Actress Lyubov Kazarnovskaya. Lyubov Kazarnovskaya - biography, photo, personal life, family, children of the singer

Biography, life story of Robert Roscik

Born in the USA, he has two citizenships - American and Austrian.

Robert met his future wife back in 1989. At that time she performed on the stage of the Mariinsky Theater, and Roscik worked in one of the agencies in Vienna. His responsibilities included searching for young talents who would agree to delight the ears of theater audiences in Western Europe with their singing.

Due to his duty, Robert found himself in the Russian capital. Among the candidates that the impresario listened to was. The young singer successfully passed the test, and now the doors of the Vienna Opera and other famous European theaters were open to her.

As a matter of fact, from that moment, thanks to Robert Roscik, the ascent to world operatic fame began.

But first, the foreign guest invited her to have lunch with him. Apparently, he saw in the artist from Russia not only the ability to conquer the big stage, but also certain spiritual qualities. In short, she sank into his soul, and from now on the image of the Russian beauty could not leave his head. However, their second meeting, this time in a restaurant, was purely business in nature. The interlocutors talked exclusively about the art of singing, although both felt a spark of deep sympathy that flashed between them.

Soon Rostsik came to Russia again, this time to Leningrad. According to the official version, he needed to listen to him sing at the Mariinsky Theater. But Robert was drawn there by an irresistible desire to see the woman he liked again. And again they met in a restaurant, however, this time they talked more about their personal lives than about theatrical problems.

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The future spouses wanted to marry in St. Petersburg, but in those years marriages with foreigners were not welcomed in the USSR. I had to go abroad and do it in the Vienna municipality.

The solemn event went well. True, her acquaintances whispered behind her back that she married a foreigner with the sole purpose of getting well in life. But the happy newlyweds did not pay any attention to the envious people. And they did not regret it throughout their rather long family life.

When the question arose about whether to have a child, because pregnancy and subsequent worries about the baby could interfere with their career, Robert clearly knew the answer. Of course, you need to give birth. This is how their son Andrei appeared. His father was actively involved in his upbringing, given his busy touring schedule.

The famous opera diva Lyubov Kazarnovskaya and her husband Robert Roscik explained why they never separate for a day

The famous opera diva Lyubov Kazarnovskaya and her husband Robert Roscik explained why they never separate for a day.

Teleprogramma magazine met with Lyubov Kazarnovskaya and her husband Robert Roscik at MDM, where the musical “The Phantom of the Opera” is currently being performed. The opera star, who shone on the stages of the Metropolitan Opera and La Scala, brought her students here on an excursion.

“Now musicals are grossing millions, the halls are full, people are flocking to them - and opera singers also want this fairy tale,” says Kazarnovskaya. “My students are raving about this genre, this real work, they want to try themselves on this stage. Today we showed them what is called the staging period. My student had to sail on a boat, then jump out spectacularly, hug her partner and at the same time perform a vocalise. The aria begins with low notes, and then rises to E of the third octave - it is very difficult. You need to control both breathing and plasticity.

“At the same time, it is believed that the musical is an easy genre, practically a freebie for the artist.

Lyubov Kazarnovskaya:— The same thing was once said about operetta. Although this is not an easy genre at all. You need to really be able to sing, dance, and be a good dramatic artist. Time passed and everyone recognized this genre; now it is believed that operetta is a daughter of opera. And the musical, it turns out, is her grandson. If the performance is written by such an author as Andrew Lloyd Webber, then it cannot do without real operatic vocals and academic staging. The beauty of the musical is that it is a living genre. And opera, unfortunately, is somewhat mothballed these days. All my colleagues say this. Nothing new is coming out that would stand on a par with Mozart, Verdi, Puccini, Tchaikovsky. Opera in its heyday was the 18th - 19th centuries, or at most the beginning of the 20th. Unlike the musical, it doesn't develop at all.

“My husband was in charge of raising my son”

— This is your fourth year sitting on the jury of television projects - first there was “The Phantom of the Opera,” then “One to One” and now “Exactly the Same.” How do you find time for them?

