Tamara Sinyavskaya biography children. Tamara Sinyavskaya

TAMARA SINYAVSKAYA – OPERA QUEEN

She once admitted that she always loved difficult tasks, and fate generously endowed her with them throughout her creative life - each new opera role is like a new peak requiring conquest. And there are enough such peaks for more than one mountain range.

Tamara Ilyinichna managed to make a dizzying career as an opera singer, earn recognition from connoisseurs of vocal excellence around the world, and forever write her name in the history of art, becoming a great soloist of the second half of the 20th century.

Concerts in hallways

A native Muscovite, she was born in 1943. One can only imagine how difficult it was for her mother to feed her child during the hungry war years. It was not possible to find information about her father in any of Tamara Ilyinichna’s interviews; it is only known that she grew up without him. But she loves to talk about her mother, who devoted her entire life to her daughter, gifted her with vocal talent and brought her to the House of Pioneers in time so that her daughter could demonstrate her abilities there in the Song and Dance Ensemble under the direction of Vladimir Loktev.

As a child, Tamara loved to go into the entrances of old Moscow houses, where there were excellent acoustics, and organize real concerts, listening to the sound of her voice. She especially liked to imitate the famous Argentine singer Lolita Torres, whose fame was then resounding throughout the world.

The director of the ensemble appreciated the student’s talent Sinyavskaya and advised her after school to enter the music school at the Moscow Conservatory. At the same time, she sang in the choir of the Maly Theater, where she learned the basics of dramatic art. Tamara I studied diligently, absorbed operatic skills bit by bit and not only earned the praise of teachers, but received a grade of 5+ on the final exam, which happened extremely rarely at school.

Confused debutante

After college, fate brought the 20-year-old girl to the Bolshoi Theater trainee group. The young singer’s vocal abilities so impressed the selection committee that she was accepted even without a conservatory education. The young trainee proved to everyone her right to perform on the stage of an outstanding theater and a year later she was included in the main cast. Then all the famous singers, at the sight of whom Tamara took her breath away, and overnight they became her colleagues on stage - Irina Arkhipova, Zurab Andzhaparidze, Alexander Ognivtsev.

At first, she was even embarrassed to rehearse with them; she felt embarrassed in front of the masters. Tamara enthusiastically watched the work of great artists, memorized gestures, movements, facial expressions, every sound and change of intonation, and at home she repeated and repeated what she heard in order to find her own sound. The famous opera director and mentor Boris Pokrovsky helped her overcome herself and open up.

Once, while the main theater troupe was touring in Milan, in Moscow there was an urgent need to find a performer for the part of Olga from the opera. This was a real serious debut for Tamara, which went excellently. This brought her recognition from her colleagues and even more - she was named the best performer of this part. After one of the performances, the outstanding Sergei Lemeshev said that he had finally met the real Olga.

Brilliant Tamara Sinyavskaya

Having achieved her first success, she did not calmly rest on her laurels. Every day she improved her skills, expanded her vocal range and thereby increased her repertoire capabilities. During the first few years of work at the Bolshoi Theater, she performed more than a dozen roles that became the best in the history of opera (Konchakovna in "Prince Igor" and Oberon in the opera "A Midsummer Night's Dream"). These roles brought her international fame during the Bolshoi Theater's tours to Canada, France and Japan.

Over the next three years, she received the first three awards at the most prestigious international competitions and festivals - in Sofia, Verviers and Moscow. By the way, at the IV International Competition in Moscow, the opinions of the jury were equally divided - Soviet jury members gave their votes to Elena Obraztsova, and foreign ones (including the great one) were just as categorically in favor of Tamara Sinyavskaya, so the first prize had to be divided between two singers.

Love with an oriental accent

After such a triumph, the rising opera diva was noticed by a famous impresario, who flooded the theater with telegrams asking her to let her go. Sinyavskaya on tour to America. As you know, the KGB always had its own opinion on this matter, and the answer was also standard: “The singer is engaged in repertoire productions.” This means that she is not supposed to hear about any invitations.

