Born in Tashkent. She started studying music at the age of five. In 1994 she entered Kazan music school majoring in choral conducting. In 1998-2001 Studied at the Kazan State Conservatory named after. N.G. Zhiganov in the classes “choral conducting” and “opera vocals”.
In 2001 she was admitted to the Moscow State Conservatory. P.I. Tchaikovsky (class of Galina Pisarenko), then completed graduate school there (2007).
In 2004-06 - soloist of the Moscow Academic musical theater them. K. S. Stanislavsky and Nemirovich-Danchenko, where she performed the roles of the Swan Princess (The Tale of Tsar Saltan by N. Rimsky-Korsakov) and the Queen of Shemakha (The Golden Cockerel by N. Rimsky-Korsakov).
Since 2008 - soloist of the Tatar Academic state theater opera and ballet named after M. Jalil.
In 2006-08 improved at the Youth Opera Studio Houston Grand Opera , on the stage of which she performed the roles of Musetta (La bohème by G. Puccini), Lucia (Lucia di Lammermoor by G. Donizetti), Gilda (Rigoletto by G. Verdi) and Violetta (La Traviata by G. Verdi).
In 2008, the singer made her debut on Salzburg Festival as the Queen of the Night in Mozart's opera The Magic Flute (conducted by Riccardo Muti).
In the 2008/09 season she also sang Queen of the Night in German Opera in Berlin, Los Angeles Opera and made her debut as Gilda in Palm Beach Opera.
In the 2009/10 season she made her theater debut Metropolitan Opera as the Queen of the Night (The Magic Flute, staged by Julia Taymor). She performed the same part in Deutsche Oper am Rhein. She performed the role of Flaminia in J. Haydn's opera The Moonlit World (the opera was presented at the Hayden Planetarium in New York by the Gotham Chamber Opera).
In the 2010/2011 season she made her theater debut La Scala as the Queen of the Night (The Magic Flute, staged by William Kentridge, conductor Roland Behr). She performed the same part in State Opera Hamburg directed by Achim Freier and Vienna State Opera conducted by Ivor Bolton. Performed at the festival "Florentine Musical May"- participated in the performance of Mozart's Requiem under the baton of Zubin Mehta.
In the 2011/12 season she sang Queen of the Night at the Vienna State Opera and at the Barcelona Opera Liceo theater, Lucia di Lammermoor at the Deutsche Oper in Berlin, and in subsequent seasons she also performed this role at the Metropolitan Opera, Los Angeles Opera, Lyric Opera of Chicago, La Scala and the Mariinsky Theater.
The singer's concert repertoire includes works by Mozart, Beethoven, and Rossini. Fore. In 2005, she took part in the performance of Mozart’s Requiem as part of Svyatoslav Richter’s December Evenings. Participated in performances of Beethoven's Ninth Symphony and Mahler's Eighth Symphony with the Bolshoi symphony orchestra named after Tchaikovsky under the direction of Vladimir Fedoseev. With the Boston Symphony Orchestra she performed Rossini's Stabat Mater (conducted by Rafael Frübeck de Burgos), with the Houston Symphony Orchestra - a program of concert arias by V.A. Mozart and “Gloria” by F. Poulenc (conductor Hans Graf), with the National Symphony Orchestra of Denmark - L. van Beethoven’s Ninth Symphony (conducted by maestro Frübeck de Burgos). In the 2012/13 season at the Edinburgh Festival she participated in the performance of B. Britten's War Requiem. In August 2014, as part of the BBC Proms festival on the stage of the Royal Albert Hall, she made her debut in the cantata “The Bells” by S. Rachmaninov (performing the soprano part with the London Symphony Orchestra conducted by Edward Gardner).
Albina Shagimuratova collaborates with outstanding conductors - Riccardo Muti, James Conlon, Patrick Summers, Peter Schneider, Robin Ticciati, Andrew Davis, Adam Fischer, Alain Altinoglu, Laurent Campellone, Maurizio Benini, Pier Giorgio Morandi, Asher Fish, Valery Gergiev, Vladimir Spivakov and etc.
In 2010, the singer made her debut in Bolshoi Theater as the Queen of the Night (The Magic Flute by W. A. Mozart). In 2011, she took part in the production of the opera “Ruslan and Lyudmila” by M. Glinka, performing the role of Lyudmila (conductor Vladimir Yurovsky, director Dmitry Chernyakov). In 2012, she took part in the production of the opera La Traviata by G. Verdi (the role of Violetta, conductor Laurent Campellone, director Francesca Zambello).
