Irina Nikitina is the President of the Musical Olympus Foundation, which has been bringing the most prestigious musicians to Russia for many years: Andras Schiff, Anne-Sophie Mutter, Yo-Yo Ma, Vienna Philharmonic with Christian Thielemann.
Another area of activity of the "Musical Olympus" is the promotion of young laureates international competitions both in Russia and on the best global venues.
The festival of the same name, which annually gathers new winners from all over the world, was held in St. Petersburg for the 20th time, after which Ekaterina Biryukova met with the president of the foundation.
Since we meet during the Tchaikovsky Competition, the first question is whether its laureates participate in your festival of winners?
Participated. Not every time. But they did. Tchaikovsky is such a competition that stands apart ... He has complicated story… For example, the cellist Istvan Vardai performed with us, whom we fell in love with very much. He took third place at Tchaikovsky, I think, three competitions ago. And I found it to be the most interesting. During this time, he has already won the ARD competition in Munich, now he has received very prestigious award Liszt in Budapest, and in general he has a very large concert activity.
Last year, Ao Li, a Chinese baritone, sang with us, having won Placido Domingo's Operalia, he is now participating in the Tchaikovsky Competition. He is a fantastic singer and the kindest, amazing soul person. We have already managed to show it at Carnegie Hall and once again at the just completed Musical Olympus. He sings in the San Francisco theater. I understand that he was invited to come, the prize is very large, he is very confident in his abilities. I'll be very surprised if he gets anything other than the first.
The current competition is distinguished by an abundance of well-formed, quite famous musicians. I even heard some of the participants from solo concerts in the BZK. Why do you think they need a competition?
The jury is now seated by people who can further move their careers. The director of Carnegie Hall is on the jury of cellists. The director of the Lucerne Festival is on the jury of violinists. The director of the Verbier Festival is on the jury of pianists. These are serious doors. And I think that, probably, many came to the competition for this. Then, not at all. last moment in this life - big prizes. Musicians have a hard time making money. Especially now.
- What has changed in your festival over these 20 years?
Of course, initially the festival was not easy. A whole festival of unknown names! I can say about myself. Here I come to Vienna, or to Berlin, or somewhere else. A good hall, a good orchestra, but I see four unfamiliar names on the poster. Well Kat, honestly, will not go! But in 20 years, I think we have completely overcome this fear of the public.
The public is ready for debuts and trusts the Musical Olympus label. They know they are going for the people who are on the runway in their lives. Receiving an award at a competition is not the end, but the beginning. It's a huge springboard, huge expectations. And as a human being, it is necessary to immediately give them good concerts in good halls with good orchestras. It is very important to show that they are expected.
We have a certain backbone of the public that goes to every concert. We have another such notion - the audience award. And for some, it directly became vitally important - to walk, listen to everyone, put their crosses. The festival also has a permanent western audience, which specially comes to it. For 100 people. There are clubs of friends in New York, in Switzerland, now we are organizing one in Russia.
For me, our festival is such an information teletype tape: what happened in the competitive world during the year. Daishin Kashimoto or Sayaka Shoji, for example, played one competition, won again the next year somewhere else, then a third. Istvan Vardai also brought some new victories every year. And we showed some three to four times. But this is a rare case.
Why am I interested in contests? Of course, the competitive system has its pros and cons. But the fact is that the concert life requires a lot of endurance. Mental, psychological, physical. I'm sitting at a concert in Tokyo, and it doesn't matter to me when and what time the artist arrived from New York. It is important for me that I came to this artist and he has something to tell me. And if a person makes his way through this competitive meat grinder, then he is most likely ready for such work. This is one of the pluses of the competitive system.
- A politically incorrect question. A large number of Oriental names at competitions - is it a problem for you or not?
You know, when people ask me whether I am for the West or for the East, I answer: I am for music. There is, of course, a huge army of Asian musicians. Moreover, if 20 years ago this was ... not exactly jarring, but surprising, now it is no longer surprising at all. Korean, Chinese singers- Katya, how they relate to diction, to pronunciation! How he polish any language!
