Biography. Sati Spivakova: biography, personal life, family, children Artistic director of the National Philharmonic Orchestra of Russia

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Honored Artist of the RSFSR (10/27/1978).
People's Artist of the RSFSR (03/28/1986).
People's Artist of the Armenian SSR (1989).
People's Artist of the USSR (02/28/1990).
People's Artist of Ukraine (1999).
People's Artist of the Republic of North Ossetia-Alania (2005).
People's Artist of the Republic of Dagestan (2013).
People's Artist of the Republic of Bashkortostan (2014).
Honorary member of the Russian Academy of Arts.

Already in 1957, the young musician received first prize at the Leningrad White Nights competition and made his debut on the stage of the Leningrad Conservatory. Ten years later, in 1967, Vladimir Spivakov graduated from the Moscow State Conservatory in the class of Professor Yuri Yankelevich. However, Vladimir Spivakov also calls David Oistrakh a teacher - while studying at the Conservatory, he was a volunteer in his class.

By the end of the conservatory, the talented musician was already known to colleagues from other countries.

In 1975, after triumphant solo performances in the USA, his brilliant international career began. Maestro Spivakov has repeatedly performed and continues to perform as a soloist with the best symphony orchestras and the most famous conductors in the world. Professional criticism from the world's leading musical powers notes the quality characteristic features Vladimir Spivakov's performing style is a deep penetration into the author's intention, richness, beauty and volume of sound, subtle nuances, emotional impact on the audience, brilliant artistry, intelligence. Vladimir Spivakov himself believes that if someone finds the above-mentioned advantages in his playing, it is, first of all, thanks to the school of his famous teacher Professor Yuri Yankelevich and creative influence his second teacher David Oistrakh. However, Yuri Yankelevich Spivakov can be grateful not only for his brilliant school: until 1997, Vladimir Spivakov played the violin made by the master Francesco Gobetti, given to him by Professor Yankelevich. Since 1997, he has been playing a violin made by Antonio Stradivari, given to him for lifelong use by patrons of the arts - fans of his great talent.

1979 is the year of Vladimir Spivakov’s conducting debut with the Chicago Philharmonic Orchestra. In the same year he created the Moscow Virtuosi chamber orchestra and became its permanent artistic director, chief conductor and soloist. This was preceded by serious and many years of preparatory work and conducting training with the renowned professor Israel Guzman in Russia and the famous conductors Lorin Maazel and Leonard Bernstein in the USA. At the end of his studies, Bernstein gave Spivakov his baton, thereby symbolically blessing him as a beginner but promising conductor. Since then, the Maestro has never parted with this conducting baton.

In 1983, the orchestra received the official name “State Chamber Orchestra of the USSR Ministry of Culture “Moscow Virtuosi””. Over the 25 years of its existence, “Moscow Virtuosi”, under the leadership of Vladimir Teodorovich, have toured almost all major cities of the former USSR, Europe, the USA and Japan, took part in the most famous international music festivals, such as Salzburg, Edinburgh, Florentine May, New York, Tokyo, Pompeii, Lucerne, Colmar.

Spivakov's career as a conductor is developing no worse than Spivakov's as a soloist. He performs in the best concert halls of the world, conducting concerts of American symphony orchestras (Chicago, Philadelphia, Cleveland, New World Symphony), European orchestras of La Scala, Santa Cecilia Academy and many others.

In 1989 he created the International Music Festival in Colmar (France), a permanent musical director which he is to this day. During this time, many outstanding musicians performed at the festival and musical groups.

Since 1994, he has taken the baton from N. Milstein to conduct annual and master classes in Zurich. Many music competitions invite Vladimir Teodorovich to the jury.
For the last few years, she has been annually participating in the work of the World Economic Forum in Davos (Switzerland) as a UNESCO Ambassador of Art.

Vladimir Spivakov has been involved in charity work for many years. Together with the “Moscow Virtuosi” orchestra, he gave concerts in Armenia immediately after the terrible earthquake of 1988, in Ukraine 3 days after the Chernobyl disaster... The touring archive of the “Virtuosi” includes numerous concerts for former prisoners of Stalin’s camps, hundreds of charity concerts throughout the former Soviet Union.

In 1994 he created the International Charitable Foundation, which helps young talents and orphans. The concerts of the foundation's fellows attract no less attention than the performances of famous orchestras led by Vladimir Teodorovich. He believes that the national idea Russia has children who need to be loved, taught, raised. The maestro is confident: through beloved and desired children, Russia will be happy.

prizes and awards

State Prize of the Russian Federation (2012) - “for outstanding achievements in the field of humanitarian work.”
USSR State Prize (1989) - for concert programs of 1986-1988.
Lenin Komsomol Prize (1982) - for high performing skills.
Prize of the All-European Academy of Munich “For outstanding achievements in the field of musical art” (1981).
Prize "Golden Ostap" (1993).
Award “Person of the Year” in the “Idol” category (2002).
National award of public recognition “Russian of the Year” in the nomination “Russia Without Borders” - “for outstanding achievements in shaping the image of a single Russian nation with common historical and cultural roots and rich spiritual traditions” (2005).
Ovation Award in the Classical Music category (2008).
The Choc de la Musique "Range d'Or" award is an award from the French press for the best recording.
1st prize at the White Nights festival competition in Leningrad (1957).
3rd prize at the Long and Thibaud International Violin Competition (Paris, 1965).
2nd prize at the Paganini International Violin Competition (Genoa, 1967).
1st Prize at the Montreal International Performing Competition (1969).
2nd prize at the International Tchaikovsky Competition (Moscow, 1970).

