People's Artist of the USSR (1978, the only operetta actress in the USSR awarded this title)
Knight of the Order of the Badge of Honor (1967)
Knight of the Order of the Red Banner of Labor (1986)
Knight of the Order of Merit for the Fatherland, IV degree (1998, awarded for many years of fruitful activity in the field of theatrical art)
Knight of the Order of Merit for the Fatherland, III degree (2008, for his great contribution to the development of Russian musical art and many years of creative activity)
Laureate of the State Prize of the RSFSR named after M.I. Glinka (1974, for performing the roles of Vera, Martha and Ninon in the operettas “No Happier I Am” by A.Ya. Eshpay, “Girl Trouble” by Yu.S. Milyutin and “The Violet of Montmartre” by I. Kalmana)
Presidential Award Winner Russian Federation in Literature and Art 2000 (2001)
Laureate of the Moscow City Prize in the field of literature and art (2004, for outstanding contribution to the development of Russian musical art)
Laureate of the national Russian Ovation Award in the field of musical art (2008)
Winner of the " Golden mask"(2011, Prize "For contribution to the development of theatrical art")
Awarded the medal “In commemoration of the 100th anniversary of the birth of Vladimir Ilyich Lenin” (1970)
Awarded the Veteran of Labor medal (1983)
Awarded the medal “50 Years of Victory in the Great Patriotic War of 1941-1945” (1995)
Awarded the medal “In memory of the 850th anniversary of Moscow” (1997)
Gratitude of the President of the Russian Federation (2003, for his great contribution to the development of musical art)
The family of Tatyana's father, Ivan Artemyevich Shmyga, a Pole by nationality, fled from Poland to Russia in 1915 from the advancing Germans. Her paternal grandfather bore the surname Mickiewicz. But her grandfather died when Tatyana’s father was only six years old, and her grandmother remarried, after which her father Ivan Mitskevich received the surname Shmyga.
Tatyana Ivanovna recalled her childhood as a time full parental love, kindness and care. It was also the time of the first encounters with theater and music. Her father was a metalworker by profession; he worked for many years as deputy director of a large plant, and her mother Zinaida Grigorievna was just a mother to her daughter, very beautiful and wise. And although the family had no direct connection to art, they loved theater and music, they often listened to the songs of Leshchenko and Utesov, Tanya’s parents loved ballroom dancing and even received prizes for their performances. Not having music education, they dreamed that their daughter would learn to play the piano, bought a “Red October” piano for the house and took young Tanya to school at music college named after M.M. Ippolitov-Ivanov, located not far from the house. Later, Tanya's class was transferred to the Pyotr Tchaikovsky School on Vorontsovskaya Street. “I had an excellent teacher - Anaida Stepanovna Sumbanyan, a very famous teacher in Moscow,” Tatyana Shmyga later recalled.
In her youth, Tatyana Shmyga met Vasily Lanov. Later this acquaintance grew into a strong friendship. In high school, Lanovoy studied in the drama club of the Palace of Culture of the Likhachev plant, where Tatyana Shmyga was also invited. They met at the play “Tenth-Graders” based on the play “Certificate of Maturity,” where Lanovoy played the main role. Tatyana Ivanovna later recalled this: “You were still in the 10th grade and the play “Tenth Graders” was playing at the ZIL Palace, and I was already singing along with you. Since we have been “respected” for a long, long time, I will allow myself to simply say Vasenka.”
Tatyana Ivanovna's childhood impressions were connected not only with school, but also to a large extent with the Bolshoi Theater. The fact is that she had, as she wrote in her memoirs, a “profitable acquaintance” - her neighbor-friend Tosya, whose father worked in a cafeteria Bolshoi Theater. On Sundays he could take the girls with him to matinee performances at the Bolshoi Theater. Tanya watched and listened to ballets and operas so selflessly that the audience often made comments to her: “Girl, don’t sing, you’re interfering with listening.” In just a few years, the future prima operetta learned almost the entire Bolshoi Theater repertoire. But these trips to the Bolshoi Theater were interrupted by the war. The girl also did not have the chance to return to music school.
From the memoirs of Tatyana Ivanovna it is known that in childhood she was quite serious and silent, she was often sick, which led to significant heart problems in adolescence. She was treated by a wonderful doctor and person, Nadezhda Yakovlevna Sendulskaya. She advised Tanya’s mother to treat her daughter with her homemade mixture based on Cahors, saying: “Your Tanya will recover and will dance all her life.” Sendulskaya, realizing that the young patient had a voice, also recommended that her parents teach the girl to sing.
The first teacher of the future operetta soloist was Ksenia Noskova, a professor at the Moscow Conservatory. Before lessons with Ksenia Grigorievna began, Tatyana did not even think about becoming a singer and told everyone that she would be a lawyer. But, after studying vocals for about a year and really falling in love with singing romances, she seriously thought about a career as a chamber singer and decided to enter the School at the Moscow Conservatory, the famous Merzlyakovka. She passed two rounds of the entrance exams, but before the third she severely twisted her ankle and was unable to attend the audition. Nevertheless, the commission decided to enroll the capable applicant as a student candidate. All that was left was to wait for someone to suddenly leave or be expelled and the position to become vacant.
While auditioning for exams, one of the school’s teachers, Alexey Vasilyevich Popov, drew attention to young Shmyga and invited her to work as a soloist in the choir he led at the orchestra of the Cinematography Committee. This choir, as was customary then, performed in the foyers of cinemas before screenings. As a result, Tatyana Shmyga’s debut took place at the Ekran cinema. After that, on the advice of a friend, with whom she was a soloist in A.V. Popov’s choir, she decided not to wait for a place in Merzlyakovka, but to show up at the A.K. Glazunov Musical Theater School, where artists of the musical comedy theater were trained. The attempt was successful: despite the middle school year, Tatyana Shmyga was accepted. So in 1947, her student years began. And Tatyana Shmyga’s first husband was Rudolf Boretsky, a professor at the Department of Television and Radio Broadcasting, Faculty of Journalism, Moscow State University.
At the school named after A.K. Glazunov, the teachers of the young students were very different, with different characters and destinies, but they were united by dedication to the work to which they devoted themselves. The atmosphere in the school was such that young artists could not help but become what the teachers wanted to see in them. The teachers not only taught, but also looked after, nurtured, and raised the students as if they were their own children. Being very shy and silent by nature, Tatyana could not gain confidence in herself until her second year and felt squeezed. But gradually, thanks to the attention and sensitive attitude of the course leaders, she relaxed. Later, Anatoly Kremer said: “She said that when her studies at the Glazunov School began, it almost didn’t end in the first days: “I showed up there six months later than the others - everyone had already more or less gotten used to it, but I was pounding all over, I came to my first day of classes. I enter the classroom, and there one of the girls on the table is dancing wildly. My soul is in my boots - how can I really do that?” In the evening, Tanya runs home and tears up to her mother: “Don’t set foot there again! They are all so confident, but I’m afraid!” Tatyana Ivanovna’s mother barely persuaded her to stay at the school. But as she mastered the profession, her tightness went away.”
