our spiritual life is in a certain tone, why do icons work miracles in their place, uh, yon became a smart chassis driven by yak e in yalom atibovskaya? what kind of judgments brings deliverance or deliverance? e yes it helps. what is the basis of a person’s spiritual life with the end of a person’s earthly life, the opportunity to change something in oneself ends, if on earth a person was able to cleanse his soul and adorn it with virtue, then in this state his soul enters eternity. what is the power of faith. uh, it shows up in the temple when we attending worship. this is manifested in our families, when we try to bring up our children there. e faith e, the basis of which is the observance of the commandment, god, the answers

to these and other questions in spiritual educational projects on belarus 24 tv channel tatyana continue the phrase. if i had not become a singer, i would have become a singer. i don’t know, maybe it’s fate that leads this way. well, maybe if i had not become a singer, i would have been a good concertmaster.

the guiding star is coming. oh no looking at my guest. do you understand that she knows the secret of youth for her there is no border of barriers called age and time, and

there is only a dream of love and a desire to always be on top. today my guest is the soloist of the bolshoi opera theater, honored artist tatyana tretyakov tatyana good morning tatyana, your dad is a former sailor of the dnieper flotilla, and mom is a german teacher and suddenly the daughter is a singer from whom musical genes were passed on to you. i think that most likely this is on my father's side. as far as i know, no one in my family sang. but dad sang his mom, that is, my grandmother, respectively, had a very good voice, as the grandfather of the family legend says. she didn’t even want to let her go to work, the krasnodar opera house, but he didn’t want to say no. if you drink, you will work at home. so, accordingly, my aunt also had a very good voice. she herself was a doctor, but she sang, that is, there were no professional singers in

our family, but there were people who had excellent vocal abilities and sang in amateur performances, and at what age did you musical abilities appeared, well, again, back to the family legend. eh, the story goes, that supposedly means the first vocal, probably conditional sounds. i stayed to take it in the cradle, that is, dad told me, and mom says that when i once again showed my vocal abilities and screamed and cried. that is, they thought that you were paying, but then they came up to me and dad said they looked, she wasn’t crying, she was laughing. i mean, she sings. yes, but seriously speaking, my first public performance took place at the age of 6 years. i performed on close television and sang a song a grasshopper was sitting in the grass. well, how often does this happen? notice your desire to sing and have you been given away? music school, but how did it happen that the girl who dreamed of singing became a pianist lies. strictly speaking, singing is not taught. well

, indirectly, that is, in fact, i sang and even when i studied at a music school, my older sister also studied at a music school. i think that it was generally, as it were, accepted at that time. time for children to get into a musical education other than music school. i went to sports sections. i studied in the choir of the brest electromechanical plant, i sang, i was a soloist there, i studied e in the pioner palace in a sing- vocal instrumental ensemble. now it is very interesting to remember. we also had a vocal and instrumental ensemble at a music school. so i was a pianist. here everything is fluent and in time. and so, naturally. it was like an application for free to do it. here we have there were three soloists. she keys e you will be surprised, but we had igor kornelyuk, he then studied with us and was not a few years older. and he studied in brest, then he entered the brest musical college for composition, and then he transferred to leningrad. that's it. that's how the tin diverges, how the roads diverge, when i

graduated from music school, my mother said, let him go to study in the brain. he really wants to sing. that is, she has already sung to us at home everything that is possible and that is, i played the piano on the piano and sang by herself. yes, your way to the stage is quite. could be the subject of a movie or musical. eh, after all, the bolshoi theater, you came to work, not as a singer, but you liked the mestière concert then. your job. well, of course i remember. uh, when i studied, uh, at the conservatory, and then it was called the conservatory. i lived in a hostel and i went on foot. walking back to the conservatory, my path naturally attracted me past the bolshoi theatre. i understood from the stairs i looked at this building. for me. this it was like a temple and dreaming. here's how great it would be. uh, someday there to go on stage and sing, but i understood that these were dreams. i understood that i was getting a profession as a singer, but at the time when i entered the conservatory it was impossible to receive two

educations at the same time, therefore, naturally. i listened to my parents. e was not 18 years old when she entered as a pianist and the choice is either i try out as a singer, having no vocal education initially, or i act as a pianist. mom really wanted, because late a child in the family so that i get an education as soon as possible . she was so calmer for herself. well, of course i liked it. i had excellent teachers, and i was happy to do this work. well, that's how it happened. eh, so it happened served it happened fate so. eh, chance and majesty played a role. what is already, when i studied in the entire turkish internship, as a pianist i was given the opportunity to travel with the concert team of the opera house, that is, both ballet dancers and operas on tour, both in quality. on concertmaster and these were such wonderful tours, while still in the soviet union when i played 30 concerts in mogilev