From performances of the 2015/16 season: Violetta (La Traviata) in Tokyo, Constanza (The Abduction from the Seraglio by W.A. Mozart) at the Metropolitan Opera, Queen of the Night (The Magic Flute) at the San Francisco Opera, Donna Anna (“Don Giovanni”) at the Bavarian State Opera in Munich, the title role in the opera “Semiramide” by G. Rossini (concert performance at the Albert Hall in London).
Recent engagements include: Aspasia (“Mithridates, Rex Pontic” by W.A. Mozart) at the Royal Opera Covent Garden, Gilda (“Rigoletto” by G. Verdi) at the Deutsche Oper Berlin, Elvira (“The Puritans” by V. Bellini) at the Lyric Theater Chicago Opera, Violetta (La Traviata) at the Vienna State Opera and Houston Opera, Queen of the Night (The Magic Flute) at the Salzburg Festival, Vienna, Baden-Baden and Paris.
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Albina Shagimuratova - opera diva, mother and wife
Albina Shagimuratova. Photo: Pavel Vaan and Leonid Semenyuk
At the end of April, the debut of Russian opera singer Albina Shagimuratova took place at the New York Metropolitan Opera. More precisely, this was her first appearance on the famous stage in the role of Constance in Mozart's opera The Abduction from the Seraglio. Shagimuratova sang for the first time at the Metropolitan Opera in 2010.
She was born in Tashkent, where she lived until the age of 14, then moved to Kazan with her parents. She graduated from the vocal department of the Kazan Conservatory and graduate school of the Moscow State Conservatory. P.I. Tchaikovsky. A bright victory at the International Competition named after. P.I. Tchaikovsky in 2007 (First Prize and Gold medal) attracted the attention of the world opera community, and already in 2008 Shagimuratova was invited to the Salzburg Festival to perform the role of the Queen of the Night in Mozart's opera The Magic Flute. After a triumphant debut in Austria, major opera scenes the world began to show interest in the young singer. As a soloist, Albina Shagimuratova performed in the best opera houses in Italy, Great Britain, the USA, and Germany. She was awarded the honorary title of People's Artist of Tatarstan.
Critics evaluate Shagimuratova’s talent this way: “ She has a clear, large, flying, impeccable and precise sound, mastery of the bel canto style combined with a deep academic understanding of music and a subtle psychological elaboration of the dramatic image.».
Albina Shagimuratova on the stage of the Metropolitan Opera in Mozart's play “The Abduction from the Seraglio.” Photo: Elizabeth Bick for The New York Times
Albina, how did you prepare for new production at the Metropolitan Opera?
This is my fourth appearance in the Meta. I prepared for it with excitement, not least because maestro James Levine was at the conductor’s stand, and this was my first meeting with him.
Does the Metropolitan Opera live up to your expectations? The stage of which opera house in the world is closest to you?
It's difficult to pick the best one. But, of course, performing on the stage of the Metropolitan Opera is considered the most prestigious for opera performers and musicians from all over the world. I am grateful to fate that this is not the first time I have come out to see her.
The main difference between American opera stages and European ones is size. Opera houses in the USA are big. The same Metropolitan Opera has 3,700 seats. This is a lot for an opera singer. In Europe, theaters are small. But this does not mean that it is easier to sing there. There they love us, representatives of the Russian school, but treat us with caution and criticize us more intensely. The exception is perhaps Vienna. I don’t think about the size of the hall when I go on stage.
You have already had a long-term relationship with the New World: you improved your skills in Houston, studied with Renata Scotto...
Yes, I interned at the Houston Grand Opera for two years. It was an unforgettable experience. If only because I came to study without knowledge English language. IN recent years I come to the USA often, 2-3 times a year, performing in New York, San Francisco, and Chicago. So I have had and will continue to have close ties with America. Many American theaters invite me to perform.
Critics rarely rank New York among the classical art capitals of the world. They believe that everything staged here is designed for tourists, and there are not so many real connoisseurs of the same classical opera in New York...
I disagree! In America they love opera very much, the halls are always full. There are much fewer tourists in the hall than in the Vienna Opera.