Shmyga's most beloved teachers were Sergei Lvovich Stein and Arkady Grigorievich Vovsi. She studied vocals with Vera Semyonovna Oldukova. The fact that the formation of future artists took place in such an atmosphere was later regarded by Tatyana Ivanovna as a gift of fate.
Tatyana Shmyga entered secondary special education educational institution, and had already graduated from university. The fact is that in 1951, it was decided to merge the A.K. Glazunov School with GITIS (now RATI), creating on its basis a faculty of musical comedy theater artists. Strange as it may seem now, but graduating from GITIS with a degree in musical comedy theater artist, young Tanya was not at all interested in operetta. According to her recollections, she, in essence, did not really know this type of art. She loved opera most of all, grew up watching the performances of the Bolshoi Theater and came to the Moscow Operetta Theater for the first time only after becoming a student fourth year Institute.
However, in October 1953, the young actress appeared on the stage of the Moscow Operetta Theater. An operetta artist, as we know, must be a universalist - these are the laws of the genre: he combines singing, dancing and dramatic acting on equal terms. And the artist’s lack of one of these roles is in no way compensated by the presence of the other. But Tatyana Shmyga was the owner of just such a unique, one might say, synthetic talent. Sincerity, deep soulfulness and soulful lyricism, combined with energy and charm, immediately attracted the attention of the audience to the young singer. From the very first roles, from the very beginning creative activity Shmyga proved herself to be an actress who harmoniously combines the plastic, vocal and dramatic sides of the profession. Then, in the 1950s, her special love for embodying festivity, carnival, sparkling lightness on stage and at the same time the desire to reflect state of mind their heroines.
In those years, the Moscow Operetta Theater was located where the Satire Theater is now located, and was incredibly popular. It’s not enough to say that Muscovites loved operetta; they literally adored the artists and performances of this theater, many of which were constantly sold out. The theater troupe, in those years headed by Igor Tumanov, was not just good, but magnificent. A whole galaxy of brilliant, outstanding actors of the older and middle generation worked there, performing the traditional roles of classical operetta: “tailed-coat heroes”, “simpletons”, “comedians”, “heroines”, “soubrettes”. The “old people” reacted quite favorably to the appearance of a whole group of young actresses and actors, trying to convey to them an attitude towards the theater as their home. They themselves did not come here to work - they served the theater. This was their family, where everyone did the same thing. In the now distant 1950s of the last century, director Igor Tumanov perspicaciously noted that “Shmyga is the future of this theater.”
But Tatyana Ivanovna did not have to work with Igor Tumanov for long. He soon left the theater due to disagreements with the troupe over what the operetta should be. In most new Soviet operettas there was less and less genuine comedy, and traditional operetta fun, comedy and elegance gradually began to disappear. Under Tumanov, operetta quietly began to be replaced by a play with music, that is, the main element of the performance increasingly turned out to be the dramatic basis. Not all old actors could understand and accept this.
In January 1954, the theater troupe was headed by Vladimir Kandelaki. Tatyana Shmyga was then preparing, under the direction of Grigory Yaron, for her first role - Violetta in “The Violet of Montmartre” by Imre Kalman. “I loved my Violet very much,” Tatyana Ivanovna recalled, “later I played Ninon, and her sparkling “Carambolina” seemed to overshadow Violetta, but my Violet is very dear to me.” The period of work of Vladimir Kandelaki (who became Tatyana Ivanovna’s second husband), the main director of the Moscow Operetta, can be said to be the heyday of this theater. Vladimir Arkadyevich actively collaborated with the “aces of the cheerful genre” - Isaac Dunaevsky and Yuri Milyutin, and managed to attract such masters to write operettas Soviet music like Dmitry Shostakovich, Dmitry Kabalevsky, Tikhon Khrennikov, became the first director of the operettas “Moscow, Cheryomushki”, “Spring is Singing” and “One Hundred Devils and One Girl”. The period of Kandelaki’s work in the Moscow operetta is not only finest hour this theater, but also the flowering of Tatyana Shmyga’s talent and creativity. It was then that she played her best roles on his stage.
Tatyana Ivanovna’s first role was followed by work in the famous “White Acacia” by Isaac Dunaevsky, cheerful, bright, full of jokes and comedic situations. And this despite the fact that then from Soviet composers it was necessary not only to write music, but first of all to think about its ideological content. According to Tatyana Ivanovna, the main advantage of this operetta was its lyricism. “The music in White Acacia is simply wonderful,” she noted. “And it was with music that my passion for this operetta began.”
The Moscow production of “White Acacia” became a notable musical event of those years, and the famous song about Odessa performed by Shmyga soon became the anthem of this wonderful city. Even those who had never been either to Moscow or to the Operetta Theater knew about the performance, listened to it on the radio, and sang its easy-to-remember melodies.
Tonya Chumakova - Tatyana Shmyga. Operetta "White Acacia".
Soon followed the role of Chanita in Yuri Milyutin’s operetta “Chanita’s Kiss,” which became a milestone in the actress’s work. After playing this role, as Shmyga claimed, she gained faith in her abilities, the belief that she could play not only such modest, lyrical girls as Violet or Tosya. Chana was a different character. Outwardly, Tatyana Ivanovna modeled her character after the Argentine film actress Lolita Torres, beloved by Moscow audiences. The entire performance was prepared in a particularly elevated atmosphere. Its success, undoubtedly, was ensured thanks to the bright, colorful music, and colorful production, in which there was a lot of sun, sparkling colors, brightness, brilliance. This real feast for the eyes was created by director S. Stein and choreographer G. Shakhovskaya.
After the resounding success of “Chanita’s Kiss,” Yuri Milyutin wrote the operetta “The Circus Lights the Lights,” taking into account the fact that the Moscow Operetta Theater was to stage it first, and the role main character Gloria will be performed by Tatyana Shmyga. IN new job Tatyana Ivanovna had everything - lyricism, cascading scenes, romanticism, femininity, and soul.
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The famous cheerful and mischievous song “Twelve Months” in the rhythm of a fast foxtrot also became super popular.
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In the role of Gloria Rosetta, the singer rose to the heights of skill, creating a kind of standard of performing art. About this work of Tatyana Ivanovna, critic E.I. Falkovich wrote in her book dedicated to Shmyga: “When Tatyana Shmyga with her lyrical charm and impeccable taste found herself in the center of the performance, the catchiness of Kandelaki’s manner was balanced, it was given substance, the thick oil of his writing was set off gentle watercolor game Shmygi. With Gloria Rosetta-Shmyga, the theme of the dream of happiness, the theme of spiritual tenderness, charming femininity, and the unity of external and internal beauty were included in the performance. Shmyga ennobled the noisy performance, gave it a soft touch, and emphasized its lyrical line. In addition, her professionalism by this time had reached such high level that the artist’s performing art has become a model for partners.”