I remember we invited a Korean girl, Sun Young Seo, by the way, she won the last Tchaikovsky competition. And she writes to me that she really wants to speak with Tatyana's Letter. I have a slight fear and distrust. Korean woman sings "Tatyana's Letter" with an orchestra Mariinsky Theater! I write - maybe something else? But she asked so much that my heart trembled.
In short, a girl came out, and even in such a dress, you know, earlier in the party committees such plush curtains of a dark red color hung, I pressed myself into an armchair. And this lasted exactly until she sang the first two words. The purest Russian language! Every word is felt! I still can't forget it.
- So what are your predictions? classical European music escape in the East?
Classical music will be saved where children will be more involved. There is a clear failure in the European school now, little attention is paid to children. Any school for gifted children causes great social criticism. How do we single someone out? I can say that in Switzerland it is all the time. It's a little easier in Germany. This is not democracy, but pseudo-democracy. You can not do it this way. Children should be educated early. Because what the child does not receive in childhood, he practically will not make up for. I mean technique, the same discipline.
And Asians - yes, very disciplined and efficient. And as soon as they come to Europe - I observe this phenomenon all the time - they keep their best, but also let in the new. They take everything in very quickly. I no longer have the feeling that I had 20-30 years ago that they play someone else's music. They have a motivation - to survive and break out, which the Europeans do not have. And they are not snobs at all. Snobbery among aesthetes is probably good. But snobbery is not the engine of progress.
The main event of the last Moscow season was the arrival of the Vienna Philharmonic Orchestra organized by the Musical Olympus with Christian Thielemann at the podium with full symphonic cycle Beethoven. I still can't believe that it was.
Since then, the situation has changed a lot - the crisis, sanctions, cautious attitude towards Russia. Would such a project be possible this year?
First of all, I have to say that this project is really a blessing for me. I wanted to bring the Viennese, so that they showed something worthwhile, which we have not heard for a long time. Oddly enough, the cycle of all Beethoven's symphonies, if it sounded with us, was scattered. And so that in a few days a flurry of Beethoven music - of course, this is very strong impression. We became very good friends with Thielemann. This is one of the most complex characters among the current conductors. Intractable, categorical, uncompromising. He is very interesting to me as a musician of absolute honesty. There are few of these left. He is very self-sufficient. I think this prevented him from taking the place of the head of the Berlin Philharmonic. But I didn't get upset for him. Because he has an amazing orchestra - the Dresden Staatskapelle. I just listened to them at the Salzburg Easter Festival. They sound great!
The Moscow tour was very difficult organizationally, when we met, everyone was very tense, but we parted as deeply loving and understanding people. This week has changed everything so much. Thielemann and I spent a lot of time together, went to museums, had a funny lunch on the day when all the restaurants did not accept cards, because the Master Bank was closed, remember?
After a trip to Russia, he wanted to try the Russian repertoire - which he never did at all. And now, at the Easter Festival in Salzburg, he conducted Tchaikovsky's Sixth and Shostakovich's concerto with Nikolai Znaider. Can you imagine what a metamorphosis happened to him!
- Yes, he is a staunch supporter of the Austro-German classics.
I imagine how this Sixth Tchaikovsky would have played here! Probably, she would simply divide listeners into two camps. Hard. He orchestrated it in a way we can't even imagine. Completely destroyed the usual idea of Tchaikovsky.
At a press conference, he immediately stated that Tchaikovsky was not at all such a sentimental composer as he was used to being. Indeed, nowhere was there such a thing that the soul was torn to pieces. This filling, expansion, separation, like on an accordion - this was not there. On the contrary, he dried everything, built it up, by the end of the final there was a feeling of some kind of centrifuge, it seemed that he was almost speeding up. As if a supergolfer took from some first field and through all the fields got into this last hole. You do not understand how this is possible, but it still breaks through you.
We are negotiating with him. Now we are working on the possibility of bringing the Dresden Staatskapelle. We haven't had this orchestra for a very long time. They are in great shape. I think we can do it.
- How do Western artists now react to invitations from Russia?
Absolutely normal. Exactly a year ago, only Evelyn Glennie and I had such a situation, which, to be honest, I faced for the first time in my life. We have a master class during the festival. And, besides, the artists participate in social programs: one group goes to an orphanage, another to Kresty, and a third to a hospice for the elderly. When we just started to organize it, I thought that they would cheat. And then I heard how the amazing French violinist Solene Paidassi, who won the Marguerite Long and Jacques Thibaud competition, played in front of six kids who were already completely in the crib. She played better than at the concert!
