A golden-eyed hybla with a golden voice. Star of world opera Khibla Gerzmava - about life, competition on stage and family

The most obvious timbre changes in better side I felt it even after the birth of my son, that is, 12 years ago. I was glad that my voice became softer, less of a flattened sound, the smallest tremulation, which sometimes interfered with myself, disappeared. The process of “rounding” may be ongoing, but now I consider myself a lyric-coloratura soprano, with an emphasis on “lyricism”. It brings some adjustments in terms of repertoire, I’m no longer going to sing Shemakhanskaya or the Queen of the Night in “ Magic flute". But I’m not going to switch to very “strong” parts like “Madama Butterfly”, “Tosca”, “Norma” or even Elizabeth in “Don Carlo” yet. I am one of those singers who is careful about the choice of repertoire, at my age it is especially important to keep the voice fresh. Gilda or Juliet is no longer needed, but Lucia, Violetta or Mimi are now mine.

- The last premiere in his native Theater - just three roles in "The Tales of Hoffmann" by J. Offenbach. Such "impudence" - your initiative or the director's intention?

Few singers in the world dare to perform these three roles in one evening, or rather even four, counting final scene Stella, they are so different both in sound and in acting tasks. Of the contemporary colleagues, Diana Damrau immediately comes to mind, who sang all these heroines wonderfully in the performance of the Bavarian Opera. I also did not hatch such an idea, suggested, even persuaded, Alexander Borisovich Titel, thanks to him.

Olympia is not 100% my role. But the more I sing it, the better it gets, because the range allows, and I really like to make such a childish, touching doll.

- Yes, I noted this in the review of the premiere, Khibla's obvious comic gift, which, unfortunately, was little realized. Wouldn't you like to try something even more mischievous - Don Pasquale, or Daughter of the Regiment?

I would really like to sing Norina in Don Pascual, but I don’t think about Daughter of the Regiment, she is for a slightly different voice. But, it’s true, I don’t have enough comedy roles, I really want to joke and laugh on stage. I regret that they are removed from the repertoire at the Musical Theater " bat”, sly Adele was very close to me.

- Let's talk about your most recent great job- the role of Vitellia in Mozart's Le Mercy Titus, which you performed at the Paris Grand Opera in September. The French and our reviewers are unanimous in their enthusiastic assessment of you personally. This is the first encounter with Mozart's music on opera stage?

Yes, Vitellia is my first major Mozart part. I have read quite a lot historical literature in history ancient rome, about the reign of Emperor Titus Flavius. But the main thing, of course, genius music Mozart, which is like “above the plot”. I came to Paris not just with a learned game, but with a prepared role. Both the director and the conductor understood a lot right away, at the very first rehearsal.

- With whom do you prepare and learn new parts, who is your “outside ear”, which is so necessary for a singer?

A strong vocal foundation that allows you to actively perform with a diverse repertoire, withstand hard tour schedule, I received at the Moscow Conservatory from my professor Irina Ivanovna Maslennikova. From the third year I got into the chamber ensemble class with Professor Evgenia Mikhailovna Arefyeva. She prepared me for the Tchaikovsky Competition, which became a springboard in my creative biography, with her, the main accompanist and teacher-repetiteur of our Theater, I am engaged to this day, preparing roles in performances. Her opinion and "ear" are very valuable to me, I trust her completely.

- Will we hear you in the Russian repertoire in the near future?

In general, it seems to me that the Russian opera classics are stingy in the parts for the lyric-coloratura soprano.

- But what about Rimsky-Korsakov, if not Shemakhanskaya, then his Martha in " royal bride” or Volkhov in Sadko fit this category quite well!

Some arias I sing in concerts with great pleasure. Unfortunately, many of his operas have long since left the Moscow playbill. And in the West, Rimsky-Korsakov's operas are a rarity. It so happened that my foreign contracts are associated exclusively with Western music, hear me and invite me now to the European repertoire.

