Singer Natalya Dmitrievskaya took me captive from the first meeting - for a long time and seriously. This was five years ago, at the end of May 2004. At the Rostov Conservatory. S.V. Rachmaninov passed the state exam in the specialty " solo singing" The performance of 25-year-old N. Dmitrievskaya became a sensation: the girl sang the most difficult arias of the coloratura repertoire - Lakme, the Shemakhan Queen, the Queen of the Night and others, literally stunning the jury members the rarest freedom mastery of the voice, courage, stage freedom, amazing ease of sound in the extreme upper register. Natalia's vocal capabilities seemed truly limitless. The artistic director of Rostovsky, who sat on the jury musical theater Vyacheslav Kushchev immediately invited the girl to audition for the theater. N. Dmitrievskaya was accepted into the troupe, her performance was included in the encore concert program, with which the musical theater traditionally ends each season. Natalya brilliantly performed Lyudmila’s most complex Cavatina (“Ruslan and Lyudmila” by M.I. Glinka), and it became clear to everyone: a new star had shone on the musical horizon of Rostov.
N. Dmitrievskaya was born in Kislovodsk in creative family: father is a tenor singer who worked for 30 years in the Kislovodsk Philharmonic; Mom is a ballerina. Both of Natalya’s brothers played in the symphony orchestra of the Kislovodsk Philharmonic - however, the elder preferred business to music, and the younger, Andrei Dmitrievsky, still works in the philharmonic as deputy director and concertmaster of the group percussion instruments symphony orchestra.
After ninth grade, Natasha entered the music school named after. Safonov in Mineral water. It’s true what they say – it’s not WHERE to study that’s important, it’s WHOM FROM. Dmitrievskaya fell out happy ticket: she ended up in the class of the Honored Artist of Buryatia Olga Fedorovna Mironova, long years served in the opera houses of Ulan-Ude and Novosibirsk. Mironova graduated from the Novosibirsk Conservatory as a People's Artist of the USSR, one of the best Soviet mezzo-sopranos opera stage Lydia Myasnikova. Dmitrievskaya, thus, became the “vocal granddaughter” of the great Myasnikova. The education Natalya received at the school allows her to feel confident in her profession. When in 2000 the young singer entered the Rostov State University. Conservatory in the class of Professor M.N. Khudoverdova, Margarita Nikolaevna, a former brilliant singer and wise teacher, realized that Dmitrievskaya’s vocal school did not need polishing, and worked with the girl mainly on the artistic side of musical works.
At the Rostov Musical Theatre, Natasha met her love: a mutual attraction immediately arose between her and the orchestra’s trumpeter Vadim Fadin. In the summer of 2007, Natalya and Vadim became husband and wife. According to the horoscope, Natasha is Sagittarius on the border with Capricorn, Vadim is Virgo. “As befits a Virgo, Vadik is very gentle and unusually responsible by nature. I find it very easy with him. We have virtually no disagreements. Even our preferences, including musical ones, are mostly the same. We love Rachmaninov very much. Of the ballets, both for me and for Vadim, Spartacus comes first. My husband’s second love (I would clarify: the third - after Natasha and music - N.K.) is sports. He is engaged in bodybuilding, attends three times a week Gym. We both treat everyday life very calmly; it is not at the forefront of our minds,” says N. Dmitrievskaya.
Natalya is a laureate of two international competitions - XXI named after. M.I. Glinka (2005, IV prize) and the I International Competition for Young People opera singers Galina Vishnevskaya (2006, 3rd prize). In the fall of 2008, Natasha was given the honor of singing at the opening of the II G. Vishnevskaya competition. Galina Pavlovna asked the singer several times: “Didn’t you win first prize at our first competition?” This, by the way, is not the first such flattering assessment of N. Dmitrievskaya’s art from the lips of the “very best”. The outstanding pianist Alexei Skavronsky, hearing Natasha in Kislovodsk, exclaimed: “Girl, where are you from? They don’t sing like that in Moscow!” Shocked by the singing of Dmitrievskaya, then a second-year student at the Rostov Conservatory, Skavronsky asked the great Zara Dolukhanova to listen to Natasha. When the meeting took place, Zara Aleksandrovna, no less amazed than A. Skavronsky, suggested that the girl transfer from the RGK to the Gnessin Institute in Moscow, where she taught. Dmitrievskaya refused. Z. Dolukhanova gave Natalya several vocal lessons. One day Zara Alexandrovna gave up: “Your school is amazing, and I personally can’t teach you anything.” Natalya really appreciates the appreciation of her art by one of greatest musicians of all times and peoples by Mstislav Rostropovich, who sat on the jury at the 1st G. Vishnevskaya competition...