So, this year we had master classes by Zakhar Bron and Evelyn Glennie, with whom we have been friends for a long time, they were the first to bring her to Russia. And when we signed an agreement with her a year ago, a force majeure clause suddenly appeared, stating that if the British Foreign Office considers it dangerous to visit Russia at that moment, then we are still obliged to pay her a fee.
Well, I, of course, boiled, it's unthinkable! In general, force majeure is usually natural disasters. Flood, fire. And then her manager got scared, maybe in a year we will have a war, tanks, Maidan. I wrote to them that music is out of politics.
- Do you really think so?
I believe that music, of course, can be tried to be a political lever, and we know a lot of examples of this ...
- ... the whole XX century.
Yes. But. You can, for example, say "We are for peace", or you can say "We are against war." I think it's better to be "for" than "against". Against - this is, let's say, unconstructive.
Famous Russian pianist Irina Nikitina, director international festival young performers "Musical Olympus", has been married for ten years to a Swiss citizen Michael Haefliger. There is nothing special about the love of a foreigner for a Russian woman. What is surprising in this story is something else: Michael fell in love with Irina not at first sight, but from the first listening.
Irina Nikitina: In 1987 I received the Grand Prix at a competition in Paris. My future husband at that time he was the director of the festival of young artists, which was held in the world's largest economic and resort center of Davos. Michael heard me playing on the radio and, according to him, he liked it so much that he was eager to invite me to his festival. He stoically withstood the tedious litigation with the State Concert. In the end, everything ended well, and I flew to Zurich. Natalya Shcherbanenko: The personal attention of the director of the international festival probably flattered the performer from Soviet Union, opened up great prospects? I.N.: I never thought that I would marry a foreigner. I love to travel the world, but I love coming home even more. My artistic career developed successfully, there was recognition abroad: a tight tour schedule, 15 solo CDs in the largest record companies peace. I have always been very warmly received in Japan, I had four tours a year. In the United States, my master classes were held with great success. But Michael took care of me for four years, I felt that he really loves me and is ready for a lot for me. N.S.: Please tell us how Swiss men take care of Russian women. I.N.: I lived in Prague for two years, learning to play the harpsichord. Michael flew there once a week only to bring my favorite bananas from Munich - there were none in Prague then. I was very busy, and our meetings looked like this: I opened the door, explained that I had to work, took a bunch of bananas, thanked me and closed the door. Once Michael invited me to his own villa in Spain, maybe he wanted to surprise me. I love Crimea very much, the main thing for me is that there are rocks and the sea, natural nature. And from that very villa to the seashore you have to go five minutes by car. And I, having examined all the beauties like five baths, countless bedrooms and a huge garden, ask: "Is the water in the pool sea?" Michael starts to explain something about the benefits clean water in front of the sea, and I shake my head in disappointment. N.S.: Capricious bride got caught. I.N.: That is the merit of my husband, that he understood: these are not whims, but my essence. I was brought up in a very patriotic family, my father, a professor at the conservatory, having learned about our romance, generally raised the question point-blank: "Either I, or he." And when Michael invited my mother to walk around the chic boutiques in Munich, my mother walked and said: "So what? We have it all!" N.S.: Why did Michael take you? I.N.: He came to Prague to celebrate Christmas with me. We walked through the snow-covered fabulous streets of the old city, Michael made in Once again offer. Not hearing consent, he grabbed a couple of elderly spouses passing by and shouted: "Well, at least you explain to her that I love her!" But seriously, at some point I realized that he gives me complete inner freedom, allows me to do what I want. I don't think that another man would allow me, respecting my work in Russia, to live such a divided life - into two houses, into two countries. I am a civilized bum, my place of residence can change every day. We have two houses: one in Lucerne, so big and tall that I don't need a gym: stairs there replace exercise equipment, and an apartment in St. Petersburg, on the Moika. I spend half of my life there and the other half in countless hotels around the world. N.S.: How do you manage to change from one rhythm of life to another? I.N.: Moving from country to country has developed a particular flexibility. On Monday I can have breakfast in San Francisco with the ever-smiling Americans, on Wednesday I can dine with careful Europeans, and on Saturday I can have tea with the Russians and listen to their endless problems. I am a sincere person, I take other people's experiences to heart. In Russia, the day is unpredictable, it rushes head over heels, sheer improvisation, in Switzerland, on the contrary, I know exactly with whom, what time and where I will have lunch in six months. Such a life for me, I am a supporter of a constant change of sensations. N.S.: foreign men expect from a Russian woman a constant presence at hearth