, mogilev region in 12 days, and of course. after that, i was invited to work at the opera house. that is, well, as i suppose, they considered that such a valuable shot should not be missed. well, that's how i ended up at the opera house. by the way, that's why you decided to radically change everything. well, i actually, i didn't think that i just changed everything so drastically. well, at least at the time when i i wanted to try and learn. to sing professionally , the task was in my head in the first place, in order to master the technical side of this issue, and i was lucky. in the ninety-first year, i took courses in moscow for accompanists from all opera houses. and then i was still a young young accompanist of the opera house. through our std, i got there for these courses, and i studied. uh, the famous show of the accompanist of the bolshoi theater of russia, now i remember for the rest of my life, as she said to one of the accompanists, maybe

from novosibirsk or somewhere else she said, baby, but if you can teach him to sing, please, but if i hear that the singer has vocal problems, that is, i close the notes, i, she meant a concert together in theaters and i send him to the conservatory to see a teacher, and i realized that this is my desire to suggest something, somehow i need to help the singer. eh, slow down a little bit, that is, you need to understand what i can feel. eh, on some intuitive level. uh, what does the singer feel? how to help him? how to suggest, but mine task in the first place. eh, help him. in the sense of music, to teach him to help study the uh, nutty text of the musical text to delve into the image. pay attention to the strokes of e, to tell you the task that the conductor sets, but not the vocal kitchen, but in order to understand what it is, i need to learn to drink myself. in fact, this was my task and my goal, and i didn’t set myself the goal that i would definitely be a singer and

go on stage. initially, the goal was such that i should try to sing myself in order to understand that happens to the body at this time and at the physiological level. well, then how will it go, that is, there was no task. and in fact, it went pretty quickly, because i was taken to the second year of the academy of music already at that time in the vocal department and by the end of the second year. i was entrusted, uh, to participate, as the trainee will say , to participate in the production process of tchaikovsky's opera john, and i was even lucky to sing as the premiere in the first day's performance.

no, the suns of the opera, uh, accepted the news that their accompanist suddenly she began to sing, was there such a thing, some kind of creativity. how to say jealous? yes, i understand, i understand what is at stake, sometimes something like this slips through someone. well, naturally, no one speaks my face. i know that talk. it would be better if this is why she did not remain a pianist. uh, like takes up space takes away from someone, that is, there is such a moment, but in principle, most of the people with whom i communicate are all very friendly, in fact. i didn’t

just play like that and suddenly began to sing and went out to scene. i followed the same path that all the singers who come to our theater go through. and how did the leadership of a good concertmaster react to finding and oh, how difficult, but our then director sergei boevich. in general, he actually treated me very well; he appreciated me first of all, of course, as an accompanist, as a musician. then as a singer. he, of course, did not want to let me go to the concert with ministerial work and for some period. i continued to work part-time. e concertwester. well, then something like this. somehow i went around quickly, as a singer, 1/2 part and the third has already become clear that physically it is very difficult to combine and, perhaps, it is not worth it. and, of course, it is gratifying for me now to remember that after some years a period of several years has passed since i established myself as a singer and sergey albertovich did not trust him to sing his world premiere opera, on the anniversary of switzerland on tour. it was i who sang tatyana alekseevna in this performance in one

of my interviews. you mentioned that for your creative destiny, but there were practically no small roles is it luck or is it your inner mood to take life better no, take it better about life, this is absolutely not mine at all. i am a person who, in general, i try to simply, honestly do my job, let's say, both as a pianist, as a singer, and therefore. well, it probably worked out that way, it probably just happened that way. e hmm the first batch that came here is this physical. of the small parts, i had only a few and er, or rather, let's even say that my first appearance on the stage was still as a student. here is a small part of the ravings from the opera iolanta who sang the future, uh, a second-year student. and then she followed me, as if walking for these few years, until i graduated from the conservatory. i performed on the stage of the theater and this is, perhaps, a small party of spice for the lady of spades, but i can’t

say that she is small, as a rule, she is in front of the first position. as for small or large parties, in fact, as a rule, they take to the opera house, either in the first position, or in the second, sometimes they take in the first position. but if a person can't cope, he starts to sing parts, the second. on the other hand, it's a good tradition when a singer comes to theaters and they give him a small part, on which he grows. everything probably depends on the level of the singer, on his readiness to go on stage and sing big parts. well, that's why something like this, then, then there was a mention, a magic flute and pretty quickly hmm there was armina burana, which i sang for more than 20 years with us and then they gave the part of violetta, which i also drank for 20 years.