- An indispensable question on our portal is about modern opera directing, about your relationship with it. Your formation as an opera actress took place at the hands of A. Titel - the director is in many respects controversial, ambiguous. But all his productions, thank God, do not allow the naturalism and rudeness inherent in Western novelties, for which it would be a shame in front of the founding fathers of your Theatre, Stanislavsky and Nemirovich-Danchenko. And even Adolf Shapiro, invited from the drama, who staged Lucia di Lammermoor at MAMT, remained true to the principles of conventionality. opera genre. Contrary to the fears of critics, Vasha Lucia made it to the final in a clean, non-bloody dress. This amazing snow-white “coffin dress” itself has a very strong and unexpected effect.

My Lucia is generally somewhat different than everyone is used to. She also has a different madness - calm, quiet-contemplative. The fact that the performance was staged by the master drama theater Adolf Shapiro, saved the production from age-old clichés. I have great respect for all the theaters where Lucia di Lammermoor is staged, and for all the performers, because the role is really very “bloody” in its severity for the singer. But that is precisely why real amateurs who go to the theater for catharsis, and not for cheap "tricks" do not need red blood smudges on the heroes' clothes. And for me it is also very important to emphasize the development of the image with a different sound, timbre. It's no secret, there are virtuoso singers who sing the belkante repertoire technically flawlessly, but monotonously from the beginning to the end of the performance. It’s boring for me to listen to such a performance myself, so I try to be as expressive as possible by means of vocals. I always hear if the singer puts a piece of his heart and soul into the performance. If there is, I can forgive even technical flaws, we are living people, but I avoid cold mechanistic vocals in every possible way, I get tired of listening to such voices. From the new emerging names, I expect, first of all, beauty and purity of timbre, and warmth.

- Let's get back to opera directing as such. In Moscow, you are lucky to find smart directors who understand the specifics of the genre. And what about Europe-America? Did you have to step over some moral, ethical principles?

Until, not to jinx it, it's over! I don’t know how I would react to the offer to participate in an overly frank production. Perhaps I would turn on my professionalism and try to find something new, interesting. But, frankly, I'm afraid, I'm not thirsty. I love modern performances, but only those where there is taste and on the stage do not cross the line of theatrical conventionality.

- From this follows my most personal question to the singer Khibla Gerzmava, as to the mother of a teenage son. Your Sandro is already involved in the theater, sings in the children's choir of MAMT, participates in performances. How is his relationship with the opera?

I brought my son to the theater to "work" primarily in order to spend more time together during my now infrequent visits to Moscow. And then, the theatrical schedule, the rehearsal process is very disciplined, which many people don’t even know about! Now Sandro has begun an age-related mutation of his voice, he was transferred to another choral group. But he runs around the stage with great pleasure, sometimes he also participates in the same performances with me. They have to sing different languages, what well. All this liberates the child, but also educates at the same time. It seems to me that he theatrical life helps in learning. He is organized, knows that one should not be late and let the “team” down - this is an important part of education. I am very grateful to our teachers children's choir–Tatyana Leonova and Alla Baykova for correct work with the guys.

- But the "dust of the curtains" is such a contagious sweet poison! What if the guy wants to follow in the footsteps, if not sing, then become a dramatic artist?

I am almost sure that the son will not be a singer. Sandro has already spoken about the dramatic field, and I am not against it in principle, but only after full maturity. The most important thing is to send the child, and there he will think and choose. The boy is doing well in mathematics and his head is inclined towards the exact sciences - we will orient him towards this.

- What, in your opinion, should be shown to adults, but still children in modern musical theater, and what should we refrain from?

Sandrik s early years hears at home good music: classical, jazz, folk melodies. But I am not a supporter of showing children something difficult for the perception of their psyche. He began to go on tour with me when he was little, now I try to take him when the holidays coincide. And we always go live to see operas in the best theaters world, suitable for age. But, let's say, until I take him to Salome by R. Strauss, even with a star cast.

Grow up - he will determine what is more interesting to him, fortunately, the choice opera performances on DVD in excellent quality is now huge. His perception of a teenager is changing dramatically, in two or three years he will already look at many things differently. There are a lot of classics outside the opera genre, which I would like to introduce the child to right now - books, films, dramatic performances.