And delicious lunches. It is unlikely that you meet these requirements. I.N.: Michael is well aware that I am a special specimen. His attitude towards me is very reverent - it is a mixture of fear for me and pride. The fact that my husband is not Russian and will never live in Russia is a bit sad, because for me personally, life in Russia is very organic. After all, constant travel between countries takes a lot of energy, but I am pleased that in Switzerland they call me the cultural ambassador of Russia. Michael is grateful to me for knowing and loving a beautiful country through me. And as for dinners... When I have time, I am happy to pamper my husband and daughter with my own delicacies. N.S.: The birth of a daughter on your musical career did not affect? I.N.: Last concert I gave six weeks before Annika's birth, and the next one six weeks after. I came to the maternity hospital with a synthesizer so as not to waste time in vain. Annika is now nine years old. She speaks four languages. With me only in Russian, with dad - only in German, he studies at an English school, plus in Switzerland it is impossible not to know French. I'm forcing the Russian part. She loves to come to St. Petersburg, and I often try to take my daughter with me. N.S.: Endless journeys and emotional overload require special forces. Where do you take them? I.N.: To recuperate, I'm leaving for Ceylon. There is a calm and harmonious atmosphere, everything falls into place. It seems to me that the most important thing for a woman - inner confidence in itself. Beauty, in my opinion, is not a leaving thing, but, on the contrary, a coming one. It is determined not by years and the number of cosmetic procedures, but by the internal content. N.S.: What does the life of a society lady look like in blessed Switzerland? I.N.: Now my husband is the director of the largest international festival in Lucerne, which in total lasts approximately two months. And all these sixty days I live as the hostess of the festival, its first lady. A very difficult task, by the way. N.S.: Really? I.N.: I assure you, any other woman would go crazy with such responsibility and such a number of celebrities. The festival is a very prestigious event, it attracts the world economic beau monde. I must know by name all the high-ranking gentlemen, presidents of banks, their wives, masterfully master all the subtleties of etiquette, look great, give everyone time. Behind all this secularism, one must not yet lose the essence: communication helps to solve a serious task - to bring cultures together. N.S.: I was told that you are the creator of three charitable foundations? I.N.: Yes, one works in St. Petersburg, the other in Switzerland, the third in Austria. But all of them are somehow connected with Russia. In 1995, I founded the Musical Olympus Foundation and organized the festival of the same name in St. Petersburg classical music. It has no analogues in the world: we invite young performers - winners of international competitions. Every year the festival is gaining momentum, it is of great interest to the Western press. Over the five years of its existence, about one hundred and thirty musicians from twenty countries participated in it. Since 1997, a charitable support fund has been operating in Zurich music school at the St. Petersburg Conservatory. The fund acquires for the school musical instruments, gives talented children the opportunity to participate in international competitions and master classes. In 2000, a fund was created in Vienna to revive the famous Vokzal concert hall in Pavlovsk, where Johann Strauss once performed (and became famous after that). N.S.: Three foundations, one festival - isn't that a lot? I.N.: I like to live in a state of stress - it improves performance. I am still learning. in the Moscow international university I am pursuing an MBA degree in Art Management. Textbooks on micro- and macroeconomics are more interesting for me than detective stories. Finally, my last project is secular balls in St. Petersburg. When I first started them, everyone said to me with one voice: "You're crazy, now there's no time for balls!" But the more I meet with resistance, the stronger in me the desire to achieve my goal. Inspired by an unrealizable, at first glance, idea, I went for support to the mayor of Vienna - and he became my ally. N.S.: Did your spouse's name help you? I.N.: No, I introduced myself under my maiden name so that in case of failure not to cast a shadow on her husband. I managed to convince the business and political circles of Vienna of the need to hold balls in St. Petersburg. For two years now, during the "Musical Olympus" we have been giving a ball. This year, the celebration was held at the Palace of Catherine the Great in Tsarskoye Selo, where emperors used to give balls. The ball must be exquisite in everything - from table setting to guests' outfits. For this revolutionary age our country, in addition to other losses, has also lost a generation of secular people. I hope that our ball will help at least partially correct this situation. N.S.: And what, did our business and cultural elite dance the polka? I.N.: And with what pleasure! N.S.: How does your spouse feel about the fact that he has to change places with you at events that take place under your name? I.N.: Amazing! We are called the "festival couple".NATALIA SHCHERBANENKO
Your own office, a secluded house, a living room that seems to hover over the city ... Everyone should have a place where you can feel like yourself. Three people allowed us to look into their personal space.