Orders and medals:
Order of Friendship (12/17/1994).
Order of Merit for the Fatherland, III degree (08/09/1999).
Order of Merit for the Fatherland, II degree (09/2/2009).
Order of Merit (Ukraine), II degree (2009).
Order "Danaker" (Kyrgyzstan, 2001).
Order of St. Mesrop Mashtots (Armenia, 1999).
Order of Arts and Letters (Officer, France, 1999).
Order of the Legion of Honor (France, Knight since 2000, Officer since February 1, 2011).
Medal " Olive branch"(Armenia, 2001).
Order "Patrons of the Century" (2005).
International public order "Golden Falcon" (2005).
UNESCO Mozart Gold Medal (2009).
“UNESCO Artist for Peace” - for “the musician’s outstanding contribution to world art, his work for peace and the development of dialogue between cultures” (2006).
UNESCO Goodwill Ambassador (1998).
"Best Musician of Radio 1" (1999).
Honorary Doctor of Moscow State University named after M.V. Lomonosov (2002).
Honorary citizen of the city of Tolyatti (2004).
Honorary Citizen of the City of Colmar (Spain, 1999).
Certificate of honor from the Moscow City Duma (09/15/2004).
Prize of the Government of the Russian Federation in the field of culture (2010) - for the creation of the Vladimir Spivakov International Charitable Foundation.
Prize of the city of Moscow in the field of literature and art (nomination “Educational activities”) (2013) - for the creation and holding of the International Festival “Moscow Meets Friends”.
Prize in the field of culture and art “Stars of the Commonwealth” (Council for Humanitarian Cooperation and the Interstate Fund for Humanitarian Cooperation of the CIS Member States, 2011).
G. Tovstonogov Prize “For outstanding contribution to the development of theatrical art” (2012).
Order of Merit for the Fatherland, IV degree (2014)
Order of the Badge of Honor (1980) - for great job on preparation and holding of the Games of the XXII Olympiad
Order of Prince Yaroslav the Wise, V degree (2004)
Order of Francis Skaryna (Belarus, 2014)
Order of Merit for the Republic of Bashkortostan (2013) - for great contribution to the development of musical art, active public and charitable activities
Gratitude from the President of the Russian Federation (2004) - for services to the development of musical art and many years of creative activity.
Certificate of Honor from the Moscow Government (2009) - for his great contribution to the development of musical art, active social and charitable activities and in connection with the 65th anniversary of his birth.
Order of Daniel of Moscow, 1st degree (2014) - in recognition of his special contribution to the development of musical and performing arts, for cooperation with the Russian Orthodox Church in the field aesthetic education youth and in connection with the 70th anniversary of his birth.

Born on September 12, 1944 in the town of Chernikovsk, Bashkir Autonomous Soviet Socialist Republic, which is currently part of the city of Ufa. Mother - Ekaterina Osipovna Weintraub, a pianist, graduated from the Leningrad Conservatory and spent her entire life giving concerts. Father, Theodor Vladimirovich Spivakov, a process engineer by profession, volunteered for the front and was seriously wounded. From his parents - his father, a front-line soldier, and his mother, a siege survivor - Spivakov from childhood adopted the spirit of sacrifice and helping those suffering. Wife – Spivakova Sati (nee Sahakyants Satenik), dramatic actress, GITIS graduate, author and presenter of television programs. The son from his marriage to Victoria Postnikova is Alexander Rozhdestvensky. Daughters: Ekaterina, Tatiana, Anna.

After the end of the war, the family moved to Leningrad. The boy's first musical impressions were entertaining his mother on the piano. At the age of six, Volodya began studying violin with B.E. Kruger. At first he entered the regional music school, then, in 1955, he entered the secondary special music school at the Leningrad Conservatory. L.M. Seagal and V.I. Sher gave him strong training. As a volunteer, Spivakov also attended the painting school at the Leningrad Academy of Arts. For the purpose of self-defense, he began to practice boxing, later receiving the 2nd category.

In 1957, a 13-year-old violinist took part in the competition for the first time, at Leningrad festival"White Nights", where he received first prize. Further, while still studying at the music school at the conservatory, Spivakov performed at the All-Russian competition for young performers. His abilities were noticed, and he was offered to transfer to Moscow to continue his studies. Without finishing school at the Leningrad Conservatory, in 1961 Spivakov enrolled as a violinist in the Central Secondary Special Music School at the Moscow Conservatory, in the class of Yu.I. Yankelevich (until 1963). In 1962 he was present in Leningrad at a memorable meeting with 80-year-old I. Stravinsky, during his visit to the USSR. Living in a boarding school in Moscow, he organizes excursions to the Tretyakov Gallery for younger schoolchildren with his own explanations. He himself continues to paint under the guidance of A.V. Butorov.

In 1963, Vladimir Spivakov entered the Moscow State Conservatory. P.I. Tchaikovsky on violin in the class of Yu.I. Yankelevich, his former teacher. From the class of this professor, in addition to Spivakov, came the entire ranks of world-famous violinists: I. Bochkova, T. Grindenko, G. Zhislin, P. Kogan, L. Markiz, V. Tretyakov, N. Shkolnikova, E. Alikhanova and others.