Actress Tatyana Shmyga plays the role of Gloria Rosetta.
From role to role, Shmyga improved her skills. The theater was improving, which we can rightly say she created together with Igor Tumanov and Vladimir Kandelaki, in which she was able to reveal herself precisely as an actress-singer, not content with a certain operetta role, but striving to create character and dramaturgy of images. It is no coincidence that at creative meetings with spectators and in interviews with journalists, Tatyana Ivanovna said that her desire had always been to rename the operetta theater into a musical theater.
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Soviet operetta has always remained at the center of Tatyana Shmyga’s repertoire and creative interests. Almost everything best works of this genre were performed with her participation: “White Acacia” by I. Dunaevsky; “Moscow, Cheryomushki” by D. Shostakovich; “Spring is Singing” by D. Kabalevsky; “Chanita’s Kiss”, “The Circus Lights Up” and “Girl Trouble” by Yu. Milyutin; “Sevastopol Waltz” by K. Listov; “Girl with Blue Eyes” by V. Muradeli; “Beauty Contest” by A. Dolukhanyan; " White Night» T. Khrennikova; “Let the Guitar Play” by O. Feltsman; “Comrade Love” by V. Ivanov and “The Furious Gascon” by K. Karaev. This is such an impressive list. These were completely different characters, and Shmyga found convincing colors for each of them, sometimes overcoming the conventionality and looseness of the dramatic material. The roles in these performances not only became landmarks in the creative life of the actress, but also largely determined the style of the new Soviet operetta, which today is difficult to imagine without festivity, carnivalism, without that wonderful fusion of beauty and harmony, enchanting flight and emotional intensity, plasticity and voice of Tatyana Shmygi. At the same time, Tatyana Ivanovna was always distinguished by her delicate taste, sense of proportion, special lyricism, and musicality. In her own words, she always started from music when starting work on new role, it was music that was the main component for her, as it gave the actress the most when creating an image.
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Tatyana Ivanovna prepared her roles with amazing inquisitiveness and care. Not only distinguished by its beautiful vocal performance roles and dramatic skill, but also endowing this or that image with depth and beauty female soul, natural grace and unique femininity. Whatever genre the actress worked in - classical, modern or musical operetta - she always strived to recreate the beauty of the image. The world of the female soul was a cross-cutting theme in Tatyana Shmyga’s work. Just the name of Tatyana Ivanovna on the poster for the next performance was enough to fill the hall. In the classical repertoire, after Violetta - her first role - operetta fans met her Adele from Die Fledermaus, Valentina from The Merry Widow and Angela from The Count of Luxembourg. In 1969, Tatyana Shmyga performed in new production“Violets”, but in the role of the “star of Montmartre”, prima donna Ninon. The success was amazing, and the famous “Carambolina” became popular for many years. business card actresses.
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In 1961, Tatyana Shmyga became an Honored Artist of the RSFSR. Soon, with the participation of the new chief director of the theater G.L. Anisimov, Tatyana Shmyga found something to do in a new direction. Her repertoire included a musical. In February 1965, the theater hosted the first premiere of the musical “My wonderful lady» F. Lowe, where she played the role of Eliza Doolittle.
Tatyana Shmyga as Eliza Dolittle in a scene from the operetta Frederica Lowe“My Fair Lady” staged by the Moscow Operetta Theater.
According to Tatyana Ivanovna’s recollections, she didn’t want to make Eliza look vulgar at the beginning of the performance. “This would be too straightforward a reading of the image,” Tatyana Ivanovna later wrote. “I saw in her warmth, sincerity, even lyricism - something from which Eliza the Lady would later emerge.” I didn’t want to over-exert myself in the first part of the performance. Otherwise, how could just a vulgar flower girl from the street, in front of the audience, turn into an intelligent, elegant woman with self-esteem? After all, nothing comes from nothing. This means that all this was inherent in Eliza by nature, and only suitable conditions were needed. So this performance, in my opinion, is not so much about the emergence of love, but about the acquisition of human dignity by a simple girl with a living soul.” The performance was a huge success, and a television film-play was even made for television. Later, in one of the television programs dedicated to the work of Tatyana Ivanovna, it was said that the famous performer of the role of Eliza in the American film Audrey Hepburn, having heard the heroine’s aria performed by Tatyana Ivanovna, said that now she knows the name of the Russian Eliza - her name is Tatyana Shmyga.
In 1962, Tatyana Shmyga was invited to act in films. She, a person devoted to the theater, was attracted by the opportunity to creatively communicate with talented actors and director Eldar Ryazanov in the film “The Hussar Ballad.” Shmyga played a small role in it as the French actress Germont, who came to Russia on tour and got stuck in the snow at the height of the war. In this film, Tatyana Ivanovna had very few words and a small vocal part. But even in these few episodes she managed to play a woman’s destiny.
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In November 1969, Tatyana Shmyga was awarded the honorary title of People's Artist of the RSFSR. Inspired by success and recognition, she brilliantly performed performance after performance. Having entered the period of creative maturity, Tatyana Shmyga, being an actress of fine psychological plan, embodied on stage all the charm of the operetta genre, which contained lyricism, sparkling humor, and pop extravagance. The combination of her inherent, unique timbre of voice with amazing stage plasticity and the excellent gift of not only a comedic and lyrical, but also a dramatic actress, created the acting phenomenon of Tatyana Shmyga, which allowed her to perform roles and vocal parts that were opposite in nature.
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However, there were not always successes and triumphs in Tatyana Shmyga’s life. She knew disappointments and defeats. In the theater in the early 1970s, Tatyana Ivanovna developed difficult relationships with director G. Anisimov, with whom Tatyana Ivanovna did not work well. In his performances, the theater that was capable of captivating the actress, which she created with Tumanov and Kandelaki, “disappeared.” That theater in which Shmyga revealed herself precisely as an actress-singer, not content with only an operetta role, but striving to create the image, depth and character of her heroine.
But giving up was not in Tatyana Ivanovna’s character. And the best cure for any sadness has always been work. Throughout creative path As an actress, along with her work in the theater, she also performed concert and touring activities. Tatyana Ivanovna’s repertoire included the roles of Marietta in “Bayadère” and Silva in “Silva” by I. Kalman, Hanna Glavari in “The Merry Widow” by F. Legare, Dolly Gallagher in “Hello, Dolly”, Nicole in “Quarters of Paris” by Minha and others productions. With them, the actress traveled almost the entire country. Her art was known and loved not only in Russia, but also in Ukraine and Kazakhstan, Georgia and Uzbekistan, Bulgaria, the Czech Republic, Slovakia, Brazil, the USA and other countries.