Who knows what a foreign tour could have turned out for her, but the trip to Baku for the Decade of Russian Culture became a landmark for the singer. There she met With . Naturally, she knew the “All-Union Orpheus,” but in absentia. Feelings flared up between two unfree people, but the romance was interrupted by Tamara’s trip to an internship at the Italian La Scala. At that time, Sinyavskaya was married. She respected her husband, a ballet dancer, very much and was grateful for helping her survive the loss of her mother.

Magomayev was persistent, called his beloved every day, talked about creativity, discussed new music. And, as they say, a reliable marriage has not been tested for strength. After returning Tamara Sinyavskaya they decided to unite their destinies forever.

Unfortunately, the couple did not have children, but they left a rich creative heritage - in addition to Muslim’s solo performances and work in Tamara’s opera, they often sang together, organized concerts and creative evenings.

40 years of life in the Bolshoi

Over many years of service to art and 40 years of work at the Bolshoi Theater Tamara Ilyinichna performed almost all significant roles for mezzo-soprano. She is deservedly called an outstanding Russian representative of the Italian vocal school with a unique range. Her velvety timbre and enveloping voice, sensuality and charm on stage made her a diva not only in the countries of the former Soviet Union, but also in many foreign countries.

With Zurab Sotkilava (Jose) in “Carmen”

The People's Artist of the USSR embodied the Russian soul and feminine character in many opera productions of her native theater, but she considers her favorite to be the role of Lyubasha in the opera “The Tsar’s Bride” by Nikolai Rimsky-Korsakov. This same part of hers is recognized as the most outstanding by both critics and opera lovers.

For her role in the opera of the same name, Sinyavskaya spent six months studying choreography with the famous ballerina Marina Semenova. The audience appreciated the bright image created on stage and the singer’s expressive movements. Tamara was the first in the Soviet Union to perform the role of Mademoiselle Blanche in the opera The Gambler. Her repertoire includes both Russian and foreign classics, and her touring geography includes more than a dozen countries.

Bitter loss

In 2002 Tamara Ilyinichna finished performing on the stage of the Bolshoi Theater and admits that she does not regret it at all. She believes that it is better to leave the stage six months earlier than five minutes later. After 5 years, Muslim Magomayev finished their joint concert activities. At that time, Muslim Magometovich began to be plagued by serious health problems, he underwent vascular surgery, and a year later the singer passed away. Tamara Ilyinichna is very I had a hard time going through this period. She “closed herself” from society for three years, hardly appeared in public and did not give a single interview.

Time did not heal, but it brought new ideas - a competition for young performers named after Muslim Magomayev. Tamara Ilyinichna also found herself in teaching and headed the department of vocal art at RATI-GITIS. She always believed that it was not acceptable to sit on two chairs, so during performances at the Bolshoi Theater she did not think about teaching work. Now is the time to pass on to the younger generations all the colossal experience accumulated over the years of creativity.

Inconsolable Tamara Sinyavskaya

To keep herself in shape in front of students, she sings at home every morning, delighting her neighbors with masterpieces of world opera. Tamara Ilyinichna There are still offers to resume performances, but she does not feel the strength to love, suffer, live and create on stage as sincerely as she once did. She sang only at the highest level and now cannot afford to go down even a step.

Probably, with the departure of Muslim Magomayev, there is a creative wound Tamara Sinyavskaya it won't heal anymore. Tamara Ilyinichna almost every month comes to her husband’s homeland in Azerbaijan, where he is buried in the Alley of Honor in Baku. She sadly admits that she used to do her favorite job on weekdays, and devote weekends to her adored husband, and now all she had left was everyday work at the institute. In addition, she organized the Magomayev Cultural and Musical Heritage Foundation.

DATA

Tamara's very first role at the Bolshoi Theater was the Page in the opera Rigoletto. It is customary that the page is performed by a singer whose role is a “travesti”. The opera director, having heard Sinyavskaya, decided that with such a singer there was no need to worry about the male roles. The difficulty of these parts is that the viewer should not guess who is actually singing. It was a hobby Tamara Sinyavskaya. She turned out great in “male” roles.