what roles didn't work out? why do you know here is such a very interesting question, what to keep in mind did not work out. well, maybe you were not completely satisfied with something. we are never satisfied. you know, we, as actors, are rarely satisfied, though with our own, but in fact there is just a favorite part. the ones that were particularly expensive for some reason were parties that didn't really work out. well, maybe they sang less. let's just say, for example, the performance of what himself? i really love the party myself, but that's how it happened. she came to me pretty late. i drank it on tour in england, sang

several times with us, but for some reason. i didn't perform it much, but it is very dear to me, close. how do you prepare new parties? probably the same as everyone else. i study sheet music. i'm getting acquainted. uh, with a score with a glover. i listen to records, but in fact i only listen to records in order to listen to different interpretations, to listen to how different performers sing, how different conductors conduct. what musical highlights? maybe i can hear. then i try not to listen to anything, but i try to process it myself. only the first stage is accumulation. yes, this is such a feeling of impression, yes, well, this is already if it ’s completely unfamiliar material, because as a rule what i don’t give is usually what i already know or heard, or at least because of the exception of those new works, which are only written by modern composers of those works, in recordings that simply do not exist in nature, and such were the stories in my

life, for example, i had to, uh, record we have on our belarusian radio, and once the italian composer leopold gabirin. anne frank was the first performance, then the recording came out. it is with our choir. i mean, a radio choir with our orchestra came out with my participation in italy for the sake of a disc. so that was a very funny moment. now, if you remember how small the musical world is, when you were on tour, i sang at the milan philharmonic and worked there. uh, worked as a stagehand. choir artist, local and he read. he says it was you. it was you who sang, and we performed it here, then this cantata. this is how it happens, then, of course, you just need to immerse yourself in the text. well dive into the text. it is natural. it is always present to study what is written there, to get to the bottom of the essence, to understand what the composer wanted to say, well, to learn the words of the note, by the way, uh, which takes more effort to memorize. eh,

text or here on immersion in figurative immersion, because this process of cognition is already endless. i think like any man than you know more about it. well, you understand that you do n’t know even more, therefore, this process of comprehending the role, it seems to me that it never ends does not end at the moment when you learned the part, passed the orchestra conductor, however, you went on stage and sang performances, and then you understand? yeah, but here something else was needed, then even now let’s suppose a performance that i sang a lot there, i don’t know, 50 times, probably hmm or many years, and then i understand, but here you can do it, otherwise here something else opens up. maybe this time is passing, maybe there is some kind of internal accumulation, which is already reflected in one way or another and is transferred to this game.

it's no secret that the performance requires a lot of energy. and how do you replenish your strength after performances? well, it's hard to say the last period, as far as i know, how many years there, if there are big difficult performances or some kind of hmm

heavy concert that takes time. i usually can't fall asleep for a long time. i practically usually have a sleepless night. i can't disconnect. well i am recovering and reading books, resting, good weather. you love to walk. in general, i walk, as a rule, after the theater, after any work in the theater, there will be a rehearsal of an orchestral lesson or a performance, especially since i like to walk slowly slowly. are there any rules before and after the performance that you have not violated for many years now. little little secrets, yes, but they are on that little secret, so that they don’t open them. no, well, probably, of course, there is some kind of ritual, your daily routine to the day performance. i would say it this way, that is, well, preferably well, it is desirable to get enough sleep, not to eat much. that is, i don’t feel uncomfortable with a full stomach, this is all very individual,

because i know, for example, singers who should eat well. then they feel the diaphragm well, of course, it is desirable that some hmm interval has passed between the last meal and the performance of the singing itself. there are some moments of concentration. i would not like to reveal them publicly. maybe picking ourselves up let's say. so setting to look at yourself in the mirror before leaving. just take a look and go. now many artists are active on social networks, they follow comments about performances on the internet and respond sharply to criticism. how do you feel about criticism? well, criticism of criticism is different, firstly, secondly, critics in social networks, in general, in my opinion, i don’t know some kind of thresh. i can only call it criticism. i have some people, but definitely. i sometimes read, i try not to pay attention, because we are quite