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In 1976, fate sent Tatyana Ivanovna a meeting with the conductor of the Satire Theater Anatoly Kremer, a talented musician and composer with a keen sense of the stage. For both of them this meeting became fateful. She gave them new love and a creative union, which enriched the Operetta Theater with bright musical performances, specially created for Tatyana Ivanovna. Among them were "Hispaniola, or Lope de Vega Prompted" in 1977, "Catherine" in 1984, "Julia Lambert" in 1993 and "Jane" in 1998.
The image of Catherine became one of the actress’s significant successes. Once upon a time, at the Mossovet Theater there was a performance based on I. Prut’s play “Catherine Lefebvre” (or “The Soldier’s Wife”), which Tatyana Ivanovna greatly appreciated. Now Kremer, together with the poet Alexander Dmokhovsky, wrote the libretto and created a performance that again demonstrated the actress’s brightest talent. In working on this role, Tatyana Ivanovna deliberately avoided reality in many ways. historical prototype- a rude laundress from the provinces and created a generalized image of a woman from the people who, thanks to her husband, Sergeant Lefebvre, became a duchess. Her Catherine was all in a rush. Purposeful, strong-willed, not without mischief and capable of deep feelings. Shmyga truthfully, convincingly and passionately conveyed the whole range of experiences and spiritual richness of her heroine. Before the audience appeared a woman who had to fight, defend herself and save soldiers herself.
In 1993, A. Kremer wrote the musical “Julia Lambert” based on S. Maugham’s play “Theater” (libretto by V. Zelinkovsky). It seemed that the authors took a serious risk by taking on this work, since before that the film “Theater” with the brilliant Via Artmane in the title role had been shown on television with great success, and the audience had something and someone to compare it with. But, as you know, television films and operettas are completely different types art. In addition, on the stage of the musical theater, S. Maugham’s play was built on the principle of a theater within a theater: its characters seemed to be playing out a play about the life of Julia Lambert, in which the great actress Julia Lambert was played by Julia herself, and this performance was her last, so how she ended her career on stage with it. In the finale, the heroine Shmyga thanked her colleagues, the audience, and the theater. This production was an incredible success. At the end of the performance, the audience always stood up and greeted the artists, and first of all, of course, the brilliant Tatyana Shmyga, with long applause. Along with “Catherine,” the theater’s repertoire continued to include A. Kremer’s musical “Jane.” Despite the fact that work on Jane’s vocal part was not easy (the composer seemed to have exceeded Shmyga’s vocal capabilities), singing this part, as Tatyana Ivanovna herself noted, ultimately turned out to be “not just convenient, but also interesting... Now I sing Jane better than anything else,” the actress admitted. Tatyana Ivanovna believed that thanks to the performances “Catherine”, “Julia Lambert” and “Jane” her stage life “extended beautifully, with meaning...”. Tatyana Shmyga said: “Three roles that every actress can only dream of. And these are not just other roles, unlike all those played before. This is a different theater."
Speaking about Shmyga as an actress of a synthetic type, one cannot fail to mention another page in her art - the role of Helena in the dramatic play based on L. Zorin’s play “Crossroads”, to which she was invited by the chief director of the Ermolova Theater V. Andreev. This work again revealed the full power of her skill and talent, thanks to which she was able to organically combine theater stage dramatic and musical art. This performance was a continuation of the famous “Warsaw Melody”. He told about the meeting of heroes at the end of the 20th century, but now they had no names; there were He and She, a man and a woman, again remembering their only true love, which fate gave them, and which they were not destined to save. The visual image of the heroine Shmyga remained unchanged throughout the entire performance - she was a beautiful and elegant woman. “However, the richness and expressiveness of gestures, intonations and vibrations of the voice accurately convey the complex inner life of the image, helping to create the subtlest emotional atmosphere of the performance. The actress carries out the entire role in one breath, in constant contact with the audience, who are sensitive to all the nuances of her performance,” critics wrote about Shmyga’s work.
In recent years, Tatyana Shmyga, along with her new role as a dramatic actress, has been an indispensable participant in the “Big Cancan,” conceived by director M. Burtsev and artist V. Arefiev as an enchanting gala concert of operetta theater stars. The actress performed the romance Germon from the film “The Hussar Ballad”. A small vocal number performed by Tatyana Ivanovna turned into a dramatic monoscene and a woman’s emotional confession. In “The Big Cancan” Shmyga also played Kalman’s Silva. “Unhappy love of a variety show actress, social status who is not given the opportunity to marry an aristocrat, Tatyana Shmyga embodies without the usual “overlaps” for the interpretation of this operetta, with genuine drama. Her Silva has everything: a feeling of love, hope, and piercing despair,” they wrote about her performance.
Over time, Tatyana Shmyga began to appear on stage less often, only two or three times a month, but the actress did not have to complain about the excess free time. Television filming, interviews, creative meetings and performances required a lot of time. Tatyana Ivanovna had major roles in the musical “Jane,” the operetta “Catherine,” and the dramatic play “Crossroads,” which meant that she was on stage the entire evening. Therefore, the actress had to always be in shape, which required a lot of daily work. “I have some kind of internal motor that doesn’t give me peace,” said Tatyana Ivanovna. - Such a character. My age and I walk on different sidewalks. So far I have succeeded. Music gives strength."
Creative evening by Tatiana Shmyga. In the photo Tatiana Shmyga with the soloist of the Moscow Operetta Theater Dmitry Shumeiko.
Tatiana Shmyga’s husband, Anatoly Kremer, said: “She was given youth from God - she didn’t have any braces, but she looked amazing. Shortly before his seventieth birthday, he comes home and laughs: “Tolya, can you imagine - I caught a car, a man of about thirty is driving. He didn’t recognize me - one of the young people who doesn’t go to operetta. He looks at me with interest and says: “What are you doing on Saturday evening?” From surprise, I was even speechless!”... Until now, the premises of the Moscow Operetta Theater are catacombs; no major renovations have been carried out in it for 30 years. And there are steep stairs everywhere. So Shmyga ran along them like a girl - knock, knock, knock... If only the clicking of heels was clearly heard in the building, everyone knew: it was Tan-Wan (as Shmyga’s colleagues jokingly called her) had appeared! But seriously, the heels contributed to her becoming seriously ill. On anniversary party on her eightieth birthday, her leg was already hurting. But she spent almost three hours on stage, and no one noticed the pain she was in. She sang “Carambolina” in the same stage costume in which she first performed the role of Ninon. Exact size".
Tatiana Shmyga and Alexander Kremer.