But, by the way, our sensational with its "indecency", that is, male striptease At the La Traviata ball, Sandro nevertheless looked and was not impressed, did not emphasize this point. Much more interesting to him than naked torsos were billiard cues in the hands of the dancers. The boy just started going to billiards, he was very interested, and the first thing he noticed was that the young men were dancing with cues in their hands.

He honestly told me that he does not like those performances where my heroines die at the end. Therefore, my best role in the perception of my son is Adina in Love Potion. I really want this cheerful, witty performance to be resumed at our Musical Theater, having finally learned Italian and recitatives.

- And how about the son of "The Tale of Hoffmann" - did you see his smart face with glasses at the premiere?

I liked it very much! Especially Doll Olympia: “Mom, you are so funny, cute, you walk like a toy. Very good ponytails! But he admitted that he was frightened when Olympia lost her eyes, jumped out with black dips on her face in the final of the 1st act.

- At this age, boyish jealousy for any males is very natural, in this case- Your partners.

This, fortunately, is not the case. First, Sandro is in the theater with early childhood, and all my opera lovers are his acquaintances, he communicates with many guys on Facebook. Then, I explained even earlier that this is the Theater, such work. But if I come home, I don't keep acting like Somerset Maugham's character great actress Julia Lambert, I just loving mother. Closing the door, I become an ordinary woman: homely, cozy, warm.

- I remember that according to your first, school diploma, you are a pianist, and even studied optionally on the organ at the Moscow Conservatory. Do you manage to find time for the piano now, to maintain the level?

I am always grateful to my piano teachers for the fact that even today I own the instrument. In general, I think that singers who play any instrument are lucky, they have a more meaningful sound science, a deeper understanding of music. Now I have little time to play the piano, but at home or in a small circle of friends I can play a little bit of jazz.

- It's very interesting about jazz. How do you manage to combine opera and jazz singing, these manners are so different, and few even great singers dare to do this?

Listening and doing jazz music, I'm resting. My ears rest! Working with a microphone is a separate topic, you need to know a lot of nuances, the message of the voice and the sensations are different. I am extremely happy that there are such friends as Daniil Kramer and Yakov Okun with whom we performed together in Pitsunda in a jazz program. With Daniil Kramer solo program, such an exclusive, "Opera, Jazz, Blues", which we sing on the stage of our theater. It means a lot to me and I am very grateful to him.

With Yakov Okun we play music in a slightly different, folk style. For the first time in its jazz arrangement, I heard the Abkhazian folk “Song of the Rock”, for which I am sincerely grateful.

A special page is an ensemble with Denis Matsuev, he is my good one, close friend. One of our best modern academic pianists also plays jazz improvisations and various hits perfectly. With him, we recently recorded several numbers for New Year programs on television, full of mischief and humor. They can be seen on the evening of December 31, there will even be a special surprise, I won’t say which one yet! I hope that in May we will go with Denis to Pitsunda, as part of my annual jazz festival, in a team with bassist Andrei Ivanov and drummer Dmitry Sevostyanov. I want to continue my jazz "hobby".

- Khibla, I don’t want to once again use the obscenely worn out and vulgarized word “Star” by all sorts of “manufacturers”. But, just as a documentary fact. You are now in Moscow, perhaps the most famous opera singer. You have your own permanent audience, you collect sold out performances, you can often see you on television, which is the main criterion for popularity for many. I am simply silent about your native Abkhazia, probably, even in the mountain villages they know about you, and are deservedly proud. And when I communicate, I see a normal woman, without fanabery, and a hard-working vocalist who, without hesitation, talks about an unsuccessful cadenza in the last performance. When all around are people's enthusiasm and pompous epithets, how do you manage to keep a "sober" head, not to fall into the euphoria of "divism"?

I am always grateful for the positive wave coming from the public, from the fans. But I myself understand that “one hundred percent” is never perfect, no matter how hard you try. I take positive emotions“in a piggy bank” for myself, but I still know what worked and what didn’t. The analysis works clearly for me, and no one “eats” me more than I myself.

- And if you hear a random false note?