I always wanted to improve my acting skills. To do this, she entered GITIS at the Faculty of Musical Comedy. There she had the opportunity to study with Professor Dora Belyavskaya, who was the only one of all the teachers who did not praise Tamaru, but said that she had something to work on. This is exactly what I dreamed of hearing Sinyavskaya.

Updated: April 9, 2019 by: Elena

Olga Shablinskaya, AiF: Tamara Ilyinichna, do you happen to drink Azerbaijani tea? Or the wife of singer Muslim Magomayev, in principle, cannot drink any other drink?

Tamara Sinyavskaya: This is, of course, a coincidence. At one time, when all sorts of additives appeared, we mixed everything into tea, mixed it... At first it was very tasty and interesting. And then time put everything in its place, I wanted a natural taste. Muscovites all remember the “Indian elephant”, “Ceylon tea”, but, unfortunately, they have disappeared somewhere.

But now natural Azerbaijani tea has appeared, which I settled on and which I recommend to everyone, I really like it. Look what a beautiful color! Like ancient cognac, or something... And Muslim loved tea very much...

Tamara Sinyavskaya and Muslim Magomaev, 1994. Photo: www.globallookpress.com

— Opera singer José Carreras said in an interview: “You can’t even imagine what monsters singers are. My whole life is dedicated to my voice. By and large, my voice is number one in life for me. And all those close to us are already in second to twentieth place.” And in the life of Tamara Sinyavskaya, too, was everything based on the voice?

— I would like to. But my upbringing is different, my mother raised me in such a way that you are not the main one on earth. That was it, and I accepted it very easily. Both in the theater and at home. I always remembered that there were people nearby who were more talented, more mature, more intelligent, more perfect. And it was easier for me to live. And I still think so. I am not afraid that the crown that each of us wears (to ourselves) will take and fall. She has already played her role, so there is no point in holding on to her.

— Who was the star at home with Muslim Magomayev?

— What do you think?

— Judging by what a wise woman you are, I think you gave the palm to your husband.

— Certainly. I knew his worth well. And then, there was no talking here. So how? A man is a man, how can a woman be in charge next to a man? Even if you really think so, then think to yourself, don’t demonstrate it. On the other hand, I never wanted to be in charge. I was just a woman next to a Man.

Tamara Sinyavskaya and Muslim Magomaev, 2002. Photo: RIA Novosti / Vladimir Fedorenko

- Golden words... But, you must admit, there is rarely a man with whom it is possible to be just a weak woman.

— You are absolutely right! Not every man makes you want to be a woman. If I feel that a person is weaker than me in many respects, he is no longer interesting to me. What I needed was not to look up... But I knew that I could raise my eyes to the sky - and I would see it.

— Do you dream about Muslim Magometovich?

— Every day. Sometimes - unfortunately... Because when I wake up, it’s very hard for me. I get up, and it seems that now Muslim will ask to pour some coffee... He was an amazing person, so he was not only loved, but also respected...

On stage and in life

— After the passing of Muslim Magomayev, what do you do in your everyday life?

— I used to have weekdays busy with my favorite job, and holidays with my beloved family. Now all I have left is workdays. They consist of trips to the institute where I teach and head the vocal department.

— Tamara Ilyinichna, you are still an amazingly beautiful, charming, bright woman. It is clear that a million men are courting you to this day...

— I have never seen anyone except Muslim. Yes, I was not interested in whether other men were courting me or not. They are respectful - yes. And I didn’t need any other relationship.

Tamara Sinyavskaya, 1986. Photo: RIA Novosti / Vladimir Vyatkin

— Many dramatic artists admitted that if the relationship with a stage partner is bad in life, then it is very difficult to play a love scene with him. Tell us a little about the opera “cuisine”. For example, if your partner was purely humanly unattractive to you, is it difficult to sing a declaration of “love” to him?