In 2001, the Vagrius publishing house published a book of memoirs by Tatyana Shmyga, “Happiness Smiled at Me,” in the “My 20th Century” series. Tatyana Ivanovna was never a member of the CPSU and did not take significant part in social activities V Soviet time. However, in the last years of her life, Shmyga actively demonstrated her civic position. In 2008, she signed an open letter demanding the immediate release of S.P. Bakhmina, and in 2010, an open letter demanding an objective investigation into an accident on Leninsky Prospekt involving the car of the vice-president of Lukoil. But she still believed that her calling was theater. Theater that makes the world kinder and more honest. The uniqueness of the actress received the highest praise from the people and the state. Tatyana Shmyga became the only operetta actress in Russia who received the title of People's Artist of the USSR and was awarded the State Prize of Russia named after M. I. Glinka. She was awarded the Order of the Badge of Honor, the Red Banner of Labor and the Order of Merit for the Fatherland, IV degree.
In 2009, Tatiana Shmyga’s anniversary evening was filmed at the Operetta Theater.
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Last years Throughout her life, the actress suffered from pain in her legs, but until the fall of 2009 she appeared on the stage of the Operetta Theater in the plays “Jane” and “Catherine.” In April 2010, when the pain became unbearable, Tatyana Ivanovna turned to doctors and was hospitalized at the Botkin Hospital, where she was diagnosed with serious problems with blood vessels - poor patency and thrombosis. Drug treatment and a series of surgical operations, including vascular bypass surgery, did not produce the expected effect. In the fall of 2010, doctors were forced to amputate her leg. Despite the efforts made, the actress spent the last weeks of her life in the hospital in extreme in serious condition complicated by coronary heart disease and blood disease. Anatoly Kremer said: “Tatyana Ivanovna lived a long life - 82 years, and could have lived even longer if not for the actions of the doctors. More precisely, their inaction. They killed her. “What are you treating for?” - I painfully asked them. In my opinion, they themselves didn’t know... She left us very hard, but she left behind the memory of her abyss of charm. How she managed to charm people, I don’t know. But the whole acquaintance with her was compared to the touch of a ray of light.”
On February 3, 2011, in the intensive care unit of the Botkin Hospital, at the 83rd year of her life, Tatyana Ivanovna Shmyga died.
Farewell to Tatyana Shmyga took place on February 7 at the Moscow Operetta Theater. After the funeral service, she was buried in Moscow on Novodevichy Cemetery. On February 1, 2013, a solemn opening ceremony of the memorial tombstone for Tatyana Shmyga took place at the Novodevichy Cemetery.
Was filmed in 2011 documentary"The queen lived among us."
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Text prepared by Tatyana Halina
Used materials:
Shmyga T.I. "Happiness smiled at me"
Falkovich E.I. "Tatiana Shmyga"
Litovkina A. “Under the shadow of operetta, and not only”
Materials from the site www.kultura-portal.ru
Materials from the site www.trud.ru
Materials from the site www.peoples.ru
Shmyga Tatyana Ivanovna (1928 - 2011)
The future star of Soviet operetta Tatyana Shmyga was born in Moscow. Her father, Ivan Artemyevich Shmyga, came from a family of Poles who evacuated during the First World War from the advancing German armies to the rear. Russian Empire. My father's real name was Mickiewicz, but when my grandmother remarried after the revolution, it was decided that instead of the well-known noble family It’s better for him to bear the surname of his stepfather Shmyga. Metalworker engineer Ivan Shmyga held a senior position at a large plant, and the family lived quite prosperously even in the difficult 1930s. Tanya's parents loved music, theater, listened to records by Leshchenko and Utesov, danced a lot and even won prizes at amateur competitions ballroom dancing... Tanya also became interested in music and dancing from childhood. She dreamed of a career as a singer, and while still a schoolgirl she took private singing lessons, then became an intern at the school at the Moscow Conservatory. Soon the talented girl was invited to join the choir at the Ministry of Cinematography, and Tatyana Shmyga became the soloist of this choir. Her first public performances took place in cinemas before the start of the screenings.
Then there was a music school named after. Glazunov, where Tatyana entered in 1947, then studied at the Faculty of Musical Comedy of GITIS. IN student years Tatyana also had her first great love. Her husband was Rudolf Boretsky, a future famous television figure and professor at the Department of Television and Radio Broadcasting, Faculty of Journalism, Moscow State University. But then the lovers were very young (Rudolph for two years younger than Tatiana, although she was just a girl), they treated marriage lightly and did not save the family.
In 1953, GITIS graduate Tatyana Shmyga was accepted into the troupe of the Moscow Operetta Theater. Her colleagues and comrades were such masters of musical theater as G. Yaron, V. Volskaya, N. Ruban, V. Shishkin, T. Sanina, V. Kandelaki. They warmly greeted the young artist. Tatyana Shmyga's first role - Violetta in "The Violet of Montmartre" - turned her into rising star operettas.
V.A. Kandelaki, who became the theater's chief director in 1954, soon became Tatyana's husband. The second husband was twenty years older than the actress, and many suspected her actions were calculated. But it was great love, and the fact that her chosen one was an adult, mature man with life experience, just attracted Tatyana, and did not push her away. They lived together for 20 years.
The operetta genre was more than popular in the 1950s. Tatyana Shmyga approached her roles responsibly, putting not only her whole soul into them, but also a lot of work. She played leading roles in the operetta “Chanita’s Kiss”, the premiere of which was timed to coincide with the Moscow international festival youth and students, in “The Bat”, “The Merry Widow”, “The Count of Luxembourg”.
Shmyga was recognized as the best performer of the role of Gloria Rosetti in the musical novelty of the national theater - Y. Milyutin’s operetta “The Circus Lights the Lights.” In "The Violet of Montmartre" she is offered a new role - the prima donna Ninon. Shmyga’s brilliant performance of “Karambolina-Karamboletta” will remain an unsurpassed masterpiece for a long time. Musical talent, magnificent voice, brilliant choreographic skills, beauty and extravagance inherent in the actress merge on stage into an enchanting bouquet, making her performance unique. In 1961, Tatyana Shmyga became an Honored Artist of the RSFSR.
A year later, she acted in films for the first time. Eldar Ryazanov offers her a small but bright role of the French actress Louise Germont in the film “The Hussar Ballad”.
In the 1960s, a new direction, previously considered “bourgeois”, penetrated into Soviet musical theater - the musical. Shmyga is quite capable of this genre; her Eliza Doolittle in the musical “My Fair Lady” by F. Lowe based on the play “Pygmalion” by B. Shaw became one of the most notable roles on the theater stage in 1965 and strengthened the fame of the actress. In the same year, the premiere of L. Bernstein's West Side Story was prepared; Tatyana Shmyga again won huge success by playing the role of Maria.