Certainly! I hear and suffer if such a “sin” suddenly slips through. I react sharply to inaccurate, as a rule, understated intonation among partners. Singing is both mental, mental and physical labor.

- As far as I can tell, you are "friends" with a computer, the Internet, Facebook. How do you feel about spontaneous uploads of your performances on YouTube?

The most annoying thing is when a certain user is so intoxicated with his own importance, and the fact that he attended an elite event, that he uploads absolutely amateur low-quality footage to the Web! Well, how can you listen and watch it, if a cheap mobile phone camera shakes in your hands, the image jumps, the sound is worse than from a gramophone record! No, if it is recorded and filmed with high quality - yes, for God's sake, let people hear and look. But in order to upload your footage for the public to see, you need to have at least elementary skills, and not do it carelessly, just to be noted.

- What are your impressions of studio work on audio CDs?

Recording is always awful, hard as hell. It is easier for me to sing a few performances live than to spend a shift in the studio. There are voices that sound very beneficial in sound recording, but I don’t consider myself one of those. I don’t like myself from the outside and that’s it! Well, except in rare cases.

More than 10 years ago I recorded several Russian programs for a Japanese record company. In particular, she practically rediscovered the cycles of romances by N. Myaskovsky and M. Ippolitov-Ivanov. Now I sing in a different way, and I'm thinking of re-recording them. Another program is planned from our classics: Glinka, Tchaikovsky, Rimsky-Korsakov, Rachmaninoff. And yet, I would like to release a disc - "everyday" romances of the 19th century: Alyabyev, Varlamov, Gurilev and others. All my recordings chamber music we did together with an amazing pianist and close friend Ekaterina Ganelina, I also plan future projects with her.

The main dream is a solo disc opera arias with NPR and beloved maestro Vladimir Spivakov.

And, of course, jazz, my constant tender “weakness”, quite a lot of materials have accumulated from live concerts, from my festival in Pitsunda, but some “fleas” - imperfections, torment me all the time, I would like to rewrite all this with high quality.

- Purely feminine. I like your concert dresses - they always emphasize only the best in the figure, interesting in color, different, but united by a certain style.

I have stylists who do costume, hair, make-up. But if I personally don’t like the proposed option, then I won’t go out like that in a concert, even if it’s super fashionable. I think that a woman on stage simply has to be beautiful, stylish and well-groomed. An artist should be a Dream - impeccable, in the most expensive exquisite outfit. A successful dress gives me a feeling of a straight back, when I feel beautiful - I sing differently!

- Finally, let's not be original, about creative plans for the coming season.

Just the other day I'm flying to New York for a month to sing La bohème at the Metropolitan Opera in a revival of the classic production by F. Zeffirelli. In my native MAMT, I will periodically appear in La Traviata, Lucia di Lammermoor, and The Tales of Hoffmann. On December 21st, in the same place, at the Theater there will be an evening called: “Opera, Jazz, Blues”. February 13 should be my solo concert V Great Hall Moscow Conservatory.

And, perhaps, the main expectation at the moment is the upcoming participation in Mozart's Don Giovanni at London's Covent Garden in January 2012. This will be my first Donna Anna, but the second, after the "Mercy of Titus", a happy meeting with Genius in one season. Whoever is interested in my plans and movements around the world will always find a schedule on the official website. I will only add that the dates for the next six months are indicated there, and my tours are scheduled until 2014. Basically it is MET, Covent Garden, Vienna Opera and other leading stages of the world. However, in Moscow, and in other cities of Russia, and in my native Abkhazia, I will also sing, I promise.

P.S.

In the process of editing the text of the interview, it became known that Khibla Gerzmava was nominated for the highest Russian theater award "Golden Mask" in 2011 as the best opera singer for performing simultaneously all the main female parts in the MAMT's play "The Tales of Hoffmann". We will find out the decision of the jury, as always, in the spring. But the very fact of the artist's nomination inspires optimism - rarely does a vocal "almost a feat" evoke such a warm response from the audience.