The range of works studied in Yankelevich's class extended from the old Italians - Tartini, Locatelli, Geminiani, Vivaldi - to the impressionism of Debussy and, moreover, the expressionism of Berg. As a volunteer, Spivakov attends the class of the outstanding David Oistrakh. Painting takes up countless amounts of time, and Yankelevich had to insist that Spivakov leave painting and completely choose music as his profession.

1965 3rd year student Vladimir Spivakov performs at the first foreign competition - the International Competition of Violinists and Pianists named after M. Long and J. T, because in Paris he takes third place, receiving the title of laureate. Under the conditions of the “Iron Curtain” of that time, this was a great period in the life of the Soviet musician. Spivakov receives permission to travel to Hungary with the delegation of the Komsomol Central Committee.

In 1967, he was sent to the most difficult foreign violin competition - named after N. Paganini in Genoa - where he, a 5th year student, received second prize.

In 1968, Spivakov graduated from the Moscow Conservatory as a violinist. Next two years, from September 1, 1968 to

September 1, 1970, undergoes an assistant internship at the Moscow Conservatory, invariably with the same Yankelevich. In 1969, he went to the next International Competition - in Montreal (Canada) and returned with a victorious result - first prize.

By this time, he had been married for several years to a pianist with an even greater future, Victoria Postnikova, a laureate of several international competitions. In 1970, Spivakov became a laureate of the most difficult music competition in the world - named after P.I. Tchaikovsky in Moscow (second prize and silver medal). His wife also receives a bonus. Three months before the competition, their son Alexander is born, who later decided on his father’s specialty - violin. Postnikova marries a second time, to a conductor

G. Rozhdestvensky, the one who adopts Alexander and gives him his last name - Rozhdestvensky.

At the end of his assistant internship, Spivakov receives orientation to the Moscow Philharmonic. Yankelevich, having attended his student’s concert, said significant words to him: “You know, I felt happy at the concert because I saw: you don’t need me anymore.” The authoritative review of D. Oistrakh was high: “Vladimir Spivakov is one of the best young representatives of the Soviet performing arts, who have gained popularity and love among music lovers in many countries. His playing is characterized by a subtle and deep understanding of the style of the works he performs, an aristocratic taste, impeccable virtuoso skill, and a dazzling artistic temperament.”

1975 was the year of Spivakov’s brilliant debut in the USA. His appearance with a chamber program at the Lincoln Center in New York created such a sensation that, moreover, after the first movement (Beethoven's Sonata in C Minor), the hall stood up. But in 1977, just in the famous New York concert hall Carnegie Hall, a political incident occurred: a can of paint and an explosive device was thrown at the violinist - the American Jewish Defense League was trying to disrupt the concert of the Soviet musician. The audience gave a standing ovation, and the next day an apology from US officials was published in the American press. Soviet newspapers wrote about the “perseverance and courage” of the Soviet artist. In 1978, the violinist was awarded the honorary title of Honored Artist of the RSFSR.

Having become a recognized solo violinist, in the 70s Vladimir Spivakov began participating in various chamber ensembles: string quartets, trios, and duets. His participation as a soloist in performances with the State Chamber Orchestra, founded by R. Barshai, became a promising work: in this place he mastered dozens of works by Mozart, Vivaldi, Corelli, Albinoni, Boccherini.

Teaching became another area of ​​activity for Spivakov. Famous choral conductor V. Minin, being the rector of the Russian Academy of Music (then the Musical Pedagogical Institute) named after the Gnessins, invited him to work at that same university.

From October 1972 to May 1990, Vladimir Teodorovich taught there, receiving the academic title of professor. His students scattered throughout the cities of the USSR: Murmansk, Kursk, Chisinau, Odessa, Moscow, etc. Some became winners of international competitions, for example, K. McDermott (USA) received a diploma at the P.I. Tchaikovsky competition, B . Garlitsky (Moscow) - prize at the N. Paganini competition, a few second prizes at international competitions where first ones were not awarded.

Vladimir Spivakov is seriously thinking about the specialty of a conductor. Like many violinists, he could not help but see the insufficiency of the violin repertoire. The internal need for such a turn was compared with how the artist V. Shukshin became a writer. He chooses I.B. Gusman as a teacher and studies with him for about five years, in Nizhny Novgorod (Gorky) and in Moscow. In the future, on occasion, he takes individual consultations with the most famous foreign conductors - L. Maazel, L. Bernstein. Vladimir went through a huge professional school, performing as a soloist under the direction of K. Abbado, S. Ozawa, R. Chailly, B. Haitink.

In 1979, he again made a triumphant tour of the United States: as a violinist he performed in Pittsburgh, New York, Los Angeles, Cleveland, Washington (Library of Congress Hall) and Dallas. In chamber programs he is accompanied by pianist B. Bekhterev. In Cleveland, L. Maazel gives the soloist a photo with the inscription: “The indescribable genius of the violin.” The public and media, who remember Spivakov well from past years, receive him enthusiastically. “Spivakov’s virtuosity has never been in doubt since his first concert in New York in 1975, but such entertainment as in Carnegie Hall cannot leave anyone indifferent,” wrote the New York Post.