In 1969 T.I. Shmyga was awarded the title of "People's Artist of the RSFSR". She brilliantly performed all new roles - both on the stage of her native Moscow Operetta Theater, and in concert programs. The actress had over 60 roles, and each was a notable theatrical event. She also performed in classical productions musical genre, performing leading roles in operettas by I. Strauss, F. Lehár, J. Offenbach, I. Kalman, and in innovative performances to the music of D. Shostakovich (“Moscow-Cheryomushki”), K. Khachaturian (“A Simple Girl”), R. Gadzhiev (“Cuba is my love”), V. Muradeli (“Girl with Blue Eyes”), A. Dolukhanyan (“Beauty Contest”), T. Khrennikova (“White Night”) and others.
Tatyana Shmyga was the only actress of the operetta theater awarded the title “People’s Artist of the USSR.” She became a laureate of the State Prize named after. Glinka, had a number of high awards, including the Order of the Badge of Honor, the Red Banner of Labor, and the Order of Merit for the Fatherland, IV degree. At the same time, Tatyana Shmyga was never a member of the CPSU and did not take a noticeable part in Soviet-style social activities.
Tatiana Shmyga's third husband, composer and conductor Anatoly Lvovich Kremer, held the post of chief conductor of the Satire Theater orchestra, but at the same time worked a lot in collaboration with his wife. He is the author of the operettas “Espaniola”, “Catherine”, “Jane” and the musical “Julia Lambert”, the main roles in which were written for Tatyana Ivanovna. The relationship between the spouses was colored not only by great love, but also by true devoted friendship and complete creative understanding.
Tatyana Shmyga herself believed that nothing unusual happened in her life, there was only intense study and a lot of work put into her roles. " I don't have any biography, she once said to a journalist interviewing her. - I was born, studied, and now work. Cast my entire biography»…
Until 2009, Shmyga appeared on stage, then her health began to fail and, worst of all, her legs began to fail due to diseased blood vessels. The actress suffered from pain, underwent a number of difficult operations... In the end, her leg was amputated. This broke Tatyana Ivanovna. Soon she died. This happened on February 3, 2011.
But in the memory of many generations of viewers, Tatyana Shmyga remained young and beautiful.
Shmyga served one single theater for more than half a century - the Moscow Operetta Theater. Her name alone on the play poster was enough to fill the hall. Violetta from “The Violets of Montmartre”, Adele from “Die Fledermaus”, Diana from “Hispaniola” by Lope de Vega...
And Tatyana Ivanovna was young - both in soul and body. It is the privilege of old age to talk about age. But Shmyga was completely lacking in medical and pharmaceutical details. And at her 80th birthday, it seemed to everyone that only yesterday she was celebrating her 40th birthday in the same way. She sang and danced without being at all out of breath.
On the eve of her birthday, Shmyga’s husband, composer Anatoly Kremer, shared his memories with KP.
- Did Tatyana Ivanovna like to celebrate her birthday?
No, New Year mixed up all her personal plans. Congratulations on your birthday and New Year's holiday. On December 31, she tightly closed the doors in our house and did not answer the phone. But the calls kept coming through and that’s why we always wanted to go somewhere for the New Year. But she loved home very much: it was the best refuge for her. I sometimes joked with her: “Okay, Tanya, you sat on the broom.” This meant that she began to rush around the apartment with such speed - she knocked around any corner. Pass normally, but no - she flies. And bang! - bruise.
- Are the conversations about the death of operetta greatly exaggerated?
No, she will never die, although such a Shmyga, with her unique voice and plasticity, will not exist for another hundred years. After all, what is the stage today? This is a subculture, the corruption of people, when illiterate singers go on stage and organize competitions among themselves. If there is such an establishment called “Star Factory,” then art should be closed altogether. Tatyana Ivanovna thought exactly the same about the modern stage. I watched the program “The Phantom of the Opera” on TV, where the color of our show business appears. In operetta, even any beginner sings much better than these super popular singers. And I was shocked by the magnificent singer and man of taste Zurab Sotkilava, who was showered with compliments in front of Ani Lorak, who sang Shmygov’s “Karambolina”. “Ani, this is wonderful!” And Roman Viktyuk pulled him back: “Zurab Lavrentievich, remember Tanya Shmyga...”
After watching “The Sevastopol Waltz” with the participation of Shmyga, the audience in the hall cried. Her voice was not intended for opera, it was rather chamber voice - for a small audience.
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But the peculiarity of her timbre and penetration were admired. From an ensemble of ten people, I personally instantly distinguished Shmyga by his high vocal technique. The outstanding singer Ivan Semenovich Kozlovsky had a tiny voice, but what he sang could be heard in every corner. This is called the flight sound - it flies. The same unique feature Tatyana Ivanovna also had votes.
- What did she strive to convey to her students?
She had no students. She always said about teaching: “I can’t teach, it’s not my business.” All of Tatyana Ivanovna’s talent went into her acting craft. In her entire life, she acquired only two students, one of whom now lives in Australia, and the other, Tatyana Konstantinova, works as a theater director.
- Did you argue when discussing creative moments? You wrote five plays for Shmyga.
Yes, friction arose, but I suppressed it with an iron fist. He said: “You will not perform my work only if you prove that it is impossible from a professional point of view.”
- All her life Tatyana Ivanovna believed: “Age walks along one street, and I walk along another”...
Her youth was given to her by God - she did not have any operations, but looked amazing. She also had incredible performance. Even though she was not entirely healthy, she continued to play 3-4 performances a month. And every time before going on stage I trembled like a little girl. In general, she never philosophized or immersed herself in any thoughts or problems. When I asked her opinion: “Tanya, listen to what I wrote. Here to do this or that...”, she answered: “This is your skill - you write. My job is to play..."
- Is it true that Tatyana Ivanovna could not imagine herself without a powerful female weapon - heels?
Yes, she wore them all the time, even her house shoes had heels. Until now, the premises of the Moscow Operetta Theater are catacombs; there have been no major renovations in it for 30 years. And there are steep stairs everywhere. And Shmyga ran along them like a girl - tsk, tsk. If only the clicking of heels was clearly heard in the building, everyone knew: “Oh, it’s Tan-Wan (as Shmyga’s colleagues jokingly called him) has appeared!”
But seriously, she died because she was in heels all the time. At the anniversary party dedicated to her eightieth birthday, her leg was already hurting. But she spent almost three hours on stage, and no one noticed the pain she was in. She sang “Carambolina, Caramboletta” in the same stage costume in which she first performed the role of Violetta. Exact size. Tatyana Ivanovna lived a rather long life - 82 years, and could have lived even longer if not for the actions of the doctors. More precisely, their inaction. They killed her. “What are you treating for?” - I painfully asked them. I don't think they knew it themselves...