And in general, how can you not love opera? This type of art is so popular today that it can compete with the stage.
How do you feel about the fact that today you can listen to opera at home - on TV or on a CD?
Personally, I prefer live performance. These are completely different emotions, completely different impressions that are not transmitted through a screen or headphones.
Do you often visit the auditorium?
I always try to attend productions in which I do not participate. First of all, in order to learn from other performers. Even if on short term I come to this or that theater and go to at least 2-3 performances.
In June, filming of the film “Anna Karenina” will begin in Russia, and you will play the role of the legendary Adeline Patti. Have you read the script yet?
Yes. Moreover, she has already recorded at Mosfilm with an orchestra Bolshoi Theater arias that will be heard in the film. I note that this will not only be my voice-over, I will be in the frame, in and on stage when Anna Karenina came to the theater for Patti’s concert. All this is in the novel by Leo Tolstoy. In June I will begin filming under the direction of Karen Shakhnazarov.
Both of your parents are lawyers by profession. Doesn't jurisprudence tempt you?
My dad loves music very much. He began his working career as an accordion player, and even received a diploma in music education. And I ended up at the law school almost by accident - I went to help a friend with entrance exams. At the same time, I passed the documents myself, then all the exams and entered.
At the age of 4 I started singing Tatar folk songs, dad accompanied me. A year later they started teaching me how to play the piano. Opera burst into my life when I was twelve: for the first time in my life I heard Maria Callas sing. Of course, it was a gramophone record. I still remember - La Traviata, Act IV, recorded in 1962 at the Mexico City Opera House. Violetta's death scene made me cry. After that, I asked my parents for only one thing - to buy me tickets to the opera house.
You are still hiding something in your recipe for success... Many of us admired the skill of great performers, many of us visited art galleries and opera houses. But neither artists nor opera singers the world never received... Is there some additional component?
Of course, you need luck, fate, luck. And, of course, voice and talent. Plus hard work. By the way, having not the most outstanding data, but working incessantly, you can achieve significant success in any profession.
Photo: Pavel Vaan and Leonid Semenyuk
In light of the latest doping scandals in sports, it has become even more clear that we need to protect ourselves from various temptations. What temptations does an opera singer have, and what should she be afraid of?
There are temptations and limitations. First of all, you need to get enough sleep and go to bed on time. A singer who hasn't gotten enough sleep is unlikely to please you with her performance. On the day of the performance - no alcohol. By the way, opera performers In principle, they don’t drink. With nutrition, everything is simpler - you can eat everything. In general, all we need is health, health, health... Our work schedule with constant moving from continent to continent is not easy to maintain. In 2016, I already managed to visit Austria, Great Britain, the USA, Japan, Norway, France, and performed with solo concert in his native Kazan. There are new performances and recordings ahead in London, Paris and Vienna. I'm looking forward to meeting my stage partner, Polish tenor Piotr Beczala, this fall in Chicago.
The day of the premiere, as well as any day of going on stage, passes without any special whims for me. Several times a day I certainly look into the score of the opera that I will perform in the evening. And so this is an ordinary day. Well, except that I allow myself to sleep more than usual.
Do you believe in omens?
No. Many of my colleagues believe: someone crosses the threshold of the theater with their right foot, someone walks out from behind the scenes onto the stage with their left foot. I am devoid of such prejudices. The main thing for me is to enjoy the performance myself, working at full capacity. Only in this case will the viewer be able to enjoy it.
Yesterday we celebrated Mother's Day in the USA. In Russia, mothers are congratulated on March 8th. What did your husband give you on this holiday?
I woke up and was lying on the bed huge bouquet my favorite yellow tulips. We don’t see each other as much as we would like now, and I also don’t always manage to take our little daughter with me, so we spend every free day together. My parents often come to Moscow, where we live, from Kazan. On March 8th, my mother-in-law and father-in-law visited us. I went to the stove myself and prepared pilaf and manti. Why are you surprised? Doesn't fit with the image? It's me on stage - opera singer, and at home - mother, wife. Happy birth of my child life priorities have changed so much that I structure my work schedule in such a way as to spend as much time as possible with my family, and even refuse to attend some theaters.
Where is yours work book?
At the Tatar State Opera and Ballet Theater named after. Musa Jalil, in Kazan. The director of this theater invited me back in 2007. He agrees that I travel a lot around the world, but on the condition of at least one of my performances in Kazan once a year. I intend to continue to keep my word.