A turning point in the musical life of the 35-year-old artist was his conducting and symphonic debut in the United States with the world-famous Chicago Symphony Orchestra at the Ravinia Summer Festival (1979). Before that, he gave concerts in Spain and England - the tour took on an important character. The American press wrote: “The young Sovdepov master V. Spivakov is a representative of the Russian violin school. His playing is characterized by excellent sound, unfettered virtuosity, majesty, elegance, dignity" (New York Times). Also in connection with the Chicago conducting debut: “Spivakov makes Mozart hum both as a violinist and as a conductor”; “Spivakov is a real conductor” (Chicago Sun-Times). The Soviet press also gave laudatory reviews: “Successful tour” (“Trud” February 2, 1979), “Carnegie Hall applauds,” “This is an amazing violinist” (O. Polyakovsky, “ Soviet culture» 16 Feb. And

The year 1979 entered Spivakov’s creative life as a particularly significant one due to the fact that it was precisely then that the creation of his own group took place, the leadership of which brought him the widest worldwide fame for decades - the chamber orchestra “Moscow Virtuosi”. Illustrative models for Spivakov were the capital's chamber orchestra of R. Barshai, the Italian Virtuosi of Rome, the Prague and London chamber orchestras (he was even invited to lead the final). The novice conductor conceived his orchestra as a composition of fabulous virtuosos and selected only competition laureates, students of Yankelevich, Oistrakh, Rostropovich. He considered the existence of good human qualities to be no less important. In addition, the orchestra was composed only of men, not tied to home and children. The concertmasters were members of the Borodin Quartet, Yu. Bashmet.

The debut date of “Moscow Virtuosi” is considered to be a performance in Nizhny Novgorod (Gorky) on June 20, 1979.

On June 15, 1982, the orchestra acquired official status: the State Chamber Orchestra of the USSR Ministry of Culture “Moscow Virtuosi”.

Among the creative principles of the director of “Virtuosi” is the seriousness, nobility of chamber music, its accessibility, and the desire to help young talents by providing first-class accompaniment for their solo performances. Naturally, I was attracted by the possibility of trying my musical forces in a new repertoire. The range of musical styles covered eras from the 17th to the 20th centuries, countries - Europe and America, genres - from church to entertainment.

In stage behavior, certain habits were practiced, introducing a touch of theatricality. The specificity of the “Virtuosi” repertoire was that Spivakov began to introduce something witty and entertaining as encores, making the audience joyfully perk up (be it the Polka of J. Strauss or the Prelude of D. Shostakovich).

The professionally newly formed chamber orchestra is rapidly growing and gaining recognition. Its distinctive qualities are the extraordinary unity of the ensemble and irresistible expressiveness. Later they wrote about it as follows: “A wonderful ensemble of soloists who understand each other’s friendship in one breath, and play as a single voice” (New York Post).

The press enthusiastically accepts, at one time, the Spivakovites’ interpretation of the great musical classics. In Austria, Mozart’s homeland, they write: “In the blink of an eye, the first-class metropolitan ensemble showed us how relaxed and without problems, and therefore extremely convincingly, it is not forbidden to perform Mozart. Every thought is pronounced with pleasure, every sound is a tangible bliss for both musicians and listeners. There are no “passing” or empty phrases here, and you feel this effort, this naturalness of breathing, as if it comes from yourself” (“Di Presse”).

In Spain - about the incarnation of Bach with the participation of the Basque choir “Orpheon Donostiarra”: “Together with the “Moscow Virtuosi” they performed the Mass of J.S. Bach. This concert was an outstanding monument to Bach and was an unforgettable event, comparable only to the best concerts of the West Berlin Philharmonic under Karajan, the Philadelphia Symphony Orchestra under Ormandy and the Paris Orchestra under Maazel. Bravo!" (In the mirror of the press // Musical existence, 1985 No. 18, p. 7).

The extreme expressiveness of the performances of high-class musicians, witty encores, and elements of theatricality created classical orchestra popularity, which began to be compared with the success of pop stars among the public. Thus, the orchestra performed a powerful role in culture: it introduced hundreds of thousands of people to classical music who had not previously come into contact with it.

“Moscow Virtuosi” amazed with the number of performances - up to 120 per year, in different countries ah peace, most of all in your own country. For example, the concert period 1984/85. Autumn: festivals in Edinburgh, London, Wales, its own festival in Yerevan (12 concerts - in the best halls, and also a state farm, at a border post), Children's Theater in Moscow, Bratislava musical celebrations, other cities of Slovakia, Leningrad - mutual master classes with the Bolshoi Drama Theater under the direction of Tovstonogov, a festival in Chisinau, 25 concerts in Germany and Austria. Winter: the Russian Winter festival in Moscow, the Tchaikovsky House-Museum in Klin, the end of Vysotsky’s Memorial Day at the Taganka Theater, concerts in Madrid, Moscow again. Spring: Rostov, Donetsk, “Florentine May”, Milan, Chelyabinsk, Odessa, Moscow again - the end of the day of memory of Yankelevich. Summer: Istanbul Arts Festival, Almaty, Tashkent, Baku, Budapest. (E. Barankin. “Moscow Virtuosi”: Four Seasons. Musical Life, 1985, No. 18, pp. 6-7).