Sometimes we find such a place by accident - and then we no longer want to share it with other inhabitants of the apartment. And sometimes we create it on purpose: closing our eyes, we imagine how good it is to climb into a chair with legs, light a lamp, open a book ... “Such cozy pictures come to us from childhood and create the feeling that we are at home again, where nothing bad can happen to us cannot, where everyone who is dear to us is next to us, - explains psychoanalyst Ekaterina Kalmykova. “Actually, this feeling should arise when we are “in our own corner”: I am protected, I have everything I need.” But where will such a place be in our own house, depends on our tastes and preferences: someone feels good in the kitchen with a warm round lampshade over the dining table, someone will prefer a sofa with a book or a tablet, and someone will go to the bathroom, turn on the music, draw water with fragrant foam .. “We deliberately surround ourselves only with things that do not irritate our feelings, but bring peace of mind, relax,” continues Ekaterina Kalmykova. “Which gives us a sense of security even when no one is threatening us. Here we can not only relax and replenish our strength, but also work at full creative power or come up with something new. This is a real resource place."
Irina Nikitina, 50 years old, musician, president of the Musical Olympus Foundation "Space must be free" "I travel a lot and I'm used to living in different cities. I have one in every house favorite place- in Moscow, this is the corner of the living room with a view of the city from the 47th floor. This view from the window is very important to me. Especially when everything is flooded with sun, light - there is such an absolutely musical feeling! It’s nice to be here and do completely different things: talking on the phone with concentration or meditating ... It’s good to start and end the day here. It is important for me that there is a lot of space around me and a minimum of things. I understand that somewhere in the apartment there should be a well-organized dump - for example, a dressing room. But the space where I am, move, live, must be free. Frankly, the need for this intensifies with age, so I try to fight myself, sometimes leaving a little “creative” mess around. It is also important for me that the walls are occupied with paintings, works of art. Through translucent photographs, I like to look out the window when the weather is bad - they give a different light. Once I lived here in November, the sun did not come out from behind the clouds at all, and I was terribly sad ... Then a friend came to me and painted an artificial sun - a picture consisting exclusively of different shades of yellow.
Oksana Lavrentieva, 34 years old, CEO"RusModa" company "Here I find peace" And inside everything is arranged so that you can walk in shoes, so that dogs can run around ... The house is not at all pompous, very simple and environmentally friendly. As a child, I loved visiting my grandmother in Ukraine - I think my memories could also influence the choice of environment. Here we have a natural floor, a live fire, there are logs around the fireplace, large tubs with plants near the windows. There is a lot of life inside. All materials are tactile, pleasant to the touch. The non-living does not live here. There was such a story: according to the designer's idea, a zebra's head was supposed to hang over the fireplace. We argued about this for a long time, I took it off, then hung it back, tried to get used to it ... but in the end I still removed it. There is always something to do in the house: you can lie on a special bed near the TV, read a book, sleep. Or sit on sofas by the fireplace and drink tea. Or spend time with friends at the dinner table... Once I tried to arrange a meeting at work, but the conversation did not work out: such an environment is conducive to idleness. I even turn off my phone! When I want peace, I find it here.”