Today Natalya Dmitrievskaya is the leading soloist of the Rostov Musical Theater. Her repertoire is very impressive: Musetta (“La bohème” by G. Puccini), Rosina (“ Barber of Seville"G. Rossini), Gilda and Violetta ("Rigoletto" and "La Traviata" by G. Verdi), Marfa ("The Tsar's Bride" by N.A. Rimsky-Korsakov), Queen of the Night ("The Magic Flute" by W. Mozart), Michaela (“Carmen” by J. Bizet). Recently the premiere of the concert version of A.P.’s opera took place. Borodin "Prince Igor". In the small role of the Polovtsian girl, Natalya managed to captivate the audience with angelic singing, Once again proving the great K.S. right Stanislavsky: “There are no small roles, there are small artists.”
What determines the timbre and sound of a singer’s voice? Let us now discard the natural gift, vocal school, etc. My personal opinion: the sound of a vocalist depends on how he FEELS, whether he knows how to love and compassion, whether he serves God or his antipode. Natalya Dmitrievskaya carries a powerful charge of positive energy both on stage and in life. Her heroines are radiant and luminous, because Natasha herself is very sincere, open, generous man. For there are qualities that even a great actor cannot imitate, and inner light is one of these. Dmitrievskaya, both in life and on stage, is unusually feminine, I would say: divinely feminine. She dearly loves each of her heroines, but Violetta (La Traviata by G. Verdi) stands apart in the gallery of her stage creations.
For the first time, the artist sang this part on May 13, 2000 on the stage of the Pyatigorsk Operetta Theater for the 200th anniversary of the Caucasus Mining Waters, accompanied by the Pyatigorsk Symphony Orchestra. The opera was performed in concert. Natalya sang arias and scenes from La Traviata at each of the musical competitions in which she participated. The singer was introduced into the performance of the Rostov Musical Theater (produced by Susanna Tsiryuk) in the fall of 2007, on the eve of the tour opera troupe RGMT in England. The image of Violetta, like perhaps few others in the world's repertoire, gives the actress a lot of opportunities: there is so much subtext in this role that it is possible, without distorting the director's concept, to change the emphasis every time. “For me, the most difficult thing in this role is to play an uninhibited socialite in Act I, and especially that episode when the scantily clad heroine dances on the table during the performance of the most difficult aria,” says the singer. Well, God be with her, with the socialite, fortunately that is not the main thing about Violetta. In my opinion, the semantic dominant of the image embodied by Dmitrievskaya is the unconditional acceptance of everything that the Creator sent down to Violetta, almost Christian humility. And that is why there are no intonations of doom in this Violetta - even in the face of death. There is light, a premonition that soon her soul will ascend to heaven and find long-awaited peace.
The antipode of Violetta is the image of the Queen of the Night in Mozart’s “The Magic Flute” (produced by Konstantin Balakin). Before “Flute,” all the artist’s heroines were the personification of beauty, light and kindness. The combination of anger, vindictiveness and deceit in the character of the Queen of the Night was painful for Natalya - none of these qualities are present in her personal nature. In the play, the heroine has only two entrances, but each is accompanied by an extremely difficult aria. “When we were working on “Flute,” everything was seething inside me, but nothing came out. K.A. Balakin, as a wise director, sometimes tried to deliberately anger me as an actress in order to achieve the desired emotional state. And when the bitchiness began to pour out of me, the director was satisfied,” says N. Dmitrievskaya.
The director is important for an opera artist, perhaps even more than for a dramatic one. Natalya was lucky: she did her most significant roles in RGMT with Konstantin Balakin (except for the Queen of the Night, this is Musetta in La Bohème; Marfa in new version"The Tsar's Bride" 2007 - the play was played with great success on tour in England) and with People's Artist Russia by Yuri Laptev (Gilda and Michaela).