An important creative contact was the acquaintance of V.T. Spivakov with the famous American composer and conductor L. Bernstein. They first met in the mid-80s at a performance in Salzburg on Mozart's birthday, when the leading one was the soloist and the second one was conducting. Bernstein gave Spivakov his baton here.

The leader of the “Moscow Virtuosi,” who “had a heart in the beginning,” who was ready to “cry with those who weep,” had a heightened sensitivity to human troubles all the way and immediately came to help.

An act of self-sacrifice and tremendous courage was the departure of V. Spivakov and his orchestra to Kyiv a few days after the explosion of the nuclear reactor in Chernobyl. The scale of the musician’s personal courage turns out to be identical to the scale of his artistic creativity. “Moscow Virtuosi” turned out to be the only composition that came to the “Kyiv Spring” in 1986. “When we took the stage at the Philharmonic Hall,” Spivakov recalled, “those minutes will forever remain in my memory. People stood in the hall and cried. Half of them are liquidators, sick people, in fact. The musicians on stage also cried. After the concert, people came up to us, many of whom were listening to classical music live for the first time in their lives, and thanked us with tears in their eyes. This is what connects us all more than any speeches, toasts, or feasts.” (I. Lapinsky. “Moscow Virtuosi” in Kyiv. The audience gave a standing ovation. Financial Ukraine, 12/17/1996, p. 1).

On the 10th anniversary of the tragedy, Spivakov organized an international charity event “Echoes of Chernobyl” (in Kyiv and Dnepropetrovsk): joining his orchestra with the choir of the Accademia di Santa Cecilia from Rome and soloists from Germany, Poland, and the USA, he realized Mozart’s Requiem and “Farewell Symphony” » Haydn.

After the catastrophic earthquake of 1988 in Spitak, for a trip to Leninakan (three months later), Spivakov composed a Requiem composition from the poems of A. Akhmatova, performed by A. Demidova and the music of D. Shostakovich - Chamber Symphony (arrangement of Quartet No. 8). Spivakov also took part in the days of remembrance of the victims of the Spitak earthquake: in concerts of the Armenian Philharmonic in Yerevan, then in France, in the Gaveau Hall in Paris (2001).

The year 1987 was marked by the 500th concert of the Moscow Virtuosi. In 1989, Vladimir Spivakov was awarded the USSR State Prize for the musical programs of 1986–1988. In 1990, he received the honorary title “People’s Artist of the USSR.” In 1992, the 1000th concert of the Moscow Virtuosi was celebrated.

With the aforementioned Chamber Symphony of D. Shostakovich, Vladimir Spivakov created a deep sensation abroad. So, in 1988 in Hiroshima, after its sound, two and a half thousand gentlemen stood up and stood for a few minutes in complete silence. At a concert in Dachau, where there was a famous concentration camp, men in the hall were crying, and the musicians sat with tears in their eyes.

By the end of the 1980s, a crisis arose in the Moscow Virtuosi team.

Serious economic problems arose in the country; the severity of everyday problems threatened the very existence of the team. At the same time, viruoses from Moscow enjoyed success abroad. Under these conditions, the musicians turned to Spivakov with a request to dig up a plan to save the orchestra somewhere abroad. Following their insistence, the conductor turned to the royal family of Spain, with whom he was friendly, and received consent to move the orchestra together with their families. In the fall of 1990, 150 gentlemen arrived in the North of Spain, in the area of ​​Gijon and Oviedo. The artists were financed by the Foundation of Prince Philip of Asturias, the son of the Spanish king: a choral group was under his patronage, and an orchestra has now been added. “Moscow Virtuosi” stayed in this place until the spring of 1997.

According to the contract, the orchestra was obliged to give 10 concerts a year for Spain, but otherwise could dispose of itself at its own discretion. The head of the team made extensive use of this possibility.

In 1991, he held a memorable performance in St. Petersburg of his composition based on Handel’s “Messiah” with the participation of the Asturian choir and with the reading of Zweig’s texts by the Bolshoi actor drama theater V. Strzhelchik. Concerts were sold out in Great hall Moscow Conservatory, for example in 1994, during the performance of Vivaldi’s “Stabat mater” and Albinoni’s violin concerto. In the mid-90s, the Moscow Virtuosi held 13 concerts in the United States (the head of the orchestra also conducted the Houston and San Francisco symphony orchestras).

As a “star,” Vladimir Spivakov began to be increasingly invited to elite events in the Russian capital.

Highly appreciating the skill of Russian musicians, the leaders of Spain tried to keep them as tightly as possible to themselves. An offer was received from Barcelona, ​​with the highest payment, but on one condition: instead of the “Moscow Virtuosi”, the orchestra would become the “Barcelona Virtuosi”. Spivakov flatly refused. Thanks to the Spivaks, a different civilized climate arose in Asturias: two new symphony orchestras appeared, some chamber orchestras, opened music schools, a substantial current concert hall was rebuilt. The prudent Spaniards created the new orchestra at the opera house in Gijon precisely with the participation of “Virtuoso Call” in mind. But all this became a threat to the existence of the Moscow ensemble, and there was fermentation in the orchestra.