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Albina Shagimuratova - opera diva, mother and wife
At the end of April, the New York Metropolitan Opera hosted the debut of the Russian opera singer Albina Shagimuratova in the role of Constance in Mozart's opera The Abduction from the Seraglio....
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Albina Anvarovna Shagimuratova(born October 17, 1979, Tashkent) - Russian and world opera singer (soprano), laureate of the International Competition named after. P.I. Tchaikovsky, People's Artist of the Republic of Tatarstan.
Education, beginning of creative activity
Albina Shagimuratova graduated from the vocal department of the Kazan Conservatory (2004) and graduate school (2007) from the Moscow State Conservatory. P.I. Tchaikovsky. A bright victory at the International Competition named after. P. I. Tchaikovsky in 2007 (First Prize and Gold Medal) attracted the attention of the world opera community, and already in 2008 Shagimuratova was invited to the Salzburg Festival to perform the role of the Queen of the Night in Mozart’s opera “The Magic Flute” under the baton of the famous maestro Riccardo Muti .
Albina Shagimuratova is an honorary graduate of the Houston Grand Opera studio. She is currently continuing her studies in the classes of Dmitry Vdovin in Moscow and Renata Scotto in New York.
Career
From 2004 to 2006 - soloist of the Moscow Academic Musical Theater named after. K. S. Stanislavsky and V. I. Nemirovich-Danchenko. From 2006 to 2008 she trained at the Houston Grand Opera (USA). Since 2008 - soloist of the Tatar Academic State Opera and Ballet Theater named after. M. Jalil.
After her triumphant debut in Salzburg, major opera stages around the world began to show interest in the young singer. As a soloist, Albina Shagimuratova has performed on the stages of La Scala (Milan), Metropolitan Opera (New York), Los Angeles Opera, San Francisco Opera, Chicago Lyric Opera, Royal Opera Covent Garden (London), Vienna State Opera, Houston Grand Opera, Deutsche Oper Berlin, Glyndebourne opera festival in England.
The singer’s creative life has been enriched by collaborations with such famous conductors as James Conlon, Zubin Mehta, Patrick Summers, Rafael Frübeck de Burgos, Peter Schneider, Adam Fischer, Vladimir Jurowski, Antonino Fogliani, Robin Ticciati, Valery Gergiev, Vladimir Spivakov.
Awards, titles
Laureate of international competitions: named after. M. Glinka (Chelyabinsk, 2005, 1st prize), named after. F. Viñas in Barcelona (Spain, 2005, III prize), named after. P.I. Tchaikovsky (Moscow, 2007, 1st prize and gold medal).
People's Artist of Tatarstan (2009). Laureate of the State Prize of the Republic of Tatarstan named after. Gabdulla Tukay (2011).
Laureate of the Russian National theater award « Golden mask"in the nomination "Female Role in Opera" (for the performance of the role of Lucia di Lammermoor in the performance of the Tatar Academic State Opera and Ballet Theater named after M. Jalil)
Prize winner music critics“Casta Diva” for performing the role of Lyudmila in the Bolshoi Theater play “Ruslan and Lyudmila” and Lucia in the Tatar Opera and Ballet Theater play “Lucia di Lammermoor”
Repertoire
part of Lyudmila (“Ruslan and Lyudmila”, M. Glinka);
part of Lucia (Lucia di Lammermoor, G. Donizetti);
part of the Queen of the Night (The Magic Flute, W. A. Mozart);
part of Gilda (Rigoletto, G. Verdi);
part of Violetta Valerie (La Traviata, G. Verdi);
part of Zaytuna (“The Poet’s Love”, R. Akhiyarova);
part of Adina (Elisir of Love, G. Donizetti);
part of Amina (La Sonnambula, V. Bellini);
part of Antonida (Ivan Susanin, M. Glinka);
part of Donna Anna (Don Giovanni, W. A. Mozart);
Manon part (Manon, J. Massenet);
part of Musetta (La bohème, G. Puccini);
Nightingale part (Nightingale, F. Stravinsky);
part of Flaminia (“Moonlight”, J. Haydn);
soprano part (“Stabat Mater”, G. Rossini);
soprano part (Eighth Symphony, G. Mahler);
soprano part (Ninth Symphony, L. Beethoven);
soprano part (Requiem, W. A. Mozart);
soprano part (“War Requiem”, B. Britten).