Many titles and awards, stylish dresses, shimmering diamonds on the neck, huge baskets of flowers, the adoration of the public of the most different nationalities, as well as immense diligence, endurance and perseverance. All this is an opera singer with Abkhazian roots Khibla Gerzmava. From the outside, her life seems fabulous, but on the way to this fairy tale, the singer had to overcome more than one obstacle. And sometimes personal life of Khibla Gerzmava became the victim that had to be brought to the altar of art.

The biography of Khibla Gerzmava began 46 years ago in Pitsunda. In addition to her, there is another son in the family of the senior administrator of the boarding house and the translator. The whole family of the future opera star had musical abilities and hearing. True, for a long time Khibla Gerzmava was preparing specifically for the career of a musician, and not a vocalist. She has been attracted to the organ since childhood. By the way, she still managed to master the instrument. Because of her love for music, the singer's childhood was filled not only with joy and celebration, but also with everyday work, because in music school I had to get to neighboring Gagra. After graduating from school and School of Music in piano, Khibla Gerzmava decided to enter the Moscow Conservatory. This educational institution- the dream of her early deceased mother. By the way, in an interview, the singer admitted that she got a real deep and colorful voice just after that. tragic event, and subsequently almost all the tragedies and troubles in personal life somehow had a beneficial effect on the voice. Two years after her mother, her father also left, and therefore, from the early courses of the Khibla Conservatory, Gerzmava had to independently overcome the difficulties and hardships associated with life in the capital. But such a frantic rhythm, when she worked, obscures everything else, very quickly raised the singer to a pedestal. While still a student, she won top places at festivals, and therefore it is not surprising that after receiving a diploma she became a singer in the Nemirovich-Danchenko Theater. It became her second home and additional school, because it was here that the singer honed and acting skills, and the ability to stay on stage, and style. And even now, performing on the most famous stages around the world, Khibla Gerzmava does not forget about home.

As for her personal life, the singer in everyday life is cheerful and open man with a great sense of humor. In her environment, according to Khibla Gerzmava's own admission, male friends predominate, and women can be counted on the fingers, but all of them are time-tested and situations-tested people who can be relied upon. With friends, the singer willingly spends free time. But above all, she is a mother to her only son Alexandra. He is now in his eighteenth year. Despite inherited musical ability and experience on stage, acquired in the children's choir of the theater, he did not follow in the footsteps of his mother. Almost nothing is known about Khibla Gerzmava's husband. For a long time they had, judging by the singer's interview, a strong and harmonious family, but for several years the spouses have not lived together. Naturally, Khibla Gerzmava tries to pass over the reasons for such a decision in silence.
See also.

Khibla Gerzmava - one of the leading opera singers planets. Her name, translated from the native Abkhazian, means "golden-eyed." Unique voice provided her with the first Grand Prix in history International Competition Tchaikovsky and many other victories. It combines many different things - true female love to beautiful outfits, which she easily gives away at the same time, charity, for which Khibla often gives more money than she keeps for herself, motherhood and friendship. She does not like to listen to her CDs and is convinced that it sounds much better live than on record. “It is impossible to sing without love and warmth,” Khibla Gerzmava is sure. “And the sound should be warm and with gold.”

The star of the world opera scene visited Minsk to perform at the Vladimir Spivakov Invites festival and found time to talk with the SB correspondent.

You dedicated your December concerts in Germany to the victims of terrorism, transferring the fees to a fund that provides support to the relatives of the victims. Was it an impulse or a conscious decision?

The decision was impulsive, it came after the disaster over Sinai, when I saw the photo small child at the window at the airport - I still can't forget this girl. Many tried to see in my act a political statement, but - no politics, just heartache.

You lost your parents early. Was it difficult to break through without feeling parental support, to cope with everything alone?