Spivakov did not intend to gain a foothold in Spain. After the first term of the contract, Spivakov found an apartment for himself in Paris - at the cultural crossroads of Europe and not so close to Oviedo. By this time he already had a second family, children were born, who began to exist in the capital of France. In 1984, he married the Armenian actress Satenik Sahakyants, who became Sati Spivakova. Her dad was a violinist, a student of Yankelevich, and she herself graduated from school in piano. At the age of 20, Sati became famous thanks to her leading role in the opera film Anush. She occasionally performed on stage reading poetry, hosted her own program on Central Television in Moscow, and published a biographical book about Spivakov, “Not All?” (M.: Vagrius, 2003). The book presents outstanding people with whom the musician met: Queen Sofia of Spain, S. Parajanov, B. Okudzhava, G. Tovstonogov, V. Strzhelchik, A. Sobchak, I. Menukhin, L. Bernstein, M. Plisetskaya, M. Rostropovich , G. Vishnevskaya, Y. Bashmet, E. Svetlanov, T. Quasthof, J. Norman and others. In 2004, under her editorship, the photo album “Fleetingness” was published (for the 60th anniversary of Spivakov, with his texts - M.: Music) . In life, she is a faithful comrade and assistant to her husband. They have three children - Ekaterina, Tatiana and Anna (the latter was born in Paris). After the death of Spivakov’s sister Elizaveta, Vladimir Teodorovich took her daughter to him.

During the period of organizational difficulties with his orchestra, Spivakov carried out few large-scale organizational actions. In 1989 he became artistic director music festival in Colmar (France) - and quickly made that same festival one of the most prominent in Europe. In 1994, he created the Vladimir Spivakov International Charitable Foundation in Moscow, which over time acquired national and global importance (founded on May 20, executive manager - E. Shirman). In the same 1994, the artist agreed to a new teaching job - master classes in Zurich (until 2005).

The head of the Moscow Virtuosi clearly understood that his orchestra would only have a full-fledged existence in Moscow. He really saw positive changes in the life of the country - freedom of speech and will, better financial conditions. Spivakov began persistently negotiating the fate of the orchestra with the head of the Moscow city administration, Yuri Luzhkov, and in 1997 received permission to patronize the orchestra from the Moscow City Hall with the status of the State Chamber Orchestra.

In Russia, by this time he had already established the tradition of giving pre-New Year concerts with the Virtuosi. They were expected, they were tuned in, it was always a dazzling, jubilant celebration.

It was during this very period of time that Spivakov, who became a man of the world, became particularly aware of the value of Russia for him: the memory of childhood, the first, brightest discoveries of the young consciousness, the mentality of Russian musicians, the listeners who often stood behind the whole dark time of the day. a ticket to his concert.

Vladimir Spivakov did not take root in the West. He and more than half of the “Vir-Tuozov” team returned to Moscow. A number of excellent musicians who were part of the orchestra remained abroad.

Spivakov began completing the “Virtuosos” on a Russian basis. A shift took place in a spiral: before the maestro sat musicians of another generation, old enough to be his sons, but anew - full of ability and enthusiasm.

And only with the laying of the stone for a new concert complex on the Red Hills did the Moscow Virtuosi begin to hope to have a close haven in the capital.

Since 1997, “Virtuosi” began to increase the number of performances and quickly increased the number of concerts to 100 per year. At the same time, Spivakov began to invite famous singers to the country, who had never been heard in Russia under any circumstances. His performances in 1997 with the German bass-baritone T. Quasthoff (also in Kyiv) had a huge resonance. In the same year, Russian premiere“Russian photographs” by R. Shchedrin, dedicated to the “Moscow Virtuosi” and their leader.

A constant happy moment accompanied the rejuvenated “Virtuosi” abroad: in 2000 they played at the prestigious London Barbican, at the Altes Opera in Frankfurt am Main. On the latest occasion, the media reported: “The interest of music lovers in the concerts of the Moscow Virtuosi orchestra is traditionally high. In the evening

On April 16, at the Old Opera, grateful listeners called “Moscow Virtuosi” for an encore seven times. The key program of the concert featured works by Mozart, Shostakovich, and Tchaikovsky.” (On April 16, a concert of “Moscow Virtuosi” took place at the “Old Opera” (Alte Oper) in the center of Frankfurt am Main (RIA Oreanda 04/18/2000. Rambler-Media).

1999, the year of Spivakov’s 55th birthday, turned out to be fruitful in terms of official awards and offers. By decree of Russian President Yeltsin, he was awarded one of the highest awards - the Order of Merit for the Fatherland.

III degree. The French government elevated him to the rank of “Officer of Arts and Fine Letters,” and the President of Armenia personally awarded him the Order of St. Mesrop Mashtots.

Also in 1999, the most important turn in Spivakov’s creative destiny came: he became the permanent conductor of not only a chamber orchestra, but also a symphony orchestra. The head of the “Virtuosi” accepted M. Pletnev’s offer to become the chief conductor of the Russian National Orchestra (RNO), an independent non-state ensemble. By this time, Maestro V. Spivakov had accumulated a tremendous skill - 20 years of leadership of the Moscow Virtuosi chamber orchestra, symphonic conducting as a guest conductor with the most prominent orchestras: London Symphony, San Francisco, Los Angeles Philharmonic, Santa Cecilia Academy Orchestra in Rome, the orchestra of the Milanese La Scala Theater, the National Orchestra of French Radio, the National Symphony of Hungary, etc. However, the conclusion was not easy for Spivakov, he felt that he needed to expand his professional horizons.