— I can't say "hard". The singer follows the lead of his voice. When he sings and he needs to take B-flat ahead, he will remember this, and not about whether he loves his partner or not. The voice has little dependence on this. But if the weather has changed - that’s it, the voice may sound a little different.

Although in principle it is desirable that the partners at least sympathize with each other. It is very difficult to sing with a person who is unpleasant to you in life. But everything happened. And then I pushed myself, came up with a lot of good things about my partner, looked for this in him... This is professionalism.

The continuity of generations

— Nowadays there is a lot of talk about how today’s creative youth think only about money and fame, which are more important to them than art... What are your students like? How are you different from the youth of your generation?

— When they come, I feel how much they have not yet opened their eyes to this life. They see it, firstly, through a television box, and secondly, through the Internet. As for art, students see only the surface of the iceberg, which is called “the creation of a person, an artist, an intellectual.” It is my duty as a teacher to teach them this. I am so pleased when my students begin to succeed at something. I spend a lot of time with them. I'm often tired, to be honest. Because the first results of the work and effort you put in do not appear immediately. Not in a year, not in two, not in three. And by the end of the 4th year, everyone, like a carbon copy, begins to figure it out. Therefore, even five years of study is impossible to “fit in,” but here a whole year of study was taken away from us. Maybe acting can still be taught in such a period of time, but it’s unlikely. Then, in the course of life, people will gain dramatic skill if a master remains next to them and venerable, already experienced artists work. But singers are a completely different matter. Only at the end of the 4th year does the singer suddenly begin to become familiar with his body.

If they came to the institute after college (they used to be called schools), having learned at least the basics there. Then it would be reasonable to improve their skills and develop their skills for five or even four years. But we hire very young people...

Tamara Sinyavskaya, 1987. Photo: RIA Novosti / Alexander Makarov

— The voice is formed no earlier than 17 years old, and only in girls. And for some young men, their voices generally mature at the age of 21-22. This is a mutation, their larynx changes, their whole physics changes. If this person has a gift from above, then his voice needs to be closely monitored. And teachers should do this. But if a whole year of teaching is taken away from them, then it is very difficult to do this...

I myself had wonderful teachers to whom I am grateful all my life. I was raised wonderfully, I received a good education at the music school at the conservatory, then graduated practically as an external student at GITIS. I was, of course, a visiting student there, because I was already working at the Bolshoi Theater. The whole creative life, all the searches and works of the troupe - everything was before my eyes. I saw how artists live, what they breathe. Their whole life took place at the Bolshoi Theater. Everything else was like behind glass, like something unreal...

— Theater masters say that every young artist needs his own approach. With some you can only achieve results with praise, but with others you need to shout at him, and only then does he begin to move.

— Yes, an experienced master knows who to shout at and who to stroke. It's the same in my class. You can say to someone: “Sorry, dear, but you are a fool.” But we need to choose the intonation so that she doesn’t leave and her wings don’t droop and the girl doesn’t look into the vocal class again...

— What kind of teachers did you have? Admit it, did you scold Sinyavskaya?

— Unfortunately, everyone liked my singing. And I wanted to be scolded. I wanted to get advice from my teachers, and they: “Oh, how good, oh, how beautiful!” I missed criticism. So I started looking for a teacher. And I found it in this very GITIS, where I now teach. It was Dora Borisovna Belyavskaya, a professor known throughout Moscow and generally throughout the Soviet Union. Because it had national personnel, as it was called then. Girls from different republics studied with her. When I sang to her, she looked at me so carefully... I told her: “I just ask you very much: do not praise me.” And when she told me: “Why praise you, you have shortcomings,” I replied: “Well, that’s it, I’ve come to where I need to be.” (Laughs.) I always liked to be given difficult tasks.

He admitted that in 70 years, for the first time in 70 years, he met “the real Pushkin’s Olga” on stage. Tamara Sinyavskaya's star rose rapidly. Less than twenty years after her debut on the stage of the Bolshoi Theater, the vocalist was awarded the title of People's Artist of the USSR.