On December 31, 1928, a girl, Tanya, was born into an intelligent Moscow family - a future operetta actress who played more than sixty roles on stage and in films. Her father, Ivan Artemyevich Shmyga, was a Pole from a family that fled to Russia during the First World War, and bore his stepfather's surname. A metalworker by training, he worked at a large metropolitan plant as deputy director. The girl’s mother, Zinaida Grigorievna, had nothing to do with the theater, but Tanya’s parents loved art very much and were seriously interested in performing ballroom dancing.
Serious and silent Tanya dreamed of becoming a lawyer, but during her school years her passion for dancing and singing gradually turned into serious music studies. The girl began going to private singing lessons, and she discovered a wonderful voice - a lyric soprano. A new dream came - to make a career as a chamber singer. Tanya entered courses at the school at the conservatory, and soon she was invited to be a soloist in the choir of the Committee for Cinematography.
In 1947, Tatyana Shmyga became a student at the Alexander Glazunov Musical Theater School, and from there she moved to GITIS, to the department of musical comedy. According to the actress, a successful stage career consists of many factors, but the main one is good school, both vocal and dramatic. Tatyana was very lucky with her teachers - her course was led by Joseph Tumanov, and taught by Nikolai Titushin, Arkady Vovsi, Sergey Stein. In her first year of study, the young singer almost left the school, deciding that nothing would come of her. One of the teachers, actor Konstantin Mikhailov, stopped her, dissuaded her from writing a statement of expulsion and worked with the future actress additionally. In her fourth year, Tatyana lost her voice, but her teachers helped her cope with this problem.
In 1953, Tatyana received a diploma from GITIS, and Tumanov unexpectedly announced that he was taking the graduate into the troupe of the Moscow Operetta Theater, and into the main cast. The debutante’s first role was Violetta in Imre Kalman’s operetta “The Violet of Montmartre”. It was this image that predetermined her creative theme- special interest in young heroines, modest and unremarkable, but morally steadfast.
The operetta theater became a kind of graduate school for Tatyana Shmyga, because she worked with people who were in love with operetta. The theater staff greeted the new actress very warmly, and playing in the same productions with recognized masters of the genre was a real happiness.
Here Tatyana found personal happiness. While still a student, she married journalist Rudolf Boretsky, but this marriage did not last long - the actress met another man. In 1954, Joseph Tumanov became the chief director of the Moscow Pushkin Drama Theater, and his position at the Operetta Theater was taken by Vladimir Arkadyevich Kandelaki. The twenty-year age difference did not interfere with the romance that arose between the director and the young actress, and soon Tatyana became Kandelaki’s wife. In him she found not only a husband, but also an excellent mentor - Vladimir Arkadyevich managed to fully reveal her talent.
Tatyana Ivanovna later said that the ten years during which her husband directed the Operetta Theater turned out to be both the most difficult and the most interesting for her. The chief director's wife was not allowed to be sick, nor to choose roles, nor to refuse those offered. On this stage, she played almost all the heroines of “Soviet operettas”, sometimes painfully envying the actresses who received classic roles - the Circus Princess, Silva, Maritza, the Merry Widow... But such a repertoire posed difficult creative tasks for the actress: constantly changing roles, finding for different characters convincing colors and often overcome the looseness and conventionality of dramatic material.
In 1957, when the VI World Youth Festival was held in Moscow, the Operetta Theater staged a new play - “Chanita's Kiss” by Yuri Milyutin. Main role It was performed by Tatiana Shmyga. In the operetta by the same composer, “The Circus Lights Up,” she played Gloria Rosetti, a role that is considered one of the best in the actress’s work.
Her theatrical career It turned out quite successfully, although Tatyana never had the chance to play everything she wanted - there were very few classics in her repertoire. Very soon the actress turned into the leading soloist of the theater and gained recognition from the audience. If her name appeared on the theater posters, the hall was always full. Adele from “Die Fledermaus”, Valentina from “The Merry Widow”, Angel from “The Count of Luxembourg” - in all these and many other roles the actress had amazing success. In 1961, she received the title of Honored Artist of the RSFSR. Four years later, the premiere of Frederick Lowe's musical My Fair Lady, based on the play Pygmalion by Bernard Shaw, premiered, and Tatyana Shmyga played Eliza Doolittle. In 1969, she again performed in the production of her debut operetta “The Violet of Montmantra”, but in the role of the prima donna Ninon. Famous song“Carambolina” - Ninon’s couplets - became Tatyana’s calling card for many years.
In 1962, Shmyga made her film debut - she played an episodic but very striking role in Eldar Ryazanov’s “The Hussar Ballad” of the Frenchwoman Germont, an actress who came on tour and found herself in the thick of the war. Tatyana appeared on the screens more than once and, just as on stage, she shone incredible charm, amazing plasticity and undoubted dramatic talent.
In 1969, Tatyana Ivanovna Shmyga became the People's Artist of the RSFSR - the only operetta actress in Russia to receive this honorary title. She performed brilliantly in her mature years, retaining both feminine charm, youthful grace, and a magnificent voice.
Family life The actress' relationship with Vladimir Kandelaki lasted twenty years. Tatyana left him for composer Anatoly Kremer. Their first meeting took place back in 1957, but love came much later. The third marriage turned out to be the happiest and longest for Tatyana Ivanovna - she lived with Anatoly for thirty-five years, until her death. Kremer wrote several operettas for her - “Catherine”, “Espaniola”, “Julia Lambert”, “Jane”, and in all of them she played leading roles.
Tatyana Ivanovna Shmyga died on February 3, 2011 after a long illness. She was buried at the Novodevichy cemetery in Moscow.
In one interview, the actress said that her entire biography lies in the roles she played. And there is no doubt that Tatiana Shmyga’s work largely reflected the history of Russian operetta of the second half of the 20th century.
Tatyana Ivanovna Shmyga is often called the “queen of operetta”, putting into this concept a harmonious combination of her unique acting talent and natural musicality, the artist’s determination and the kindness of the human person, selfless work and devoted service to the only theater in her life - the Operetta Theater. The name Shmyga is respected and authoritative in musical world. It has long become a kind of brand of the art of operetta, and the titles, titles and awards that it has rightfully been awarded make up an impressive list.
