Biography of Vadim Volkov

Vadim Volkov: My counterattacent is as strong as the fragile Vadim Volkov: my counterattacent is as strong as fragile on June 3, 0 If the country has popularity of counteratradists only begins to gain strength, then in Europe they are all beloved and very popular who have developed a specific repertoire, having spent many hours in libraries. Today, for example, on the European television channel of classical music, MEZZO festivals of counteratradists, the premiere of new programs - the phenomenon is not rare, and in our country, interest in this voice is growing rapidly, although in Russian music the counteratradoras were not in demand.

Composers of the 19th century male parties with high notes most often gave mezzo-soprano. Pyotr Ilyich Tchaikovsky wrote the Basmanov’s party in the Opprichnik opera for Mezzo-Soprano, but when they decided to return this opera to the cultural turnover in the Mikhailovsky Theater, the basmanor party was invited by the counteratradionor Vadim Volkov. I gladly learned that in the Novosibirsk premiere of the opera Oprachnik this party will sing Vadim Volkov.

Vadim is a smart man with great self -irony, an interesting interlocutor and, of course, a wonderful performer. I saw how the audience literally jumped in the field, hearing his fantastic “before”. Although many did not understand at all that it was singing a man standing on stage, looking for an opera diva with his eyes. But it was he who did this, the owner of the voting of the wolves, who for a long time could not find producers and directors who could give him a creative life.

But the artist himself will better tell about this. By the way, in life he has an ordinary low voice, in which a barely noticeable Kuban gakan is preserved. Probably was generally stupid. They told me: “Learn a language, you are an artist,” and I replied that I would have translators. Life, of course, hits the hollow of such self -confident. The language still had to be taught.

But while I own only spoken English. If we talk about attempts to enter universities, indeed, teachers were not clear what to do with me. Theoretically, the logic of people who did not take me is clear to me: if there is nothing to sing this voice in the theater, then why teach it at all, spending budget money for nothing? Most teachers simply did not encounter this.

I understand this, I accept it. But, in my opinion, out of a hundred percent of graduates, the percentage of those who work by profession or get to the theater is too small. And after all, the potential is always heard, and on each course the percentage of people with the voices that will be taken to the theater is not so great. And therefore, such conservatism in relation to counteratradists is completely incomprehensible to me.

You can sing incorrectly, but nature is always heard. Since childhood, I had a big voice, but people did not want to mess around. In general, I will try to express myself correctly, but before the counterattacent was a synonym for some ugly singing. Of course, there were beautiful voices, but there were very few of them. When tenora and baritones try to sing in this tessature, imitating and grimacing, this has nothing to do with the voice.

Now there are counteratradists with a voice. This is a voice. This is a real opera singing. Such voices began to appear in the second half of the 20th century, the path of these singers was always very difficult, especially in our homeland. As with any voice, everything is very individual. Someone has better coloratura, someone has an incredible piano, the beauty of Temra, Cantilen, and someone amazes with decibels-huge voices that overlap everyone at all.

This timbre has the right to live, coexist, develop along with the rest. It is pleased that most prestigious Russian and foreign contests added this timbre of voice to the list of participants. I think this is a great victory of all of us, counteratrades. They often tell me that I have a strong voice, but to which it is strong, to the same extent it is fragile. I need to be absolutely healthy to do some complex things, some kind of quick equipment.

She does not succumb to me if I am at least a little sick. There are few of them, but they are, and they conquer the listeners in their voice. How did your relationship with Baroque have? I had baroque performances a few years ago with Andrea Marcon. Right after the pandemic, I sang Handel in the Alcin in the Olympico Theater. This was my first full -scale experience of the baroque opera, and immediately the Rujero title party.

They often ask me: “Is this a voice or a falsetto? These are real hits that literally everyone knows. Now you can easily download on the Internet and sing already famous baroque works, which for those who listen to baroque music, and not only for them, already by hearing. A lot of names, you can’t list everyone. These are they, their predecessors and their followers sat in the archives and found such operas, arias, works that no one knew for hundreds of years at all, but now everyone knows.

Take it and sing. How did it arise? I am so glad that I ended up in this project initially, had the opportunity to create this role on the production. You see, in Russia, composers who wrote operas are units. Tchaikovsky is one of the best, but he also does not have so many operas.I was lucky to meet Sergey Gennadievich Novikov, a man who gave the life of this beautiful opera Tchaikovsky in three theaters!

We met with him at the birthday of one beautiful singer. In the process of dialogue, he said that he saw my performance at the Pokrovsky Chamber Theater, and praised for this work. Several years passed, and we met accidentally at the play at the Bolshoi Theater, in the buffet. We stand in line, suddenly he turns and asks: “Do you want to sing Basmanov? A character appears in each action.

” I looked at the party, she fell on her voice comfortably. I went to listen, sang. So hit. In the process of setting, Sergei Gennadievich recommended a lot of things to see and read. To my shame, I admit, I only recently read the “Prince of Silver” by Alexei Tolstoy. Three years after the premiere. I was wildly delighted from the first pages: this is a real thriller.

The book is very interestingly written, I liked it. And when I read numerous descriptions of Fedor Basmanov, I was just in shock: I felt this character exactly as he was described. So played. Naturally, Sergey Gennadievich explained a lot at the production, music helped to build an image. When I read about a beautiful, but incredibly disfigured face with arrogance, I suddenly realized that I was walking around the stage and all the time I was crooked by my face.

The character directly got into me. Although if you imagine all the horrors that took place according to the plot, then this is not about me at all. I am an absolutely peaceful person. I am very quick -tempered, but quickly leave. But a new page has opened with the “oprichnik” in my life. I hope she will be interesting to everyone. But with Anna Netrebko, my hobby of the opera is closely connected.

As a child, I went to a music school, but out of envy of my brother, who was taken to the boys' choir chapel. I was six, and he was eight years old. I told my mother that if they don’t take me, then I will eat her. She, apparently, was frightened by this terrible threat, and they also gave me away. I listened to the music - indiscriminately, sometimes completely nonsense. Once, in thirteen to fourteen years, he got to the local music theater, at Eugene Onegin.

As it turned out later, after many years, it was the production of Dmitry Bertman. Subsequently, recalling this, I often thought how everything was looping in my life. So, at the play I sat in the second row, and I was enough for me to buy chips in the interval and get them right during the action. In general, I was far from high art.

I could not imagine myself a person who costs so many hours on stage, sings do not understand that, do not understand what and do not understand why and then she - Anna Netrebko! At the peak of her career, she released her “Russian album”. She was a beauty! And when I saw her, I immediately fell in love with her. Everything was fine in it. I then became a real fan, even the whole wall banged it with photographs.

I was sure that I would grow up on it. And, of course, I was especially proud that we are fellow countrymen.