N.D.: Konstantin Arkadyevich gives the actor some minimum of proposed circumstances and does not prevent him from imagining other circumstances of the role. In The Tsar's Bride, Balakin very clearly built the relationships between the characters. This helped me “sculpt” my Martha. Yuri Konstantinovich Laptev has a different approach - he is a singer-actor himself, and often works using the method of demonstration. The main thing for an actor is good brains, which will allow you to extract rational grain from everything...
Natalya maintains a tender relationship with her teacher O.F. Mironova, who has lived in Moscow for a long time and teaches at Russian Academy theatrical arts. When Olga Feodorovna watched a disc with a recording of “Carmen” by the Rostov Musical Theater (Mironova herself successfully sang Michaela), she told Natalya: “You have grown up to Michaela - that says a lot!” Because it is extremely rare for the Queen of the Night and Michaela to coexist in the repertoire of one singer...
Yes, Natalya Dmitrievskaya took place. At every performance, every concert, she surpasses herself. She is already at that artistic level when there is no need to judge the vocals separately, the role separately. This is aerobatics.
Drawing parallels between artists is unseemly. But I'll still take the risk. If you look for an analogue to Natasha’s voice among luminaries, this is the fantastic, inimitable Australian singer Joan Sutherland - by the way, one of Dmitrievskaya’s idols. Both have the same type of voice - dramatic coloratura.
Natalia KRASILNIKOVA
February 18th, 2012 , 10:06 pm
The Rostov Rachmaninov Conservatory celebrates its 45th anniversary. IN great hall musical theater held a festive concert on February 15, in which graduates of the conservatory took part
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3. The orchestra was conducted by Alexander Polyanichko, Honored Artist of Russia, First Prize Winner of the VI All-Union Conducting Competition (1988). 
A. Polyanichko graduated from the Rostov Conservatory in violin class in 1977 with Professor M. Dreyer, as well as the faculty of opera and symphony conducting and an assistant internship at the St. Petersburg State Conservatory. H.A. Rimsky-Korsakov under the guidance of Professor Ilya Musin (1988). He was the chief conductor and artistic director State Chamber Orchestra of Belarus (1986-1989). He taught at the departments of opera and symphony conducting of the Leningrad and Belarusian State Conservatories (1986-1989).
From 1989 to the present – conductor Mariinsky Theater, with whose troupe he toured in European countries, as well as Israel, the USA, Taiwan, South Korea and Japan. He performs as a guest conductor on the stages of famous opera houses: Australian Opera, English National Opera, Bolshoi Theatre, Welsh National Opera, Royal Danish Opera, Deutsche Opera, Royal Opera Covent Garden, La Scala, Metropolitan Opera, Royal Norwegian Opera, San Francisco Opera, Paris National Opera, Stuttgart Opera, etc.
Works with presenters symphony orchestras Russia and the CIS countries, as well as Australia, Belgium, Great Britain, Denmark, New Zealand, Norway, France, USA.
Jury member International competition young opera singers named after. H.A. Rimsky-Korsakov (1995). Together with the Royal Baltic Festival and the Hermitage Music Academy, he regularly conducts international conducting master classes. Participant of many famous music festivals in Russia and abroad.
4.Natalia Dmitrievskaya Coloratura soprano. Graduated from the Rostov State Conservatory. Rachmaninov in 2004. Laureate of international competitions. Khachatur Badalyan. Tenor. Continues to study at the conservatory and since 2012 has been enrolled in the troupe of the Mariinsky Theater 
5.Agunda Kulaeva Mezzo-soprano, guest artist Bolshoi Theater and Novosibirsk academic theater opera and ballet, Sergey Muntyan Tenor graduated from the Conservatory in 2006, since 2007 soloist of the St. Petersburg Opera 
6. Gevorg Grigoryan graduated from the Rostov Conservatory in the class of Honored Artist of Russia Associate Professor P. Makarov in 2009, guest soloist of the Mikhailovsky Opera and Ballet Theater, Natalya Dmitrievskaya, Khachatur Badalyan
Laureate of the XXI International Vocal Competition. M.I. Glinka (IV prize, Chelyabinsk, 2005); I International Galina Vishnevskaya Opera Competition (III prize, Moscow, 2006); I All-Russian music competition Ministry of Culture of the Russian Federation (1st prize, Moscow, 2010).