Childhood and youth

Tamara Sinyavskaya is a native Muscovite, Russian by nationality. She was born a year before the end of the war. There is no information about the singer's father. Her idol and family was her mother - a talented woman, naturally endowed with a beautiful voice, but due to life circumstances, she did not become an artist. The daughter began to sing after her mother, repeating the songs she had heard.

Tamara Sinyavskaya felt like a singer at the age of three: the girl’s favorite childhood pastime was singing in the front entrances of old Moscow houses with good acoustics. As she performed the divinely sounding roulades, the girl felt spiritual trembling, as if in a temple.

During the day, the young vocalist managed to walk around all the entrances of the houses along Markhlevsky’s native street (today Milyutinsky Lane). “Aria” performed by Sinyavskaya lasted until it was interrupted by admiring or indignant residents. One day they advised the mother to take her daughter to the Pioneer House, where professional teachers would work with her.

Now Tamara Sinyavskaya sang twice as much - in the House of Pioneers and in the courtyard, where she gathered a “hall” of neighboring children. Soon the young artist enrolled in the children's group of Vladimir Sergeevich Loktev, where she sang and danced.

At the age of 10, the young artist of the Loktev ensemble was transferred to the choir, where she gained musical and stage experience for 8 years. The famous children's group took part in government concerts, and Tamara Sinyavskaya felt at home on stage. For the first time in her biography, she visited abroad - Vladimir Loktev’s ensemble toured Czechoslovakia.

Incredibly, as a child Sinyavskaya dreamed of becoming a doctor. There was a clinic in the house where the family lived. The girl watched with admiration the work of the staff in white coats and inhaled the smell of ether, which seemed heavenly to her. The future artist played “to the hospital”, kept a card index with the medical histories of her family and friends, wrote out “prescriptions”, which were signed by “doctor Sinyavskaya”.

Since childhood, Tamara Sinyavskaya adored skates and skis. In winter, when skating rinks opened in the capital, the girl was among the first visitors. The desire to go on stage appeared in adolescence, when Tamara Sinyavskaya and her friends ran to the cinema to watch “Kuban Cossacks” and “The House Where I Live”. She learned the songs from the films and sang them all the time. And seeing the Argentine singer and actress Lolita Torres on the screen, Sinyavskaya dreamed only of a career as an artist.

In her senior year, Sinyavskaya made her choice: Tamara set her sights on a theater university. But Vladimir Sergeevich Loktev, who carefully observed the ensemble artist, advised her to enter the music school at the Conservatory named after. Sinyavskaya listened and never regretted it. At the school, she met talented teachers who brought the singer’s vocal abilities to perfection.

At the school, Tamara Sinyavskaya worked part-time, performing in the choir of the academic Maly Theater. For their performance, the choristers received 5 rubles - money that was enough for a kilogram of stellate sturgeon in the exemplary Eliseevsky grocery store. At the Maly Theater, the Muscovite appeared on stage with stage luminaries, whose names were known to everyone in the Soviet Union.

Music

Tamara Sinyavskaya studied during the day and performed in the evenings. She made her debut with the gypsy choir in the production of “The Living Corpse”, where the singer’s vocal abilities were noted and she gave solo parts in the cantatas “” and “Moscow”. In 1964, Sinyavskaya received a diploma from a music school, passing her graduation with an “A plus”, which was rare in the educational institution. The teachers recommended that the graduate become an intern at the Bolshoi Theater, where at that time they were recruiting a group of interns.

The Bolshoi admissions committee, where Tamara Sinyavskaya arrived, unanimously accepted the 20-year-old artist, although the girl did not have a conservatory education. But the members of the selection committee - luminaries in the world of musical art - Boris Pokrovsky and Evgeny Svetlanov realized that they were dealing with exceptional talent.

The masters of the Bolshoi Theater did not see a rival in the young, friendly girl, and she did not think about competition: Tamara Sinyavskaya took her breath away when she went on stage with Alexander Ognivtsev and Zurab Andzhaparidze.