Gleb Korobov, 43, general director of the TeakHouse interior gallery“I dream of a secretary with a key”“I often work at home and try to organize the space in my office so that nothing bothers me. There is not and will not be anything, for example, red or gold. Only wooden. Into a crack What is important to me is the texture, the surface of the furniture, what it is painted with: the coating should be as matte as possible, natural, clearly conveying the texture of wood. No synthetics, polyurethane varnishes - only materials that I work with and love. A tree cannot get bored, just like simple shapes. And then, I often change the situation here - I want to create. Now the architect Alexander Jikia is designing a secretary at my request. Remember: the table leans back, everything, everything, everything falls on it, then - pum, lifted the lid and closed it with a key? Fast and convenient. It annoys me if someone sits at my desk - I think every person has jealousy for the workplace. I do not like laptops and never carry a computer around the apartment. In my opinion, it is better to work in an office where everything suits me, and then - ideally - to disconnect from business ... It does not always work out, of course. But I'm trying to learn it."
President of the Musical Olympus Foundation Irina Anatolyevna Nikitina was born in St. Petersburg. She completed postgraduate studies at the St. Petersburg Conservatory as a pianist, trained in Prague, Bern. Her teachers were professors N.E. Perelman, T.L. Fidler, Yu.S. Kolaiko, Z. Ruzickova, J. Deyler. Winner of international competitions in Geneva, Paris and Osaka.
From 1983 to 1995 he actively gives concerts in Germany, Switzerland, France, Italy, England, Japan, the USA, Korea and other countries, simultaneously teaches at the St. Petersburg Conservatory, gives master classes in Baltimore, Florida, Seoul and Tokyo , performs on television and radio (DRS, NHK, RIAS Berlin, WDR, Bayerischen Rundfunk, etc.).
Her personal discography includes 13 albums - solo and as part of chamber ensembles, recorded on CD by leading music labels: Melodiya, Denon, Sony, Toshiba / EMI, King, etc. In 1995, Toshiba / EMI released an album of all piano compositions Kosaka Yamada in her performance.
Since 1991, Irina Nikitina has been a producer of major international musical projects in Switzerland, Russia, France, Japan.
In September 1995, on her initiative, the Musical Olympus Foundation was founded in St. Petersburg. She becomes its President.
In June 1996, the Foundation holds the first Musical Olympus festival in St. Petersburg with a unique concept: to present young laureates of international competitions to the public. Noting the originality and significance of this undertaking, the World Federation of International music competitions(Geneva) from next year provided its patronage to the festival.
Since 1997, the Musical Olympus Foundation has also been under the patronage of the Ministry of Culture Russian Federation in recognition of his role in cultural life countries.
In 2008, Irina Nikitina was elected President of the Union of Concert Workers of the Russian Federation.
Irina Nikitina is also a member of the Board of Trustees of the Geza Anda International Piano Competition (Switzerland), President of the New York Musical Olympus Foundation (USA), Vice President of the Association of Friends of the Musical Olympus Festival in Switzerland (Zurich), Vice President of the Foundation "St. Petersburg" (Switzerland), created to support the music school at the St. Petersburg Conservatory.
Member of the Board of Trustees of the International Society for Development intercultural dialogue Civilizations Matter (since 2006) and the German-Russian Forum of Young Leaders New Generation (since 2011). He regularly participates in international forums and symposia, including the World Economic Forum in Davos (1989-1995) and the World Forum for Young Leaders organized by the Herbert Quandt BMW Foundation (2002-2006).
Since 2003 - permanent member World Public Forum "Dialogue of Civilizations" (Rhodes), initiator and moderator of the section "Music as the universal language of mankind" (since 2012).
Irina Nikitina - laureate National Prize public recognition achievements of women of Russia "Olympia" for 2001 "For great services in popularizing musical art in Russia and support for young Russian talents”. The biography of Irina Nikitina was included in the book " famous women Russia" (2004).
In 2006, her name was included in the list of the 50 most beautiful and famous people St. Petersburg. In 2009, she was awarded the medal “For Faith and Loyalty” by the Foundation of the Holy All-Praised Apostle Andrew the First-Called (“For active participation in the Foundation’s programs to strengthen the Russian statehood and increase the national glory of Russia”) and was elected an honorary member of the foundation.
In 2013, at the National Press Center in Washington, the Musical Olympus Foundation, represented by Irina Nikitina, was awarded the Silver Archer - USA award "for establishing intercultural dialogue through music, strengthening the culture of partnership on a global scale, supporting young talented musicians around the world and creating conditions for their professional implementation”.