Diploma winner of the All-Russian festival-competition of young vocalists named after. ON THE. Obukhova (Lipetsk, 2006) and the Sobinovsky Vocal Competition Competition music festival(Saratov, 2007).
Biography
Born in Kislovodsk.
In 1997 she graduated from the Mineralovodsk Music College named after V. Safonov with a degree in choral conducting.
In 2004 she graduated from the Rostov State Conservatory named after S. Rachmaninov with a degree in solo singing (class of M.N. Khudoverdova).
In the same year she became a soloist of the Rostov State Musical Theater.
Repertoire
Violet(“La Traviata” by G. Verdi)
Gilda(“Rigoletto” by G. Verdi)
Musetta(“La bohème” by G. Puccini)
Rosina(“The Barber of Seville” by G. Rossini)
Queen of the Night(“The Magic Flute” by W. A. Mozart)
Madame Hertz(“Theatre Director” by W. A. Mozart)
Michaela(“Carmen” by J. Bizet)
Serafina(“Bell” by G. Donizetti)
Marfa(“The Tsar’s Bride” by N. Rimsky-Korsakov)
Mimi, Musetta(“La bohème” by G. Puccini)
Iolanta(“Iolanta” by P. Tchaikovsky)
Tour
In 2007 and 2008 toured with the troupe of the Rostov State Musical Theater in Great Britain and Ireland (“La Traviata”, “The Tsar’s Bride”).
On tour in Italy she performed Mozart's motet "Exsultate, Jubilate" and took part in a gala concert with the orchestra of the Teatro Carlo Felice (Genoa) conducted by Maurizio Dones, where she performed arias and duets from the operas "The Barber of Seville", "Don Giovanni" and " Magical flute".
On tour in Barcelona, Madrid and other cities of Spain she sang the soprano part in V.A.’s Requiem. Mozart, K. Orff’s cantata “Carmina Burana” and L. van Beethoven’s Ninth Symphony.
In 2011, she took part in the tour of the Rostov State Musical Theater in Moscow as part of the All-Russian theater festival « Golden mask"(part of Yaroslavna in the opera "Prince Igor"). In the same year, she took part in the Moscow tour of the Rostov Musical Theater on the stage of the K.S. Stanislavsky and Vl. I. Nemirovich-Danchenko - “Prince Igor” by A. Borodin (Yaroslavna) and “The Tsar’s Bride” (Martha).
In 2010 she made her debut at the Bolshoi Theater as the Queen of the Night (The Magic Flute by W. A. Mozart).
In 2013, she took part in the production of the opera “The Child and the Magic” by M. Ravel at the Bolshoi Theater, performing the roles of Fire, the Princess and the Nightingale (conductor Alexander Solovyov, director Anthony MacDonald).
Natalya Dmitrievskaya has unique vocal abilities - a lyric-coloratura soprano with a very beautiful silvery timbre and a huge (three octaves) range. Even top-class masters are not unanimous in determining the type of her voice: Galina Vishnevskaya, after the singer’s performance at the third round of the competition that bears her name, asked: “Who inspired you that you are a coloratura? You are a lyric soprano with a good top and a full-blooded middle!” Dmitry Vdovin of the Bolshoi Theater perceived Dmitrievskaya's voice as "dramatic coloratura".
Today Dmitrievskaya is the undisputed prima donna of the Rostov musical theater. Her repertoire is very impressive: Mimi and Musetta (“La bohème” by G. Puccini), Rosina (“The Barber of Seville” by G. Rossini), Gilda and Violetta (“Rigoletto” and “La Traviata” by G. Verdi), Marfa (“The Tsar’s Bride” N. Rimsky-Korsakov), Queen of the Night (“The Magic Flute” by W. Mozart), Michaela (“Carmen” by J. Bizet). Dmitrievskaya the actress does not have a tragic attitude. Explosive, open temperament, rich, sharp, contrasting strokes are not her element. Her acting palette includes halftones and pastels. Dmitrievskaya is the type of creative personality that definitely needs a director, but one that allows the performer to fantasize about the details of the role.