A year later, Tamara Sinyavskaya was accepted into the main cast of the troupe, but the vocalist understood that she could not stop: the Muscovite entered GITIS, where she met the famous vocal teacher Dora Belyavskaya. For the first time Sinyavskaya heard that she had something to work on, Dora Borisovna turned a diamond into a diamond.

In the theater, Tamara Sinyavskaya carefully watched the work of the luminaries and became shy. Director Boris Pokrovsky helped to overcome uncertainty, entrusting the young singer with the role of the Page in the opera “Rigoletto”. The girl's male role as Page was a success; the theater was convinced that the singer could cope with both female roles and drag queens.

Tamara Sinyavskaya felt like the owner of the stage when the main cast of the troupe went on tour to Milan. The only performer of the role of Olga in the production of Eugene Onegin went to Italy. The role was entrusted to Sinyavskaya, and she coped brilliantly, having heard a flattering review from the 70-year-old master Sergei Lemeshev.

For 40 years on the stage of the Bolshoi Theater, Tamara Sinyavskaya became a prima singer, performing all the main opera roles with her velvety mezzo-soprano. For her vocal range and skill, the singer was named the best Russian vocalist of the Italian school. The army of admirers of Tamara Ilyinichna’s talent was replenished by both Russian and foreign connoisseurs of opera.

Tamara Sinyavskaya’s repertoire included French and Italian opera music, but the singer felt comfortable performing parts of Russian opera. The Russian soul of the opera diva was noted by fans who heard Lyubasha’s role in the opera “The Tsar’s Bride”. Connoisseurs and music critics call this part the best in Sinyavskaya’s repertoire.

In 1970, a competitive festival named after P. I. Tchaikovsky was held in Russia, where Irina Arkhipova, Maria Callas and Tito Gobbi became members of the jury. Tamara Sinyavskaya and Elena Obraztsova shared the main award - the gold medal. Foreign members of the jury gave preference to Sinyavskaya. The festival brought the opera diva all-Union popularity and offers to perform on world stages, but Tamara Ilyinichna did not pursue the stage and did not imagine that she would leave the Bolshoi Theater.

In 2003, the singer left the stage at a career high. She later explained that she preferred to leave before hearing the words of surprise about her career “longevity.”

Personal life

Tamara Sinyavskaya had two marriages. In her first marriage, her husband was a ballet dancer, to whom the singer is grateful for helping her survive her mother’s departure. And everything would have been fine if, on tour in Baku in 1972, the beautiful singer had not been noticed by the all-Union “Orpheus”, with whom millions of women were in love. Both were connected by marriage, but they could not withstand Magomayev’s eastern passion.

The artists got married in November 1974 and lived together for 34 years. The two stars quarreled and parted, but they were magnetically drawn to each other, so partings were followed by reconciliations. There were no children in the marriage, Tamara Ilyinichna gave all her love and warmth to her husband. When he died, Sinyavskaya closed herself off for three years and did not go out in public.

Tamara Sinyavskaya now

Tamara Sinyavskaya, having left the stage, did not abandon art. Today, Professor Tamara Ilyinichna Sinyavskaya teaches at GITIS, where she heads the vocal department. Previously, the artist’s weekdays were filled with work, and the woman devoted her weekends to her beloved husband. Today Tamara Sinyavskaya has only work, and the wound from the loss of a loved one has not healed. Classes with students, whom Tamara Ilyinichna calls children, save me from boredom.

Sinyavskaya is called to the stage, offering opera roles in performances, but she always refuses, because she does not want to go down even a step, and does not feel the strength to reach the same height. Tamara Sinyavskaya established and headed the Muslim Magomayev Cultural and Musical Heritage Foundation.

Discography

• 1973 – “The Tsar’s Bride”
• 1970 – “Eugene Onegin”
• 1979 – “Ivan Susanin”
• 1986 – “Prince Igor”
• 1987 – “Boris Godunov”
• 1989 – Cycle of songs based on poems by Marina Tsvetaeva
• 1993 – “Ivan the Terrible”
• 1999 – “Jewish cycle”

One of the minor planets of the Solar System, known to astronomers under the code 1974 VS, is named after her 4981 Sinyavskaya.