Tatarstan, June 1, AiF-Kazan. On May 17 she gave a concert at the Tatarstan Concert Hall, and on July 6 she will perform at the opening of the Universiade. “Having traveled around the world, I understand that I want to live in Russia,” says the singer, “no matter how good or bad our country is.”
Albina felt like a musician at the age of five: together with her father she performed Tatar folk songs on stage. He worked as a lawyer, but also had a musical education: he played the button accordion, composed songs and took his daughter to a music school. But she began studying to become an opera singer only at the age of 20, on the advice of the famous Tatar singer Khaidar Bigichev. Today the singer has no competitors among coloratura sopranos in terms of beauty of sound and mastery of the bel canto style.
- Albina, in the time of Chaliapin, basses were in fashion. Now is the time for sopranos, even men are trying to sing like women.
Because women are now much stronger than men. They strive to make a career and then get married. The family institution is changing.
- You travel a lot around the world. How do Europeans and Americans differ from Russians?
The French love art. What a Louvre they have! There is no such museum anywhere. Italians love their opera and pizza. Germans and Austrians are a bit pedantic. Spaniards are lazy...
Wherever I am, I am always drawn to Russia. I don’t know why, but I want to come here for at least a week. Breathe in Russian air, and then leave again. Some kind of magnet... My favorite place in Kazan is the Kremlin. Well, where else in the world is there a Kremlin? white? White is the color of purity...
I always come to Vienna with great pleasure. There is something bewitching about its palaces, parks, and ancient opera house. A very musical city. You enter the subway and a Strauss waltz sounds. Where else will you hear this? While Americans are always in a hurry to get somewhere, the Viennese, thanks to their love of music, are very soulful and calm. We need to learn this.
My second city is New York. It is especially beautiful at sunset, when the Manhattan skyscrapers light up. America is a very free, comfortable country, but the mentality there is not mine. You can learn efficiency from the Americans. They are workaholics, they can come to work at 5 am and work all day. But there is no soul, there is no our Russian sincerity... People behave somehow mechanically.
Russia, of course, has its disadvantages and its advantages. But, having traveled around the world, I realized: every country has its own problems, and my home is in Russia.
Our country was not like it is now even 10 years ago. In the 90s we saw only empty counters, rice and buckwheat on coupons. Now we have an average standard of living European country. This is an achievement for our state, which began its journey only in 1991.
- And yet there is a lot of dissonance in our lives.
The world today has become so narrowed down to mercantile interests that spirituality, humanity, and decency have faded into the background. I feel it every minute when I meet with different people different social strata.
Commercialism is increasingly asserting itself in the world of art. There is a lack of depth, a deep reading of the work, composition, and professional performance. What is ultimately lacking is vocal professionalism. Only a few teachers can teach you how to really sing.
Russian phenomenon
- But Russian singers, like no one else, are in demand in the West. What is their secret?
In phenomenal performance. Hvorostovsky, Netrebko, Guleghina were educated by their previous teachers. Labor also helped them. Will there be new generations Russian singers also in demand on world stages? This is a question...
TO opera singers Now there are completely different requirements than in Soviet times. You have to win competitions, get ahead, constantly prove something, know huge amount languages, parties, speak fluent English. If previously a Russian singer was provided with an interpreter at rehearsals when he participated in productions in the West, now he must do everything himself.
Scandal in Moscow: someone threw acid in the face of Bolshoi Theater artistic director Sergei Filin - a purely Russian phenomenon?
What happened to Filin is a huge tragedy - not only for the Bolshoi Theater, but for Russian culture in general. This is a return to the 80s and 90s of the 20th century. I think this would not happen in Europe...
In Russia, theatrical life has never been sweet - even 50-70 years ago. I don't know ballet world, but I can imagine how hard their job is. The profession of a singer is very dependent. We depend on the conductor, on the director, on the employer - in particular, on the theater director. Each singer’s management works differently: some are active, some are completely passive. Somebody general director The theater likes just such a singer, some don’t. That is, subjectivity in the evaluation of performers exists and will exist.
- How to overcome this?
Work, incredible ability to work. To sing even better, you need to constantly raise your professional bar and enrich yourself with new repertoire. Now my " business card" - Queen of the Night from Mozart's The Magic Flute. This part may be difficult, but it is a very rewarding part. Today only a few people sing it.