For almost sixty years, she became the only People's Artist of the USSR in the history of the operetta genre (1978), laureate of the State Prize named after. M. Glinka (1974), laureate of the Presidential Prize of the Russian Federation (2001), was awarded the Gratitude of the President of the Russian Federation (2004), medals “Veteran of Labor” (1983), “50 Years of Victory in the Great Patriotic War” - ( 1995), “In memory of the 850th anniversary of Moscow” (1997), orders “Badge of Honor” (1967), “Red Banner of Labor” (1986), “For services to the Fatherland, IV degree” ( 1998), “For services to the Fatherland, III degree” (2008)
Her creative biography began on stage in 1953. Having studied first at the vocal department of a music school, and then at GITIS, young Tatyana Shmyga, along with several graduates, was invited by the master of the course, Joseph Mikhailovich Tumanov, to the Moscow Operetta Theater headed by him to participate in performances of the modern repertoire. But she made her debut in a performance of the classical repertoire - in the role of Violetta in Kalman’s operetta “The Violet of Montmartre,” staged by the legendary Grigory Yaron. “I don’t have any biography,” Tatyana Ivanovna once told an annoying journalist: “I was born, I studied, now I work.” And, after thinking, she added: “The cast includes my entire biography.” Rarely in theater world one meets a person so modest, who attaches so little importance to everything that is not directly related to art. The roles include not only the biography of the actress herself, but also the almost half-century biography of Soviet and Russian operetta, the complex and fruitful evolution of the genre, transformed not without the participation of her noble and meaningful creativity. Over the years of work in the theater, from a young, richly gifted artist with a voice of rare beauty, expressive plasticity, elegance and grace, Tatyana Shmyga has turned into a brilliant prima donna of operetta. But this did not happen by itself, but thanks to hard work, the highest demands and the desire to tirelessly improve my skills.
Her theatrical fate as a whole was happy. Along with the classics, the actress played heroines of Soviet operettas for many years. But even in them she created a whole gallery of memorable images of her contemporaries, demonstrating her inherent natural talent and at the same time revealing her already formed style great master. Shmyga became an unsurpassed performer of a whole galaxy of heroines in Soviet musical comedies– “White Acacia”, “The Circus Lights Up”, “Beauty Contest”, “Sevastopol Waltz”, “Chanita’s Kiss”. Her roles, so different in character, are united in an impeccable sense of truth, in the ability to be herself and at the same time completely different, new. She put into her work something more than just professionalism - the depth of the psychological content of the image, an interesting interpretation of the role, her thoughts about life and people. She brought her special dramatic style to the operetta stage, based on halftones, nuances and paradox, which turned given patterns into living people with all their advantages and disadvantages.
The creative path of T.I. Shmygi includes more than 60 roles on stage and screen. Among them are Violetta (“The Violet of Montmartre” by I. Kalman, 1954), Tonya Chumakova (“White Acacia” by I. Dunaevsky, 1955), Chana (“Chanita’s Kiss” by Y. Milyutin, 1956), Desi (“A Ball in the Savoy” by Abraham, 1957), Lidochka (“Moscow-Cheryomushki” by D. Shostakovich, 1958), Olya (“A Simple Girl” by K. Khachaturian, 1959), Gloria Rosetti (“The Circus Lights Up” lights" by Y. Milyutin, 1960), Angel ("Count of Luxembourg" by F. Lehar), Lyubasha Tolmacheva ("Sevastopol Waltz" by K. Listov, 1961), Adele ("Die Fledermaus" by I. Strauss, 1962), Delia (“Cuba, My Love” by R. Gadzhiev, 1963), Eliza Doolittle (“My Fair Lady” by F. Lowe, 1964), Maria (“West Side Story” by L. Bernstein, 1965 ), Galya (“A Real Man” by M. Ziv, 1966), Mary Eve (“The Girl with Blue Eyes” by V. Muradeli, 1967), Galya Smirnova (“Beauty Contest” by A. Dolukhanyan, 1967 .), Daria Lanskaya (“White Night” by T. Khrennikov, 1968), Ninon (“The Violet of Montmartre” by I. Kalman, 1969), Vera (“There is no happier me” by A. Eshpai, 1970), Marfa (“Girl Trouble” by Yu. Milyutin, 1971), Zoya-Zyuka (“Let the Guitar Play” by O. Feltsman, 1976), Lyubov Yarovaya (“Comrade Lyubov” by Ilyin, 1977), Diana the actress (“Espaniola, or Lope de Vega suggested” by A. Kremer, 1977), Roxana (“The Furious Gascon” by Kara-Karaev, 1978), Sashenka (“Gentlemen the Artists” by M. Ziv, 1981), and also leading roles in operettas: “Catherine” by A. Kremer (1984), “The Grand Duchess of Gerolstein” by J. Offenbach (1988), “Julia Lambert” by A. Kremer (1993) and “Jane” by A. Kremer (1998)… It is not possible to list even the most famous roles played by Tatyana Ivanovna on the stage of the operetta theater, because her repertoire is huge and covers an entire era in the history of the genre. Tatyana Shmyga was a frequent and welcome guest on radio and television. After the release of E. Ryazanov’s film “The Hussar Ballad”, where she played the French actress Mademoiselle Germont, the number of her fans increased many times, and Germont’s song, brilliantly performed by Shmyga, became one of the pop “hits”.
People's Artist of the USSR Tatyana Shmyga was, undoubtedly, the main actress not only of the Moscow operetta, but also of the genre itself as a whole. Her magnificent skill and brilliant performance serve as an example to follow. For a number of years she taught at GITIS, preparing a new generation of actors in the genre to which she gave her heart.
T. Atyana Shmyga belonged to that category of theater artists who never stop there. Until very recently, she performed a lot and actively on stage. The greatest actress of England, Julia Lambert from A. Kremer's musical "Julia Lambert" or Catherine, devoted to love and her sergeant Lefevre, from the operetta "Catherine" by A. Kremer, the luxurious widow of the industrialist Jane Fowler from the musical "Jane", specially written by composer A. Kremer for Tatyana Shmyga, all these heroines, masterfully played by a wonderful artist, have already gone down in the history of musical theater. And the performance of the duet Silva and Edwin from I. Kalman’s operetta “Silva” in the “Grand Cancan” together with Gerard Vasiliev can serve a shining example masterful mastery of vocal technique, regardless of age.
Tatyana Shmyga tried her hand at drama theater - a rather rare phenomenon in theatrical practice; musical theater actors rarely play in dramatic performances. Staged by People's Artist of the USSR Vladimir Andreev on the stage of the Theater. Ermolova's performance "Crossroads" ("Warsaw Melody - 98") based on the play by L. Zorin became a notable theatrical event in Moscow. It revealed the remarkable dramatic talent of the operetta actress, and T. Atyana Shmyga, as in the performances of the Moscow operetta, played her role without understudies.
In one of his interviews, director Roman Viktyuk, when asked who is the “angel” for him in the operetta, said: “Of course, Tatyana Shmyga! I remember Shmyga in her first roles. For me she was an almost religious bridge between life and theater with her incredible love to a life that has not died out to this day.” The bright, original talent of a wonderful actress, her enormous contribution to the development of not only the operetta genre, but also everything Russian theater In general, it has been repeatedly awarded with high government awards. But for the actress, the most important measure of success has always been the love of the audience, their recognition of her talent, her rich and inimitable creative life in art.