If beautiful voices were sold in supermarkets, they would have many buyers. It’s a pity that they haven’t thought of this yet,” Marlene Dietrich once said. But even if they had thought of it, it would be impossible to buy such an amazing voice as the People’s Artist of the USSR Tamara Sinyavskaya for any money. A native Muscovite, she Since childhood, she was endowed with special grace and early felt a calling to the stage. Her creative journey began at the age of six, when the girl was accepted into the dance (!) group of the Song and Dance Ensemble of the Moscow City Palace of Pioneers, led by Vladimir Loktev. Later, Tamara Sinyavskaya joined the choir this ensemble, graduated from the Music School at the Moscow Conservatory, and then GITIS in singing class. While still a student - a rare occurrence - she attracted attention and was invited to the Bolshoi Theater, becoming a soloist. The singer gained great fame after impressive victories at international vocal competitions in Bulgaria, Belgium and at the IV International Tchaikovsky Competition (the weight of this gold medal is greatly increased if we remember that the jury then included Maria Callas and Tito Gobbi). An internship at Milan's La Scala theater gave the young artist a lot to understand the secrets of bel canto. A voice of rare beauty - mezzo-soprano with contralto capabilities - allowed Tamara Sinyavskaya to shine in many roles in the Russian and foreign operatic repertoire: Ratmir and Vanya, Olga and Marina Mnishek, Lyubasha and Marfa, Laura and Konchakovna, Carmen and Azucena... The singer has also gained great popularity from her extensive concert activities, in which she performs not only opera arias and classical romances, but also Russian folk songs, and often performs together with her famous husband Muslim Magomayev.

Tour

In 1972 she took part in the performance of the Moscow State Academic Chamber Musical Theater under the direction of B. Pokrovsky “Not Only Love” by R. Shchedrin (part of Varvara Vasilievna). 1973-74 - completed an internship at the La Scala theater in Milan. He performs a lot abroad. Participant of the Varna Summer music festival (Bulgaria). She has performed in performances at opera houses in France, Spain, Italy, Belgium, the USA, Australia and other countries of the world. She toured with concerts in Japan and South Korea. Some roles from Sinyavskaya’s extensive repertoire were performed abroad for the first time: Lel in “The Snow Maiden” by N. Rimsky-Korsakov (Paris, concert performance); Azucena (Il Trovatore) and Ulrika (Un ballo in maschera) in the operas of G. Verdi, as well as Carmen in Turkey. In Germany and France she sang the works of R. Wagner with great success, and at the Vienna State Opera she took part in the production of the opera “War and Peace” by S. Prokofiev (as Akhrosimova).

She conducts an extensive concert activity, and has performed solo concerts in the largest concert halls in Russia and abroad, including the Big Concert Hall, the Tchaikovsky Concert Hall, and the Concertgebouw (Amsterdam). The singer's concert repertoire includes complex works by S. Prokofiev, P. Tchaikovsky, the "Spanish Cycle" by M. de Falla and other composers, opera arias, romances, works by old masters accompanied by an organ. She performs interestingly in the genre of vocal duet (with her husband Muslim Magomayev). She collaborated fruitfully with Evgeny Svetlanov and performed with many outstanding conductors, including Riccardo Chailly and Valery Gergiev.

Awards

In 1968 she won the 1st prize at the IX International Festival of Youth and Students in Sofia.

In 1969, at the XII International Vocal Competition in Verviers (Belgium), she received the Grand Prix and a special prize for the best performance of a romance.

In 1970 she received 1st prize at the IV International Tchaikovsky Competition and became a laureate of the Moscow Komsomol Prize.

In 1971 she was awarded the Order of the Red Banner of Labor.

In 1973 she was awarded the title "Honored Artist of the RSFSR".

In 1976 - the title "People's Artist of the RSFSR".

In 1980 she received the Order of the Badge of Honor.

In 1982 she was awarded the title "People's Artist of the USSR".

