everything, or rather, more confidently, well, in my opinion, there, in my opinion, we won a-and fate. guys

but still well done, she still got there. faster

today the first finalists in our game were determined. very soon we will find out their rivals in a week from the presidential sports club heroes and it continues. significantly the level goes into

the team's drive of its rivals, we will find out in the next game. fate tests welcome. continue the phrase, if i had not become a singer, i would hmm, i don’t know, it’s probably fate that leads like this. well, maybe if i had not become a singer, i would have been a good concertmaster, but the guiding star leads

looking at my guest. you understand that she knows the secret of youth for sure, 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 tretyak tatyana good morning tatyana, your dad, a former sailor of the dnieper flotilla, mom. german teacher and suddenly the singer's daughter from whom you were transferred musical genes i think that, most likely, this is on my father's side, as far as i know, no one sang in my mother's family. but dad sang his mom, that is, my grandmother, respectively. uh, had a very good voice, as the family says. grandfather legend. i didn’t even want to let her in, they took her to work, the krasnodar opera house, but he didn’t want to say no. you won't sing. 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, professional singers in our family was not, but there were people who had excellent vocal abilities and sang in

amateur performances, and at what age did you have musical abilities, well, again, back to the family legend. eh, the story goes, that supposedly means the first vocal, probably conditional sounds. i stayed back in 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 i would pay, but then dad came up to me, says, look, she's not crying, she's laughing. that is, she sings. but seriously speaking, my first public performance took place at the age of 6 years. i performed on brest television and sang a song a grasshopper was sitting in the grass. well , how often does this happen? noticing your desire to sing, you were sent to a 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 the musical

school. my older sister also went to music school. i think that it was generally accepted at that time for children to receive a musical education, in addition to music school. i went to sports sections. i studied in the choir of a close electromechanical choir. i was a soloist there; i studied e at the palace of pioneers , singing a vocal and instrumental ensemble. now it is very interesting to remember. we also have a vocal and instrumental ensemble at a music school, that is, i was a pianist. everything was running smoothly everywhere, and i managed to do it. and, of course, it was as if the application is free to do this. here we had two soloists, and on the keys e you will be surprised, but we had igor kornelyuk, he then studied with us, was with me a few years older and, uh, studied in brest, then entered the brest music college for composition, and then appeared in leningrad like this. this is how the tin diverges, how the roads diverge, when i graduated from music school, my mother said, let her go to study in the brain. very thirsty, very thirsty.

that is, she has already quailed everything that is possible for us at home. and that is, i played the piano on the piano and sang myself. yes, your way to the stage is quite. could be the subject of a movie or musical. after all , you came to work at the bolshoi theater not as a singer. and as an accompanist you liked it then. your work. well, of course, i remember, uh, when i studied, uh, at the conservatory, then it was called the conservatory. i lived in a hostel on staroverinskaya and i went on foot. on foot in the conservatory would come back and my way. naturally, attracted past the bolshoi theatre. i understood from the stairs i looked at this building. for me. it was like a temple and i dreamed. that's how great it would be, someday there to go on stage and sing i realized that these are dreams. i understood that i was getting a profession as a singer, but at the time when i entered the conservative, 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 acted, as pionerskaya had a choice, either i try out as a singer, i don’t have any vocal education initially, or i act as a pianist. mom really wanted since the late child in the family, so that i could get her education as soon as possible. so calmer for myself, well, of course i liked me, i had excellent teachers, and i was happy to do this business. well, that's how it happened. eh, that's how fate happened. e case his majesty played a role. that already, when i was studying as an assistant internship, as a pianist i had the opportunity to go with the concert team of the opera house, that is, both ballet dancers and operas on tour, as in as exactly the concert of the month. and these were such wonderful tours, while still in the soviet union, when in 12 days i played 30 concerts in mogilev, mogilev region, and of course. after that, i was invited to work at the opera house. that is, well, as i suppose, they didn’t