Very hard. I was 16 years old when my mother passed away, and 18 when my father passed away. My parents died very young, beautiful, we had a luxurious family. And in Moscow, I, an absolutely homely provincial Pitsunda girl, of course, had a hard time. I won’t talk about my hardships now and go into details, because it’s still difficult for me without my mother. You know, on the way there were always people who helped me. And the Lord, apparently, rewarded me for having once taken my parents, and sends all the time the necessary the right people who love me. And the parents... They left early, and it hurt. To this day, I can sometimes cry like a little girl. Because, for example, I would really like my son Sandro to be raised by my grandmother when I'm on tour somewhere. Anyway, when mom is around, at home - drink together tasty coffee and just hug her, kiss her... I even remember the smell of her creams and I think it will never go away. And if it passes, then I will understand that part of my life is gone. Because I still feel my mother. And dad, he was very strong. They still support me, I believe in it. Everyone needs parents. And if the Lord made it so that they do not exist, then the child is very strong. A person who loses his parents early is probably given some other strength that moves him forward so that he does not fall. And if you still fell, then you need to get up and move on. WITH open eyes, with a bright face and the sun inside. I live like this.

- Once, before serious vocal studies, you wanted to play the organ, did this dream come true?

I grew up in Pitsunda, and the temple of the 9th century, which is located three minutes from our house and where a wonderful organ, probably played a role in my passion. I graduated from a music school in piano, since childhood I wanted to play and never thought that I would sing in opera. But each person should know his place in life, choose something one and global. For me, the only thing that mattered was the vocals. And I studied the organ for three years optionally at the Moscow Conservatory, but purely for myself. I was interested in the registers, I was curious what I could do with the organ, if I could ... For me, this is a very important step, because instrumentalists, in my opinion, sing differently. And they think, and learn the repertoire, and work on the clavier in a different way. Piano and organ - very good school for me as a singer. I sing differently, I build phrases and even breathe differently.

Now very often ballerinas, for example, act in films, stylists begin to sing. Have you ever been drawn to try yourself in a different capacity?

An opera singer is a good dramatic actress who sings. I hold on to this very much, because I have gone through a lot and survived. Feeling like an actress with a voice is completely different than just singing. And that's exactly how I feel. Of course, I would love to play in some good movie. Recently, director Alexander Sokurov filmed "Sofichka" based on Fazil Iskander in Abkhazia - I would star in such a film, of course. Or even in an interesting picture for me, perhaps a historical one. But so far no such proposals have been received.

- Is there a work that has not yet been done, a part that you would like to sing, but have not yet sung?

Of course, the party and role of Desdemona in Othello. But soon I will sing it, in April - May at the Metropolitan Opera - the first theater in the world. I have a special, reverent attitude towards this role, I am preparing for it, because I am an absolute Desdemona in terms of voice and, as a singer, I now sound very good in this part.

- What do you miss in life?

Catastrophically - sleep and rest. I really want to rest, but I don’t have time at all. Now there is a period in my life when I am torn apart. And while you are in demand, you have to work. As long as you are loved and want to hear and see, you need to move forward. In the next life we ​​will rest, sleep - and eat croissants with butter. (Laughs) I really like vanilla croissants, I dream of one day eating five pieces at a time, while no one is watching. I'm kidding, of course.

Very feminine - to fight for beautiful figure wearing chic outfits. It is known that you have a whole team of stylists and a huge stage wardrobe...

There are really a lot of dresses in my collection, they no longer fit at home, there is even a separate compartment for them in the theater. I think a singer should be very beautiful on stage. When I go out to the public, I need to be impeccable, stylish, elegantly dressed - it seems to me that this makes me sing better.

- The theatrical environment is quite tough, have you encountered, shall we say, unfair competition?

We have a tough world, of course, there are envious people, and people who don’t really like you. Nobody sits me up, because I have my own bar in life, I didn’t take anyone’s place, I always did my job and never climbed into someone else’s. Although there is a lot of competition, and you need to monitor this every day. But if there are people whom I annoy or who think badly of me, I just pray for them. And then I go to sing.

ovsepyan@site

Recently, Khibla Gerzmava performed on the stage of the London Covent Garden Theater - she sang the part of Tatyana from the opera Eugene Onegin - and yesterday arias from this opera were performed on the stage of the Omsk Concert Hall.

Previously, the Moscow prima had already performed in our city: Khibla was one of the first to come to the stage of the organ hall that opened a few years ago.