vulnerable. if you take this seriously, then you can go crazy, i know, for example, such cases are not with our peppers. i know that there were no such social networks then, but some critics hounded, for example, the great writings of nikolai gialuronov, and after that he could not go on stage at all. well, that's why. hmm. i think that a singer should be loved. and you have to treat him, maybe because the accompanist in the past i love the singers and but the criticism that hmm if it is objective, i always try to listen, but this is not about social networks, because real criticism. in social networks. she's impossible. there, mostly postavschiny and some personal relationships prevail. you see, there are some ambitions of the goal and then there are a lot of people who, in fact, they are professionals, but consider it not shameful to put their opinions out to us in the public space, sometimes quite ambitious peremptorily, then there are no grounds, in

fact. can this be called criticism? you are their opinion, a personal judgment. well, in this case arises, the next question is whose opinion do you trust the most? well, i trust, of course, my relatives, my spouse, my girlfriends, they are i know that they treat me well, but i know that if something is wrong, they will definitely tell me, they will find a form they are wonderful, comrades, educated educated people . they'll find something to say to me, and they know that i 'm very self-critical of myself. i'm ready for criticism. i always try to find. you know the grain. i believe that in every criticism there is something you have to take to try to fix it.

you viewers have the opportunity to watch their favorite artists on stage. but life outside the stage is closed to most eyes. if it's not a secret, what do you like to do in your free time theater, and this happens. well, as a rule, i think that i am not alone, if i say that people are public they like to relax alone, they do not like to relax in public. i like to relax, either at home

or in nature, alone or in a small circle of my family. i don't understand friends there is a stereotype that most opera singers. these people are quite accurate, because the voice requires a diaphragm, therefore, uh, some kind of large physical size, but here, looking at you. i understand that this is nothing more than a myth. well, i think that now it’s generally difficult to find fat, stubborn singers, there are very few of them, but maybe there are in america, but there are just a lot of fat people there. and we are all in great shape. we have a lot of skinny ones. just very thin models of the appearance of the singer hmm and everything, in general, pretty slender all good physical shape, so this is a thing of the past. and how do you maintain a good physical shape, like everyone else? try to eat normally, engage in some kind of physical exercise. if possible, maybe

yoga, it’s not always possible to find time, but maybe good heredity helps tatyana, in addition to the theater, you teach at the conservatory, head of the serenade string committee. if anything, what else would you like to realize yourself in, but you don’t know yet, probably not. to me i seem to have done well for myself. if you , if i still have ahead somewhere, well, 50 years old, maybe i would try to be a conductor. well , you know why now it is very fashionable for woman conductors, but i believe that you need to come to the profession as soon as possible and now. why compete? i like what i do. i have many professions in my hands. that is, i can be a pianist and accompanist and teach and sing for the time being, so that i am happy with everything in life. i have my favorite brainchild, my electronic committee serenade which i came up with, there i realize my mathematical abilities, among other things. i would say so, i do self-arrangement, i write for the inteta with a voice, and

this requires this. here. i would say, good organization of the mind tatyana, our programs are called the meaning of life for you. what is the meaning of life, probably, is to bring kindness to people. give yourself to people, you know? it seems to me that if god endowed you with some kind of talent, you have no right to keep it inside yourself. you have to share it with you, and i've been trying to do this all my life. make. as far as i can do it tatiana i wish you. new roles so that creativity is always present in your life and let this bouquet of flowers fill this autumn day with some kind of sunny happiness. thank you very much very nice. i was happy to be your guest. thank you it

was the meaning of life tatyana tretyak in our project we will show you unique personalities, in general i am a person who, even without being attuned to intuition. that is, i'm still more of an artist than a businesswoman, it's not clear. where does it come from, i can't even fix my idea on the paper. they just flies off from somewhere above me, and do not break stereotypes with an example from my own experience, walking around the fabric store. i caught my eye, a certain fabric, which was probably the impetus. i realized that this is my bitch remnants of a newbie. and he appeared in that

incarnation. it seems to me the end of this stage of imperfection in the father's life. watch the program to break stereotypes on belarus 24 tv channel. good

morning in this issue of russia in biathlon. corruption scandal head detained by suspected of accepting a bribe for supporting qatar at the world cup