For Spivakov, the path opened to music that was the most complex in thought and the richest in sound content - the symphonies of Beethoven, Tchaikovsky, Mahler, Shostakovich, the Wagner orchestra, Richard Strauss, Ravel, Prokofiev. There was also a huge responsibility: the RNO had the reputation of one of the most prestigious orchestras in the world, there were countless sponsors, mostly American. Spivakov saw the independence of the orchestra as a majestic symbol of a new, democratic Russia.

Working with the Russian National Orchestra directed Spivakov's thoughts towards the Russian repertoire, while the Virtuosi initially cultivated Western classics. He retained his earliest intention: to accompany soloists, bringing talented young people to the stage. And he transferred his charmingly light “encores” to the most serious orchestra. Spivakov’s premiere with the RNO took place in the Great Hall of the Moscow Conservatory at the opening of the season in 1999 with a symbolic program: Beethoven’s “Inauguration (Consecration) of the House,” Beethoven’s First Concert with M. Pletnev as a soloist (as if passing the baton) and Tchaikovsky’s Fifth Symphony ( Russian classics).

Knowing well the folk music scene, Spivakov thought about the need for Moscow to have a modern concert complex, similar to the Lincoln Center in New York, the Kennedy Center in Washington, and centers in London, Amsterdam, and Rome. Having convinced the head of the Moscow city administration, Yu. Luzhkov, of this, he, together with him, laid the initial cobblestones for such a building on the Red Hills (September 7, 2000).

Spivakov also tested his strength as an opera conductor. At the invitation of the Genoese theater “Carlo Felice”, he staged the play “The Puritans” by V. Bellini, for the 200th anniversary of the composer (2001). An important element of mastery was the maestro’s ability to work hard with performers of the most complex coloratura parts.

In 2001, Spivakov initiated a new action in his homeland: following the model of the festival he led in Colmar, he organized the Moscow international festival“Vladimir Spivakov invites...”, with a frequency of two years (the second took place in 2003, the third in 2005).

The initiator of the national festival sought to raise the artistic level of concerts in Moscow, in Russia (the crisis in all areas was obvious during these years) to the highest world level. Spivakov also nominated the symphony orchestra entrusted to him for the 2001 festival: the RNO festively opened and closed it. At the opening, the conductor demonstrated an unusual interpretation of D. Shostakovich's Fifth Symphony. He invited the brightest domestic performers, including Yu. Bashmet, who played with his ensemble “Moscow Soloists”. He staged his own literary and musical composition based on Handel’s “Messiah” with the participation of people's artist USSR O. Tabakova. Performed the opera “Mozart and Salieri” by N. Rimsky-Korsakov with the participation of S. Leiferkus and D. Korczak. He himself performed in a solo program (including the Ts. Frank Sonata), confirming his image as a world-class violinist. The participation of the American “singer of the millennium,” the black woman J. Norman, was a revelation and a shock for Russian listeners. The performance of “The Death of Isolde” by R. Wagner became the culmination of the festival.

The press, which paid constant attention to all types of the artist’s creative activity, concluded that Spivakov manages to work more than ordinary psychophysics is capable of. And the artist himself referred to the phrase of conductor Z. Meta: “I am resting in the Adagio of Bruckner’s Eighth Symphony...”.

The large German recording company Capriccio released eight CDs during 2001–2004, presenting Spivakov in all his roles: soloist with piano, soloist with orchestra, orchestra conductor. “Suddeutsche Zeitung” named “disc of the year” the recording of sonatas by C. Frank, M. Ravel and R. Strauss performed by V. Spivakov with S. Bezrodny (2001). Large share discs contains music of the twentieth century. The recording of “Night of Enlightenment” by A. Schoenberg performed by “Moscow Virtuosi” (2004) deserves special attention. Sound expressiveness and the coherence of the performance reaches the perfection of the previous “Virtuosi”, but in the music it is not Vivaldi, but much more difficult Schoenberg.

Spivakov deeply felt the American disaster of September 11, 2001, when two planes flown by Islamic extremists crashed into the high-rise towers of the New York World shopping center. He performed in America many times, and he formed his own large audience there. And at that moment when disaster struck, he was rehearsing in Paris with J. Norman. RNO was one of the first ensembles to respond to an event that shocked the whole world: a concert in the Great Hall of the Conservatory of the music of American composers Gershwin and Bernstein received a memorial coloring.

A concert in memory of the victims of these terrorist attacks in Kyiv (September 2002) became a civil, and moreover, political event. Present were the President of Ukraine L. Kuchma, government officials, and the US Ambassador. Spivakov and the RNO performed Mozart’s mournful “Requiem” with the participation of the Academic Choir National Opera Ukraine and soloists from the USA, France, South Korea and Canada and a suite from Tchaikovsky’s “The Nutcracker”, like a good fairy tale with good ending. For the American side, the march “Stars and Stripes” by J.F. Sousa was played, after which Spivakov played Albinoni’s “Prayer” on the violin.

A major concert event of the RNO under the leadership of Spivakov was the Volga tour in 2002 with the motto “Great music in the heart of Russia”: Nizhny Novgorod, Kazan, Tolyatti, Samara, Saratov. “Festival of Hearts” (words of the press) was mutual for the public and artists.