OK.:“I’ll be honest, this is all very exhausting!” It just seems like it’s the jury’s job—they talked and went their separate ways. “Exactly” has already gone beyond the scope of an entertainment program; it has also become cultural and educational. We have people on the jury with a long biography - Gennady Viktorovich Khazanov, Leonid Isaakovich Yarmolnik. We have something to tell young people. I would like to explain to the younger generation that Klavdia Ivanovna Shulzhenko is not just a singer waving a blue handkerchief, but an entire era! That Utesov is not just “Jolly Fellows”, but a man who, together with Oleg Lundstrem, brought jazz to Russia. We reveal the history of our culture. Nowadays, thanks to the Internet, young people mostly have clip-based thinking and knowledge is very superficial. And we dig deep. And, of course, this is very serious and hard work. Robert manages my tour day by day - he’ll cut it a little here, cut it short here, just so that I have time for filming. They are very interesting to me! I myself am learning a lot here. I’ve been studying the classics all my life, but here I dug into the work of contemporary performers - Whitney Houston, Celine Dion and others. I studied their biographies - how they approached their style, what they did. And we tell young people that there are outrageous figures who have achieved great careers, but there is nothing behind it. Meryl Streep said: “If you clean up the scandal, what will be the bottom line?” And they suddenly begin to understand, they come up to us: “Really. And then there’s nothing!” Let's take, for example, Britney Spears - a Barbie girl, of whom there are millions. But why did it become successful? And we analyze this together.

— Does Robert accompany you on the set?

OK.:— He is even called the mascot of the “Exactly Exactly” project. If they notice that Robert is not there, they even get upset: “That means today will be some kind of mess.” I reassure everyone: “No, no, he’ll come now.”

- Do you ever break up with each other?

- Are you ready for him to bring a girl and say: “She will live with us”?

OK.:- If the question arises, I will say: “Guys, rent an apartment.” But it won’t be possible to live together - we will interfere with them, and they will interfere with us. They, the young ones, have their own schedule, we have ours. Spinning around on the same spot means becoming enemies in a sense, starting to get irritated. This is absolutely not allowed! As Gennady Viktorovich Khazanov told me, we need to get behind the children in time, and they need to get behind us.

— It turns out that you and Robert just recently got the opportunity to be together all the time?

OK.:- Exactly! We are finally enjoying it. The Lord, apparently, ordained that Robert and I are not only partners, spouses in love, but also very similar people, great friends. Before the concert I need to get ready. I know: if I don’t do this, I’ll take a percentage of the result. I need to sit down and immerse myself in a meditative state, detach myself from everything. By the way, Stanislavsky fired artists if he saw them chatting backstage before performances. You, like a tuning fork, must tune in. Therefore, Robert takes on all the organizational troubles. I need him like air.

Robert Roscik:“And I need you like air, so everything is fine with us.”

“I tell my son: “Rustle!”

- Which of you decided that your son should play the violin?

OK.:- It was completely his choice! To be honest, I was even against it. I know it's hell of a job. That's eight hours of classes every day. A real nightmare!

- How could this occur to a little boy?

OK.:— One day we ended up at the house of my friends who were working under contract in Sweden. Nina is a violinist, her husband Oleg is a violist. Andryusha was three years old at the time. He saw a small violin hanging on the wall, came up and said: “Aunt Nina, is this a violin? Give!" She took it off and handed it over. He placed it correctly and with an unskilled hand, but began to play with his bow in a very masterly manner. Nina says to me: “Is the diagnosis clear to you? He needs to be taught." I waved my hands: “Oh, Nina, violin! It's such a heavy instrument." But the friend was sure: “Look what kind of hand he has. Necessary!" Then we checked Andrey’s ears - he had perfect pitch. And from then on everything was decided.

R.R.:— At the same time, Andrey goes in for sports. So he is a completely normal boy.

OK.:— He listens to modern bands, goes to karate. All so pumped up. In general, not a botanist.

— You, the daughter of a general, were raised strictly by your parents. What are you doing to ensure that your son does not grow up to be a spoiled major and an egoist?

