible. And here an interesting paradox worked: if in the first case, dissecting a masterpiece of Russian literature with a mockingly dull “pop” scalpel gave an indistinctly boring result that immediately sank into oblivion, then in the second the whole country gathered in front of the TV screens, and the showing of the next episode beat the ratings of everyone the most popular entertainment television programs. The fact is very indicative in terms of searching for areas of fruitful interaction between literature and cinema.
Since we have moved from literature to cinema, let us move on to other important arts. For several years you were simultaneously a doctoral student at IMLI and a student at the conservatory; last year you graduated from the conservatory in vocal class. Who are you - a philologist or a singer?
At the very height of my philological activity, an unexpected revolution occurred in my life. Although it has been brewing for more than one year. Dozing somewhere inside me, like Ilya Muromets on the stove, the thick low bass decided to make itself known, and since my graduate years, amateur singing in a friendly circle gradually developed into periodic tests on the concert stage. Apparently it came back to haunt me too childhood hobby accordion: I so loved the accordion accordion player, which I inherited from my father, that I began to torment the instrument when I was not yet able to put it, as it should be, on my knees. He put him on the bed and, standing next to him, tried to make sounds. In parallel with getting to know my own voice and accumulating professional advice to pay serious attention to it, the desire to become a real singer grew uncontrollably. Being a candidate of philological sciences and a senior researcher at the Institute of World Literature of the Russian Academy of Sciences, I envisioned a path of self-education and private lessons from bel canto masters in singing. But it happened differently. One fine summer day, shortly after entering the doctoral program at IMLI, I came, as a fun experiment, to enter the vocal department of the Moscow Conservatory. As a joke, because it was unthinkable for me to become a student again, go to lectures, take exams. I fully experienced all this unthinkability when, having passed all the musical entrance tests, I took the last entrance exam - composition. It was worth going through such an experiment just for this feeling alone, when under the stern gaze of those whom you could introduce to “ high department"with your philological discoveries and publications, you are trying to adapt these discoveries to the format of a school essay!
Well, how did you rate it? selection committee essay of an applicant - candidate of sciences?
Be that as it may, I “did not put my honors to shame” and, having received a fatal “A” for an essay, I was faced with a fact: I was enrolled as a first-year student at the conservatory. The jokes were over, adjustment to the new life began, which went very smoothly - I found myself in my element. Since then, more than one laureate has appeared in the baggage international festivals and competitions, and solo concerts and performances are regularly held at the Moscow Conservatory, Moscow international house music, in the cities of Russia and abroad (Spain, USA, Argentina, Uruguay, Japan, North Korea, China, Latvia, etc.). So both the publication of the monograph and the defense of the doctoral thesis had to be postponed, and only after graduating from the conservatory did it become possible to bring this scientific work to its logical conclusion.
What area of activity primarily refers to the concept of “creative plans”?
I really hope that, although almost all my energy and time are now spent on the vocal profession, my philological “half” will continue to develop, for which there are such prerequisites as invitations from Moscow universities to head departments and develop scientific schools. And the vocal art itself combines music with words, so the philological baggage for a singer is simply a treasure!
Olga Rychkova
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