consider that they didn’t take such a valuable shot to miss. 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 i was straight. how radically i will change at least at the moment when i wanted to try to 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 . theater. through our std, i got there for these courses, and i studied the beehive of mogilevskaya e, the famous concertmaster of the bolshoi theater of russia. now i remember for the rest of my life what she said to one of the concertmasters. maybe she's siberian or from somewhere else she said a girl, but if you can teach to sing, then 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 sent to the conservatory to teacher, and i realized that this is my desire. something to suggest somehow help the singer is necessary. 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 my task in the first place. uh, help him. in the sense of music, teach him to help study e, musical text, musical text, to understand the image. pay attention to the strokes of e, tell the tasks that the conductor sets, but does not fit into the local cuisine, but in order to understand what it is. i need to learn how to drink on my own. actually, this was my task and my goal, and i didn’t set myself the goal that i’ll definitely be a singer, i’ll go on stage , initially there was such a goal, and i should try

to sing myself in order to understand what is happening with organism 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. academy of music already at this time in the vocal department and by the end of the second year. i was entrusted, uh, to participate as i say. participate in the production process of tchaikovsky's opera and alanta, and i was even lucky to sing the premieres in the first day 's performance. take care of nothing my back death sweet sun.

like opera soloists, they accepted the news that their the accompanist suddenly began to sing, was there such a thing, some kind of creative one. how to say jealous? yes, i understand, i understand what it is about, sometimes something like that slips through someone. well , naturally, no one speaks to me. i know that talking right there would be why she didn’t remain a pianist, like takes up space takes someone’s job, that is, there is such a moment, but in principle, most of the people with whom i communicate are all very friendly, after all in fact. i didn’t just play like that and suddenly began to sing and went out to scene. i went the same way that

all the singers who come to our theater go through. and how did the management of a good accompanist react? oh, how difficult it is, and then it wasn’t our director sergey albertovich, 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 as an accompanist for a certain period. i continued to work part-time. e concertwester, but then something like this. studied somehow the singer quickly went around one second part and the third one already became 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 drink his world premiere opera, er, the anniversary of switzerland on tour. it was i who sang tatyana alekseevna in this performance in one of her interviews they mentioned that what kind of creative destiny you have, but there were practically no small

roles is it luck or is it your inner mood to take better from life no, well, the way of life is better, 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 must have happened, it must have just happened uh. hmm , the first batch i came in. this is the season. 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. this 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, her repositioning. and as for small or

large parties, in fact, as a rule, they take the theater wrap, either in the first position, or in the second, sometimes they take the first position, but if a person can't cope, he starts drinking in the party, on the other hand. hmm, it's a good tradition when a singer comes to the theater and he gives him a small party, on which he grows. everything probably depends on the level of the singer, on his willingness to go on stage and drink big parts. well, that's why something like this, here, then there was a mention, a magic flute and pretty quickly hmm there was armina burana, which i sang for more than twenty years, twenty 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. you know, we, as actors, are rarely satisfied, though with our own. well actually there is just a favorite party. the ones that were particularly expensive for some reason were parties that didn't really work out. well, maybe they sang less. let's say. so, for example, the performance that itself? i really love the party myself, but that's how it happened. she came to me rather late. i drank it on tour. in england sang several times with us, but for some such

circumstances. i did little of it. she 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 i don't listen to anything, but i try to process it myself. only the first stage is accumulation. yes, here is the feeling of the impression, yes, well, this is already, if not at all familiar materials, because as a rule what i do not give is usually what i already know or heard, or at least because of the exception of those new works , which here are just written in modern composers of those works, in recordings, which simply do not exist in nature. and such were the stories in my life, for example, i had to, uh, write down on our belarusian radio, and persecution of the italian

composer leopold. 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 cd. so that was a very funny moment. now, if you remember how small the world of musicians is, when you are on tour, i sang the philharmonic of milan and i worked there. uh, worked as a stagehand. choir artist, local and he put read. he says it's you, it's 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, but immersion in the text is it. naturally. 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. by the way, uh, what takes more effort to memorize, uh, the text, and or, here, to immersion in the image. i think it's immersion because it's

a learning process. he is infinite. i think, like any person, the more you know the topics. you realize that you don't know any more, so 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 conductor from the white orc strictly, however, you went on stage and sang performances, and then you understand, yeah, but here you need to there was something else, then let's even assume a performance that i sang a lot there, i don't know, 50 times, probably hmm or many years. later i understand, but here you can do something, otherwise something else opens up here. maybe this time is passing, maybe some internal accumulation, which is already reflected in one way or another and is transferred to this party.