Since 2015 - Irina Nikitina has been the head of the Board of Trustees of the International Television Competition young musicians"Nutcracker".
News
Jan30
"Person of the Year" 2018
The President of the Musical Olympus Foundation, Irina Nikitina, was awarded the title of Person of the Year 2018 as the author and host of the Enigma TV program on the Culture-Russia channel in the annual rating of the All-Russian newspaper Musical Review. The award has been in existence since 1995.
June05
Soprano Sonya Saric won the Audience Award at the 23rd Musical Olympus International Festival
The winner of the prize is determined based on the vote of the audience, which is held at each concert of the festival. Prize - unique jewel famous artist Vladimir Mikhailov - Easter Egg"The Resurrection of Christ".
President of the Musical Olympus Foundation, pianist and producer Irina Nikitina answered questions posed by viewers on the channel's social networks.
I.N.- If I had such an opportunity, I would talk to composer Igor Stravinsky, conductor Arturo Toscanini and pianist Clara Schumann-Wick. These are very different, but insanely interesting musicians.
Anna Vorontsova interested in: “What do you think should be the foundation of any musician?”
I.N.- For any musician, the basis of the basics is the gamma. But seriously, perhaps the most important thing is the absence of falsehood. Moreover, both in intonation and in interpretation. And one more essential component is unconditional love to music. Without this feeling in our business nowhere.
Airat Sitdikov asks: “Do you think it’s the hero who opens the transmission, or the hero’s transmission?”
I.N.- I always adhere to the rule that this program is not about me, but about the hero. Central actor in any case, the musician remains, so, naturally, she reveals the hero, and not vice versa.
Dmitry Mazalevsky in the network "VKontakte" interested in experience foreign trips host: “You have performed in halls all over the world. Are foreign audiences different from each other?”
I.N.- I really visited many countries of the world. I can say that the most prepared listener is the festival one, and the festival specificity itself contributes to this. Festivals always have their own concept, theme, so the viewer knows where he is going. At ordinary concerts, there are different, including random, audiences.
The most “quiet”, literally frozen audience is in Japan. In America, in turn, one can often see in concert hall people with cola in their hands.
For me, the level of education of the public is determined simply - whether they applaud between parts. Although today there is a new trend of tolerance towards interrupting the whole work with claps. For example, the director of Carnegie Hall urges approvingly: “Come on, clap! There is nothing wrong with that…” But I stick to traditional approaches in this matter.
One more question asked Raisa Khanukaeva. “You often act as a jury member at various competitions. What do you pay attention to first of all?
I.N.- Competitions are invented in order to identify and select the best. In music, this is often subjective, as there is no such precise rating scale as in sports!
For me personally, the most important thing is that in addition to owning an instrument and a certain level of skill, a young man would have a powerful creativity. This is what I always pay the most attention to.
Olesya Saraeva wants to know who is Irina Nikitina's favorite composer.
I.N.- I can say with confidence that this is Johann Sebastian Bach, and in this love I am not alone.
Elena Knopko V social network Facebook did not ask a question, but wrote a comment “I enjoy watching the programs of Irina Nikitina with her amazing guests! I wish this program longevity!", A Inna Krotkova in the VKontakte network asked “What surprises can the audience expect in the new season?”
I.N.- New season promises to be interesting! Spectators are waiting for new meetings with prominent personalities. Among them are pianist Efim Bronfman, violinist and conductor Gidon Kremer, singer Yekaterina Semenchuk, composer Krzysztof Penderecki and many others.
I asked a question about the program and Anna Solodovnikova: “Do you always manage to find contact with the hero? If not, how do you get out of this situation?
I.N.- I almost always manage to find contact with the hero. I think it is important to feel and understand the mood, the vibration of your interlocutor. And most importantly, listen carefully. Here, perhaps, the main professional secrets.
Daniel Semkin, in turn asked: “On what basis do you choose guests for your program?”
I.N.- It seems to me that all my heroes are creators, and that says it all. The principle of authenticity is also very important to me, so that all my heroes are real, sincere.
Question from Alexandra Egorova: “If you weren’t a musician, what profession would you choose?”
I.N.- I would definitely become a traveler!