Unexpectedly, the leadership of this orchestra stopped for Spivakov: his contract was not renewed, and in 2002 he was forced to leave his post as chief conductor of the RNO early in 2002. All the more important was the assistance provided to Spivakov personally by Russian President V. Putin: the head of state considered it necessary for the conductor to remain in existence and work in Russia.

Spivakov's authority in the world contributed to his constant invitations to the jury of international competitions in different countries, in particular those where he himself once won prizes - Genoa, Montreal, Paris, the competition named after. Tchaikovsky in Moscow. He worked several times at the C. Flesch competition in London, and became president of the Sarasate competition in Spain. Joined the jury of the non-state Russian award "Triumph" from the moment of its establishment, among the most prominent domestic figures art (V. Aksenov, Yu. Bashmet, A. Bitov, A. Voznesensky, E. Neizvestny, O. Tabakov, etc.). As a member of the jury, he stubbornly fought for the correctness of the assessments of the competitors, be it Italy, France, Spain or Moscow.

In 2002, Vladimir Teodorovich headed the jury of violinists at the X11 International Competition named after P.I. Tchaikovsky in Moscow, where he set a target - to give this competition its important authority. He introduced few significant innovations, in particular a ban on jury members voting for their students. At the Moscow competition in 2002, the first prize was not awarded, the second was shared by participants from Japan and China.

Left without a large orchestra, Spivakov was given an exceptional creative opportunity: to compose his own Symphony Orchestra and lead it. The new ensemble was given a name - the National Philharmonic Orchestra of Russia (NFOR) with government funding. In 2003, Spivakov personally held the qualifying competition, and on September 27, 2003, the NPR gave its founding concert. The ensemble could initially lay claim to the image of one of the best orchestras in Russia and the world. Considering the undivided monopoly of one leader dangerous for the orchestra, Spivakov outlined the prospect of many conductors from different countries working with his orchestra. So, soon after the debut of the NPR, it was conducted by the eminent Polish composer K. Penderecki and the first conductor of the French National Opera J. Conlon.

In Moscow, Vladimir Spivakov was offered another significant post: in the spring of 2003, he became president of the Moscow International House of Music (MIDM), a new concert complex erected in Moscow on the Red Hills. Spivakov, a patriot and protector of Russia, at the age of 59 received endless opportunities to realize his outstanding musical and business talents. In the end, three of his blood offspring found shelter in MMDM: the chamber orchestra “Moscow Virtuosi”, the symphony National Philharmonic Orchestra of Russia and the Vladimir Spivakov International Charitable Foundation. Not the only other significant musician in Russia had such rich “possessions.”

At the request of Spivakov, the Great Hall of the Moscow Moscow Music Theater was named after the outstanding Russian conductor of the 20th century, Evgeniy Svetlanov. And the festive day of the opening of this first concert hall at the House of Music on September 27, 2003 became a dedication to the memory of his senior colleague. Previously, Svetlanov repeatedly performed at the festival in Colmar and entrusted Spivakov with work with the State Orchestra. And when Svetlanov was deprived of his orchestra, Spivakov invited him to give concerts with the RNO. At the evening in memory of Svetlanov, Spivakov performed his “Aria” for orchestra, after which he held a symbolic “minute of silence”; The concert ended not with jubilation and jokes, but with the menacing “Dies irae” from Mozart’s “Requiem.”

Soon sending a fresh orchestra to St. Petersburg, Spivakov gave a concert in favor of seriously ill children. “Morning of St. Petersburg” reported: “Thirteen thousand dollars were donated to the chemotherapy department for acute leukemia at Children's City Hospital No. 1. These coins were collected at a charity concert of the National Philharmonic Orchestra of Russia conducted by maestro Vladimir Spivakov. The concert took place on October 11 in the Great Hall of the St. Petersburg Philharmonic. These funds have already been used to purchase medicines and medicines for 28 patients who are undergoing treatment in the department” (Medicines from the concert // Morning of St. Petersburg. October 24, 2003).

A continuation of the debut concerts was the participation of the NPR in the second Moscow festival “Vladimir Spivakov invites...” in November-December 2003. The new orchestra opened and closed that very hefty forum, once again with the participation of the unique singer J. Norman.

In May 2004, the tenth anniversary of the formation of the Vladimir Spivakov International Charitable Foundation was celebrated, on the occasion of which the “Moscow Meets Friends” festival was held, which attracted 947 gentlemen. The idea of ​​the festival was to unite children different nations through art. F

By this time, the Fund had acquired a scale that had no equal: 3,500 children received assistance, 2,500 concerts were organized, 300 art exhibitions were held, 625 gentlemen became foundation scholarship holders, 90 of whom were laureates of international competitions and festivals, 221 musical instruments were donated, assistance was provided in carrying out 44 surgical operations. Some of the foundation's scholarship recipients have gained national fame - most notably, Evgeny Kissin.

In the summer of 2004, Spivakov held the 16th festival in Colmar, the culmination of its significance: the NPR, the “Virtuosi”, and the Foundation’s fellows performed.

Spivakov dedicated each festival to outstanding musicians: L. Bernstein, I. Menuhin, J. Szigeti, K. Penderecki and others. The symbol of this was J. Norman. The significance of the activities of the outstanding Russian musician in France is evidenced by G. Breuner’s book “The Spivakov Years” published there (a chronicle of festivals in Colmar).

The milestone period for Spivakov as a musician was the fall of 2004, the storming of the 60th anniversary. Concerts with all clarity