“It seems to me that the main work of an actress on a role does not begin when you see an order for your appointment on the board. For me, such work is a continuous process, and much of it happens not at the level of consciousness. Of course, you try to read good literature - fiction, history, art criticism. I listen a lot to outstanding singers and watch recordings of operas. But if I got the role of, say, Gilda, I stop watching videos and just try to listen to different singers. In general, it is important for me to do in any role in a way that other performers, even the most famous ones, have not done. I really like to watch people in life, especially on vacation (sea, beach): here people, as a rule, are relaxed and take off their social masks. That’s when I’ll take a peek at them! This is a most exciting activity! The most interesting thing is to note the features of plasticity. All this is deposited in the treasury of my emotional memory, and when it is extracted from there, only the Creator knows: this is a spontaneous process,” the singer says about herself.
Dmitrievskaya carries a powerful charge of positive energy both on stage and in life. Her heroines are radiant and luminous, because Natasha herself is a very sincere, open, warm person. For there are qualities that even a great actor cannot imitate, and inner light is one of them. Dmitrievskaya is unusually feminine, but without extravagance, which is in abundance today on stage and on television. Her femininity is quiet. The actress dearly loves each of her heroines, but Violetta stands apart from her stage creations.
The artist sang this part for the first time shortly after finishing music school(May 13, 2000) on the stage of the Pyatigorsk Operetta Theater, accompanied by the Pyatigorsk Symphony Orchestra. The performance, dedicated to the 200th anniversary of the Kavminvod (directed by German Kiselev), was traditional.
In the production of the Rostov Musical Theater, performed by Susanna Tsiryuk, Violetta is one of the masks of the carnival: the carnival element brings the heroine to the surface of life, but this same element also absorbs her. According to Tsiryuk, tragic carnival masks symbolize the drama of Violetta, who is dying not of consumption, but of love. Dmitrievskaya’s heroine is the only genuine person at this carnival, because she strives to fill relationships with living feeling. The drama of this Violetta is the lack of demand for love, because there is no person in her circle whose ability to love would be commensurate with hers. Not everyone in life has the luxury of living without a mask: Violetta, as Dmitrievskaya imagines her, is in this sense the chosen one of heaven. Another important feature of the image is the unconditional acceptance of everything that the Lord sent down to Violetta. That is why there are no intonations of doom in it even in the face of death.
There is nothing more exciting for a creative person than to sculpt a character on stage that is diametrically opposed to his own. This is the role of the Queen of the Night in Mozart’s “The Magic Flute” (director - main director RGMT Konstantin Balakin). Before “Flute,” all Dmitrievskaya’s heroines were the embodiment of beauty, light and goodness. The task of presenting an insidious, vengeful fury at first seemed unrealistic: none of these qualities are in the actress’s nature. Balakin sometimes deliberately sought to anger the performer in order to achieve the desired emotional state. Thus was born an image that was not similar to the usual ones: Dmitrievskaya, skillfully using femininity and charm, showed us such a seductive bitch. In the arsenal of means to conquer men's hearts is a “particle of the devil” that lives in the depths of every true woman, making her unpredictable. The reproduction of the vocal side of the Queen of the Night (with extremely high tessitura and puzzling passages) is beyond all praise!
Director Graham Vick set different acting challenges for Dmitrievskaya in The Magic Flute on the stage of the Bolshoi Theater. The action of the opera is moved to the present day. The Queen of the Night is here socialite, and, as befits her, unusually seductive and sexy. She appears in a white fox fur coat, high heels, and a trendy short haircut. The three ladies from the Queen's retinue are modern, very beautiful, long-legged girls. In the first act they are dressed in police uniforms, in the second - in medical gowns, and in the finale they appear in tiger fur coats. And if in the first act the Queen of the Night enters the stage from a black Volga, then in the finale the car is transformed into a hearse. Three ladies, the Queen of the Night and Monostatos crawl towards this car, trying to escape. Dmitrievskaya's heroine pushes her partners away, gets into the car and drives away. The opportunity to work in such an unusual version of a familiar composition greatly fascinated the actress. A special revelation for her was the solution to the heroine’s second aria (“The thirst for revenge burns in my chest”), usually presented in an aggressive manner. Here the mother’s monologue sounds like a gentle reproach to her daughter: “I trusted you, but you betrayed me!” The Queen of the Night is a very young mother: if Pamina is 16-17 years old, then mother is a maximum of 34 years old.