This time the soloist of the Moscow musical theater them. K. S. Stanislavsky and V. I. Nemirovich-Danchenko performed in a less chamber atmosphere: the Omsk Academic Symphony Orchestra. Hibla is no stranger to playing with new musicians: concerts and tours are more frequent for her than performances in her native theater:

I am constantly driving different countries and cities, I perform here and there, - says the singer, - I am very lucky that in my theater it is accepted calmly. Not so long ago, I was offered to go to the Bolshoi Theater, but they needed me entirely, without a trace, without combining with other theaters and tours. I thought - and refused.

IN Soviet time The musical theater in which Khibla Gerzmava sings was a favorite among the Soviet nomenklatura. Modern Russian officials also love him.

At each premiere, we have both Yuri Luzhkov and Vladimir Putin among the audience. Only I feel sorry for them, - Gerzmava smiles, - They sit in separate boxes on the side, but it’s quite inconvenient to look from there.

The singer has the glory of not only the owners of one of the most beautiful voice, but also one of the most stylish and elegant women on the opera stage. Often she chooses her own costumes for performances.

Singing a solo concert is not at all like singing in an opera, where you are surrounded by scenery, bright costumes ... - said Khibla Gerzmava, - Here all attention is paid only to you. Fortunately, I have everything - both jewelry and beautiful dresses, many of which I just accidentally buy for myself in the stores of world capitals. IN common days I do not wear diamonds that my husband gives me - why? In everything you need to know the measure, this is real elegance.

Despite busy schedule tour, Hibla manages to look simply charming at any time. To do this, it is not at all necessary to follow any strict diets or carry a personal massage therapist with you.

For me, the most important thing is to sleep well, - shared the secret of beauty opera diva- True, I never sleep on planes and trains - I just don’t like it very much. Therefore, you have to carve out separate days for yourself to sleep. On the days of concerts, I can’t sleep at all - there is too much adrenaline after each of my performances!

At home, Hibla also does not get much sleep - her husband and little son waiting for her attention and something delicious. After all, mom is at home infrequently!

My son also loves music very much. He himself wanted to play jazz, and I, of course, support him in this. Naevrnoe, I can say that all my dreams have come true ... - the singer smiles. - Although no! When I give birth to another daughter, I will raise it - then I will definitely be able to say so!

In 1994 she graduated from the vocal department of the Moscow State Conservatory (teachers - Professor I. I. Maslennikova, Professor E. M. Arefieva), in 1996 - postgraduate studies at the Moscow Conservatory in the class of Professor Maslennikova. Since 1995 she has been a soloist of the Musical Theatre. K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko.

Performs leading soprano roles, including Lucia ("Lucia di Lammermoor" by G. Donizetti), Violetta Valeri ("La Traviata" by G. Verdi), Mimi ("La Boheme" by G. Puccini), Adina ("Love Potion" by G. Donizetti) , Donna Anna ("Don Giovanni" by W. A. ​​Mozart), Antonia, Stella, Juliet ("The Tales of Hoffmann" by J. Offenbach), Medea ("Medea" by L. Cherubini).

In 2010, for her performance as Lucia in the opera "Lucia di Lammermoor" Khibla Gerzmava was awarded the Casta Diva in the nomination " Best Female Singer", as well as the Moscow Prize in the field of literature and art.

In May 2011, Khibla Gerzmava performed on the stage of the Musical Theater. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko as all four heroines of J. Offenbach's opera "The Tales of Hoffmann", bringing the composer's idea to life and becoming one of the few singers who managed to successfully solve this most difficult vocal task.