Don't lie to the public
- What is your life filled with, besides opera?
I read a lot. One of the most interesting books for lately- “Like a River” by Paolo Coelho. She allowed me to look at the world with different eyes. Think about what is really important.
There is practically no respect in society for each other or for other people’s opinions now. We are impatient and want to achieve everything at once. Make a career in five minutes. But there is a lack of fundamentality in education, correct, wise advice. We are rushing somewhere, earning money... But the soul leaves.
- But money is important for any person.
They help to lead a decent lifestyle - nothing more. It is important for someone to be a millionaire or multimillionaire. And for me creativity is much higher. Before each appearance on stage, I think about what I need to tell the audience. There were children at my concert on May 17 in Kazan. Surely they don’t go to opera concerts often. This means that I had to sing in such a way that they would fall in love with opera and, perhaps, would want to learn this most complex art and come to an opera performance again. Then they will grow up to be completely different people.
Tannhäuser: Opening a new column, I was going to start it with some world celebrity of the past... But I decided to move away from the stereotype and propose the wonderful and young voice of Albina Shagimuratova. I am sure that she fits well into the name of the column and her creative future will confirm this.. .)
People's Artist of Tatarstan
Laureate of international competitions
Laureate of the State Prize of the Republic of Tatarstan named after G. Tukai (2011)
Laureate of the National Theater Award of Russia "Golden Mask" (2012)
Albina Shagimuratova is a unique opera singer, a soprano with dramatic coloratura, rapidly gaining world fame with her unique timbre voice and filigree vocal skill. Clean, juicy, big, flying, impeccably accurate sound, mastery of the “bel canto” style, combined with a deep academic understanding of music and a subtle psychological elaboration of the dramatic image - this is Albina Shagimuratova’s calling card. Her high level her performances of the most complex opera roles of the world opera repertoire are winning recognition from the public all over the world, and the number of admirers of her talent is progressively growing. Solid printed publications, such as New York The Times, the London Times, Opera News, and the Italian Reppublica publish rave reviews from critics about the performances of the Tatar nightingale. Famous conductors of our time appreciate her musical talent; professional musicians predict a triumphant continuation of her stellar career for the singer. Albina Shagimuratova has become such a vivid example of the successful implementation on the opera stage of talent, phenomenal hard work and truly rare human qualities, once you learn about it, you can no longer remain indifferent either to the opera or to it itself!
Albina Shagimuratova was born in Tashkent (former Soviet Union) in 1979 in a family of lawyers. The interest in music maintained at home contributed to the discovery of her innate musicality - at the age of 5 she began studying in music school and was already singing Tatar folk songs on stage to the accompaniment of her father, who played the button accordion. From these first hesitant childhood steps in music to mature creative independence, Albina Shagimuratova walked a thorny path, full of extreme efforts and vivid emotional experiences, to which she always remained faithful no matter what, demonstrating since childhood the perseverance, hard work and strength of character characteristic of her.
Having moved with her family, after the collapse of the Soviet Union, to Kazan (Republic of Tatarstan, Russia), Albina entered the Kazan Music College named after. I.V. Aukhadeyeva in the class of choral conducting (1994-1998), and later continued to receive fundamental music education at the Faculty of Choral Conducting of the Kazan State Conservatory. N.G. Zhiganova (1998-2001). It was this period in the life of Albina Shagimuratova that was marked by the discovery of her extraordinary vocal abilities, the birth of love for opera art and the beginning of mastering the secrets opera singing. Subsequently, the singer graduated from the vocal department of the Moscow Conservatory. P.I. Tchaikovsky (class of Professor G.A. Pisarenko 2001-2004), and postgraduate studies there (2004-2007), completed an internship at the Youth Opera Studio at the Houston Grand Opera in the USA (2006-2008. ) and up to today never stopped improving herself, making demands on herself high class. After completing her internship in the USA, the singer was invited as a leading soloist to the Tatar State academic theater Opera and Ballet named after. Musa Jalil.