Marfa in “The Tsar’s Bride” by N. Rimsky-Korsakov is not a winning role either in vocal or in dramaturgically. Often the performers of this part already in the aria of the second act (“In Novgorod we lived next to Vanya”) one can hear intonations of doom and foreboding of tragedy. In the performance of the Rostov Musical Theater (produced by Konstantin Balakin), Marfa Dmitrievskaya has no idea that there is evil on earth that will one day strike her. She is full of life, the joy of being. One of the paradoxes of this opera is that royal bride Marfa is on stage for a relatively short time. Gryaznoy and Lyubasha have much more vocal and stage material. With this balance of power, Dmitrievskaya manages to make her Marfa truly the center of the performance, its dominant. “The most difficult thing for me in the role of Martha is that there is no dramatic development of the character as such, and in the finale it is necessary to leave her as a girl who is not to blame for anything. She is like an atoning sacrifice. Passions are raging around her, and she sincerely does not understand why she was punished like that. And Marfa’s party needs a special voice—so cosmic, otherworldly,” Dmitrievskaya said about her work. She has this “cosmic, otherworldly” voice. In the fourth act, in the famous scene of madness, Marfa Dmitrievskaya is, as it were, beyond the bounds of earthly existence. In the aria “Ivan Sergeich, do you want us to go to the garden?” the crystal timbre of the young singer recalled the incomparable voice of the People's Artist of the USSR Galina Kovaleva - by the way, the idol of our heroine.
I will take the liberty to say: there is no singer in the world whose repertoire includes the Queen of the Night, Gilda and... Yaroslavna (“Prince Igor” by A. Borodin). The news that Dmitrievskaya is being cast in this role (produced by Yuri Alexandrov) stunned even vocal connoisseurs: Yaroslavna’s part is very strong, not very comfortable in tessitura, requiring a “meaty” center and full-voiced lows. Rostov music lovers, admirers of Dmitrievskaya’s talent, were especially alarmed: would the singer weaken her voice by immersing herself in the dramatic cauldron of Borodino’s music?
Dmitrievskaya “sculpted” the role of Yaroslavna with Yuri Alexandrov, who is famous in professional circles caring attitude to the nature of the actor. In an interview on the eve of the premiere of “Prince Igor” in Rostov, he said: “I don’t stretch my concept to different performers: what is within the control of actor N., for example, is unacceptable for actor H. - simply due to his physical characteristics. I am convinced: the ability to bring to life the special, individual qualities of a particular singer is the director’s most important task.”
When working with Dmitrievskaya, Alexandrov was guided by the appearance, texture, and specificity of the voice - light, agile, flighty. Yaroslavna Dmitrievskaya is flexible and plastic. This young woman is almost a girl: fragile, vulnerable, but she has inner strength, unostentatious dignity - personal and feminine. These qualities of Yaroslavna-Dmitrievskaya turned out to be especially important in the scenes with Galitsky and with the boyars (finale of the first act). The director did not seek dramatic richness of sound from the singer; on the contrary, he asked her to sing lightly and not overload the lower register. Yaroslavna Dmitrievskaya was perceived as a symbol of eternal femininity.
The actress brilliantly performs the scene of Yaroslavna's Lamentation. The ending was decided by Alexandrov as an action taking place beyond the threshold of earthly existence. Aged, gray-haired Yaroslavna turns to the Sun, the wind, and the Dnieper. Dmitrievskaya’s expressive plasticity, her “singing” hands, impeccable command of vocal intonation (and this is the main means of creating character in opera) in the Lamentation scene make the audience freeze. The actress, with her performance, seems to be making us understand: here on earth, everything is vain, transitory, and we should live our lives in such a way that we are allowed to return to Upper world. Yaroslavna Dmitrievskaya, like her Violetta and Martha, atoned for earthly sins with suffering, and therefore her soul, ascending to heaven, found peace...
Natalya Dmitrievskaya succeeded as a singer and an actress. Today she is able to successfully perform parts written for lyric, lyric-coloratura and, as it became clear recently, even for lyric-dramatic soprano. The actress is just over thirty - wonderful age for creativity and faith: all the best on stage and in life is ahead...