Today Khibla Gerzmava is one of the most sought-after Russian singers on the world opera stage. She sang at the Champs-Elysées Theater and the Chatelet Theater in Paris, the Comunale Theater in Florence, the Sophia Opera, the Liceu Theater in Barcelona and the Reina Sofia Palace of Arts in Valencia, Bavaria. State Opera in Munich, the Roman Opera, the St. Petersburg Mariinsky Theater and Tokyo's Bunka Kaikan. In the spring of 2008, she made her debut at the Royal Opera House, Covent Garden in London, where she performed the part of Tatiana in Tchaikovsky's Eugene Onegin. In October 2010, Khibla made her first appearance at the Metropolitan Opera as Antonia in Offenbach's The Tales of Hoffmann. In 2011, she sang in productions of La bohème by G. Puccini on the stages of the Metropolitan Opera, the Bavarian State and Rome Opera Houses, respectively in the productions of Franco Zeffirelli and Otto Schenk. In September 2011, the singer made her debut in Paris Opera. The debut role was Vitellia in Mozart's opera "The Mercy of Titus" (conductor - Adam Fischer, director - Willy Dekker). In January 2012, she sang the part of Donna Anna in the opera by V.A. Mozart's "Don Giovanni" on the stage of the Royal Opera House, Covent Garden (conductor - K. Karidis, director - F. Zambello).

In the 2012/13 season she performed the part of Liu in Puccini's Turandot at the Metropolitan Opera (conductor D. Ettinger, director Fr. Zeffirelli) and returned to the stage of the Vienna State Opera to take part in V.A. Mozart's "The Mercy of Titus" (Vitelli part, conductor - Adam Fischer, director - Jurgen Flimm). At the Covent Garden Theatre, she sang the role of Amelia Grimaldi in G. Verdi's "Simon Boccanegre" (conductor - Antonio Pappano, director - Elijah Moshinsky). In the 2013/14 season she performed on the stages of the Prague Philharmonic (she performed the soprano part in L. Janacek's Glagolitic Mass under the baton of the outstanding Czech conductor Jiri Belohlavek), Vienna Opera(part of Donna Anna, conductor - A. Altinoglu), Royal Festival Hall in London (soprano part in "Requiem" by G. Verdi, conductor - Antonio Pappano). In the 2014/15 season performed the part of Donna Anna in "Don Giovanni" by V.A. Mozart at the Vienna State Opera, Anthony and Stella in The Tales of Hoffmann by J. Offenbach at the Metropolitan Opera. In the 2015/16 season she performed the parts of Liu (Turandot by G. Puccini) and Desdemona (Otello by G. Verdi) at the Metropolitan Opera. In the 2016/17 season sang the part of Violetta Valeri (La Traviata by G. Verdi) on stage Bolshoi Theater Russia, as well as the parts of Desdemona (Otello by G. Verdi, Dresden State Opera) and Liu (Turandot by G. Puccini, Royal Opera Covent Garden). In March 2016, she performed for the first time at La Scala, Anna Boleyn became her debut in opera of the same name G. Donizetti. The 2017/18 season saw performances at the Paris National Opera (Elisabeth in Verdi's Don Carlos; conductor Philippe Jordan, director Krzysztof Warlikowski), the Saxon State Opera (Desdemona in Verdi's Otello; conductor Daniele Callegari Directed by Vincent Bussard) Opera House Zurich (Leonora in "The Force of Destiny" by G. Verdi; conductor - Fabio Luisi, director - Andreas Homoki).

In the 2018 / 19 season, performances are scheduled at the Paris National Opera (Desdemona in G. Verdi's Otello; conductor - Bertrand de Billy, director - Andrey Shcherban) and the Real Madrid Theater (Leonora in G. Verdi's Il trovatore; conductor - Maurizio Benini, directed by Francisco Negrin).

Khibla Gerzmava was repeatedly awarded the National theater award "golden mask(in 2010 - for the performance of the part of Lucia in the opera "Lucia di Lammermoor", in 2016 - for the performance of the title role in the opera "Medea").

Khibla Gerzmava performs with such outstanding Russian and foreign musicians and conductors such as Lorin Maazel, Marco Armigliato, Vladimir Spivakov, Valery Gergiev, Alexander Rudin, Mikhail Pletnev, Vladimir Fedoseev, Vasily Sinaisky, Antonio Pappano, Jiri Belohlavek, James Conlon, Wolf Gorelik, Felix Korobov and others. The singer is touring with concert programs in France, Austria, Belgium, Holland, Greece, Spain, USA, Japan, Sweden, Turkey and throughout Russia. She also became one of the organizers of the festival "Khibla Gerzmava invites ..." in her native Abkhazia.