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 a big difficult performance or some kind of hmm concert is hard, which takes time. i usually can't fall asleep for a long time. i'm practically usually

sleepless that night. i can't disconnect. well , i am recovering and reading books, resting, some music, good weather. you love, walk . i generally walk, as a rule, after the theater after any work in the theater will it be a rehearsal of an orchestral lesson or a performance? moreover , i like to walk slowly slowly. and are there any rules before and after the performance that you do not violate, for many years little, little secrets, yes, but they are on, that is, secrets so as not to open them. no, well, probably, of course, there is some ritual of your daily routine. that's what she said, that is, well, it is desirable to sleep well, preferably. that is, i don’t feel uncomfortable with a full stomach, it’s all very individual, because i know, for example, a singer who needs to 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 set up to look at yourself in the mirror before leaving. just take a look and go. now many artists are actively engaged in social networks. e follow the comments about the performances on the internet sharply responds to criticism. and how do you feel about criticism ? i can only call it criticism. they have some people, but certainly. i sometimes read, i try not to pay attention, because we are quite vulnerable artists. if you take it seriously, then you can just

go crazy. i know, for example, such cases are not with our peppers. i know that there were no such social networks at that time, but some critics hunted, for example, the great singer nikolai gialuronov. and after that he could not go on stage at all. well, therefore, mmm. i believe that a singer must be loved and treated for this, maybe because i was an accompanist in the past. i love the singers and but the criticism, which hmm if it is objective, i always try to listen to it, but it's not on social networks, because what a real critic. in social networks. it is impossible, there, basically, such a message prevails and some kind of personal relationship, some kind of personal ambition. and then there are a lot of people who, in fact, are not professionals, but also consider it shameless to put their opinions out to us in the public space, sometimes quite ambitious peremptorily, without any reason, in fact. can this be called criticism? this is their personal opinion. well , in this case does not arise, the next question is

whose opinion? you trust the most, well i trust, of course, my relatives, my spouse, my girlfriends. 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, well-mannered people. they'll find something to say to me, and they know that i'm very critical of myself. i'm ready for criticism. i always try to find here you know the grain. i believe that in every criticism there is. what you have to adopt, try to fix. god you are just my experience.

yong 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 free time theater ? well, as a rule, i think i'm not alone, if i say that people are public they like to relax alone, they don't like to relax in public. i like to relax, either at home or in

nature, alone or in a small circle of my family, my friends there is a stereotype that most opera singers. these people are quite accurate, because that the voice requires a diaphragm. therefore, large of some physical size. well, looking at you. i understand that this is nothing more than a myth. but i think it's really hard to find thick superweights these days. there are very few of them. well, 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 all in general, quite slender and in good physical shape, so this is left in the deep past. and how are you you keep in good physical shape, like everyone else i try to eat normally, do some physical exercises. 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, lead the string committee. you need a series, is there anything else you would like to realize yourself in, but there is no time yet. you know, probably not. i feel like i did it well. if you if i have still ahead somewhere there, well, 50 years, 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, while i can still say so. i am satisfied with everything in life. i have. my favorite child. my string confectioner is necessary, which i came up with, there i am i use my mathematical abilities too. and so she said, i do self-arrangement, i write for a slender inteta with a voice , and this requires this. here. i would say, a good organization of the mind tatyana, our program is called the

meaning of life for you. what is the sense of life? i don’t know, probably the meaning in 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 must definitely share it, and i i've been trying to do this all my life. 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 tatyana tretyak's life

minsk and bishkek, our heavy trucks and food, as well as joint projects, we will ask the head of the belarusian diplomatic mission about the main thing.