In 2001 she was awarded the Order of Honor.

In 2004, she became a laureate of the Irina Arkhipova Foundation Prize and was awarded the Order of Lomonosov, 1st degree.

Soviet and Russian opera singer (mezzo-soprano) Tamara Ilyinichna Sinyavskaya was born on July 6, 1943 in Moscow.

Her creative path began in the dance group of the Song and Dance Ensemble of the Moscow City Palace of Pioneers under the direction of Vladimir Loktev, and later Tamara Sinyavskaya moved to the ensemble’s choir.

She first appeared on stage as the Page in the opera Rigoletto by Giuseppe Verdi. Her first major role was that of Olga in Pyotr Tchaikovsky's Eugene Onegin.

The singer gained fame after winning international vocal competitions.

In 1968, she received a gold medal at the IX International Festival of Youth and Students in Sofia (Bulgaria). In 1969, she won the Grand Prix and gold medal at the XII International Vocal Competition in Verviers (Belgium). In 1970, the singer was awarded the gold medal at the IV International Competition named after P.I. Tchaikovsky in Moscow.

From 1973 to 1974, Sinyavskaya trained in Italy, at the Milan opera house La Scala.

Tamara Sinyavskaya performed the title roles in operas by Mikhail Glinka, Pyotr Tchaikovsky, Modest Mussorgsky, Georges Bizet, Giuseppe Verdi, Sergei Prokofiev, Rodion Shchedrin.

Her repertoire at the Bolshoi Theater included the roles of Dunyasha in The Tsar's Bride and Lyubava in the opera Sadko by Rimsky-Korsakov, Ratmir in the opera Ruslan and Lyudmila and Vanya in Ivan Susanin by Glinka, Konchakovna in Prince Igor by Alexander Borodin , Polina in “The Queen of Spades” by Tchaikovsky, Marina Mnishek in “Boris Godunov” and Marfa in “Khovanshchina” by Mussorgsky, Carmen in Bizet’s opera of the same name. She was the first performer of the role of Mademoiselle Blanche in Prokofiev's opera The Gambler. Also among Sinyavskaya's roles are Princess ("The Mermaid" by Alexander Dargomyzhsky), Laura ("The Stone Guest" by Dargomyzhsky), Zhenya Komelkova ("The Dawns Here Are Quiet" by Kirill Molchanov), Ulrika ("Un ballo in maschera" by Verdi), Morena ("Mlada" Rimsky-Korsakov).

The singer performed in performances at opera houses in France, Spain, Italy, Belgium, the USA, Australia and other countries of the world. Some parts from Sinyavskaya’s extensive repertoire were performed abroad for the first time: Lel in Rimsky-Korsakov’s “The Snow Maiden” (Paris, concert performance); Azucena (Il Trovatore) and Ulrika (Un ballo in maschera) in Verdi's operas, as well as Carmen in Turkey. In Germany and France, she sang the works of Richard Wagner with great success, and at the Vienna State Opera she took part in a production of Prokofiev's War and Peace (as Akhrosimova).

Sinyavskaya worked with such famous conductors as Evgeny Svetlanov, Gennady Rozhdestvensky, Yuri Simonov, Vladimir Spivakov, Mstislav Rostropovich.

The singer has also gained great popularity from her extensive concert activities, in which she performs not only opera arias and classical romances, but also Russian folk songs. The singer's concert repertoire includes complex works by Prokofiev, Tchaikovsky, the "Spanish Cycle" by Manuel de Falla and other composers, works by old masters accompanied by organ.

Since 2005, she has held the post of head of the department of vocal art at the Faculty of Musical Theater of the Russian Institute of Theater Arts (GITIS), and is a professor.

In 2010, Sinyavskaya International Vocal Competition named after M. Magomayev.

Tamara Sinyavskaya - People's Artist of the USSR (1982), Honored Worker of Musical Art (2016).

Laureate of the Moscow Komsomol (1970) and Lenin Komsomol (1980) prizes, laureate of the Government of the Russian Federation Prize in the field of culture (2013).