In the arsenal of Albina Shagimuratova’s early achievements, one can note: the title of laureate at the Open All-Russian competition opera singers "St. Petersburg" in 2003, the title of laureate at the international vocal competition named after F. Viñas in Barcelona (Spain - 2005), victory at the international vocal competition of M. Glinka (Chelyabinsk-2005), and victory at XIII International competition named after P.I. Tchaikovsky (Moscow-2007). But it was precisely from the moment of winning the 1st prize and the Gold medal at the International Competition named after. P.I. Tchaikovsky began the rapid career rise of Albina Shagimuratova. A striking victory at the competition attracted the attention of the world opera community and soon Shagimuratova was invited to the Salzburg Festival to perform the most difficult part - the Queen of the Night in Mozart's opera The Magic Flute under the baton of the famous maestro Riccardo Muti.
After this triumphant debut in 2008, major opera stages around the world began to express open interest in the young singer: as a guest soloist, Albina Shagimuratova performed on the stages of: Milan's La Scala Theater, New York's Metropolitan Opera, Los Angeles Opera, San Francisco Opera, Chicago Opera Lyric Opera, London's Royal Opera Covent Garden, Vienna State Opera, Houston Grand Opera, Deutsche Oper Berlin and the Glyndebourne Opera Festival in England. At the same time creative life The singer has been enriched by collaborations with such famous conductors as James Conlon, Zubin Mehta, Patrick Summers, Rafael Frübeck de Burgos, Peter Schneider, Adam Fischer, Vladimir Jurowski, Antonino Fogliani, Robin Ticciati, Vladimir Spivakov.
The singer's repertoire expanded at lightning speed, including more and more brilliant roles for soprano: Queen of the Night (The Magic Flute by W.A. Mozart), Lucia (Lucia di Lammermoor by G. Donizetti), Gilda (Rigoletto "G. Verdi), Adina ("Elisir of Love" by G. Donizetti), Violetta Valerie ("La Traviata" by G. Verdi), Flaminia ("Moonlight" by Haydn), The Swan Princess ("The Tale of Tsar Saltan" by N.A. . Rimsky-Korsakov), Queen of Shemakha (“The Golden Cockerel” by N.A. Rimsky-Korsakov), Donna Anna (“Don Juan” by W.A. Mozart), Amina (“Somnambulist” by V. Bellini), Lyudmila (“Ruslan” and Lyudmila” by M. Glinka), Antonida (“Ivan Susanin” by M. Glinka), Musetta (“La Bohème” by G. Puccini).
Albina Shagimuratova's performance schedule is filled with engagements as presenters opera houses world for several years to come. Despite the fact that active work with foreign theaters did not allow, to the singer’s great regret, to often perform in Russia, in her homeland, Albina Shagimuratova’s achievements also did not go unnoticed, winning among her compatriots an increasing number of fans in love with the “golden voice”.
In February 2009, by decree of the First President of the Republic of Tatarstan M.Sh. Shaimiev, Albina Shagimuratova was awarded the title of “People’s Artist of the Republic of Tatarstan”. 2011 turned out to be a landmark year for the singer - a number of remarkable events took place, reflecting the singer’s sincere recognition of her talent in her homeland. The current President of the Republic of Tatarstan, Rustam Minnikhanov, personally presented Albina Shagimuratova with the “State Prize of the Republic of Tatarstan named after G. Tukai.” Albina Shagimuratova was awarded the national theater award of Russia "Golden Mask" in the category "Best female role in the opera" (for the role of Lucia in the performance of the Tatar Opera and Ballet Theater named after M. Jalil "Lucia di Lammermoor"). And finally, Albina was entrusted with performing in the first premiere production of the play "Ruslan and Lyudmila" by M. I. Glinka - the part of Lyudmila.
Today her teachers and mentors are - great singer Renata Scotto and teacher, leader Youth program opera singers at the Bolshoi Theater of Russia Dmitry Vdovin. And in February 2012, the recording company Opus Arte released a DVD of the performance “The Magic Flute” by B.A Mozart on the stage of Milan’s La Scala theater, where Albina performs the role of the Queen of the Night.
Albina Shagimuratova is a creatively gifted singer and a major opera actress, and a person who reconciles the mentality of East and West. Having gone through all the obstacles and difficulties on the path to vocal perfection, strengthening her fighting character, she retained spiritual purity, captivating sincerity and charm. It is precisely this constellation of musical talent, vocal mastery brought to perfection and the deepest personal content that gives rise to masterfully soulful, realistic, three-dimensional images performed by Albina Shagimuratova, genuine in their drama!