OK.:“From the very beginning, we chose carrot and stick tactics and established absolutely clear boundaries. We bought very good toys for our son and took him with us everywhere. But when he grew up and began to understand that he wanted a new iPhone or some fancy super violin case, I began to limit him.

R.R.:“He himself won’t be able to earn money for it yet!” A good case costs 600 - 700 euros, prices go up to 1200 - 1500.

OK.:— Young musicians are not paid anything. If they earn 500 or 1000 rubles, this is already an event. So, naturally, I tell my son: “We will help you. But some part must be yours.” - "Yes I understand". If you want jeans for 200 euros, that’s fine, but you have to pay at least half of it yourself.

— Where can a young musician earn money now?

OK.:- This is very difficult. Previously, when I studied at the conservatory, there were organizations - Rosconcert, Soyuzconcert, Mosconcert. You went there, filled out an application and could get one-time gigs. They paid mere pennies, but for the students it was even a lot. But now these organizations do not exist. Sometimes concerts are held in museums, in small venues, but to get there you need connections. And I say: “Andryusha, rustle!” He has a student, with whom he studies two hours a week and receives 2,000 rubles for it. Sometimes, of course, my son turns to me: “Mom, can I take part in your concert?” “Of course,” I say. “And you’ll get your penny there.” But you earn it yourself, deserve it!”

R.R.:“The main thing is that we wanted him to understand: nothing is given for nothing.”

OK.:- Yes, and that dad and mom won’t always be behind his back. In general, of course, a violin is a constant expense. The strings are flying all the time. Now, after the crisis, their set costs 7,000 rubles. Now Andrei played two virtuoso pieces by Kreisler and Ysaye at once, and two sets were completed in a month!

—Your profession has more money. What are the prospects for the violinist? Will he be able to support his family in the future?

R.R.:- He owes it.

OK.:“I immediately told him: “You were born a man, which means you have an obligation.” If your girl gets pregnant, you will have a baby. This is already a full-fledged family. Can you provide for them without mom and dad?” He says: “Not yet.” And I’m glad that Andrey understands everything himself. He must reach a level to provide for his family. How he will do this, whether he will work two or three jobs - that’s his business.

R.R.:— In this sense, the violin is quite a convenient and correct instrument, because it opens up the opportunity to work in orchestras, quartets, quintets, ensembles, as well as perform solo or teach.

OK.:- We give our son a base, a basis. I tell him: “I can give you a solo performance tomorrow. But I don't think you're ready yet. You need to play in such a way as not to hear reproaches: “Oh, well, of course, it was mom and dad who dragged their son.”

— Andrey bears the burden of responsibility for the fact that he is the son of “that same Kazarnovskaya”...

OK.:- This is a problem for all children whose parents are famous people. I see this in my friends and colleagues. They have this complex that “I need to catch up and overtake my dad and mom.” And Andryusha will have it. But I also know many examples when children were freed from their troubles and became even brighter than their parents. And I pray to God that this will be the case in our family.

— Does Andrey have his father’s last name?

R.R.:- Yes, this was done on purpose.

OK.:— Not everyone knows Robert’s last name; it’s not well-known. When Andrei entered the conservatory and brought the application form, half of the people were stunned: “Why were you silent?” And he replied: “I don’t want my mother to be accepted into the conservatory. She’s already told everyone everything.”

“Robert finds fantastic jewelry for me.”

- Do you call your husband Kotey? How was it born?

OK.:- He is sometimes my affectionate kitten. He will come, sit at your feet and watch. I say: “What are you looking at?” He replies: “Shall we talk?” - "Come on!" We both love cats, but we are allergic to them - our eyes instantly turn red and we start sneezing. That's why we created our own cat family. Robert calls me Kisa, and I call him Kotey.

— Was it like this from the very beginning?

OK.:- No, in the process of family life. When we got to know each other’s personalities and realized that we were both domestic cats.

— Do you like to spend time at home?

OK.:— Yes, because we rarely go there. We get very tired of restaurants, hotels, and other people’s homes. And when you have the opportunity to stay at home, you don’t want to go anywhere.

— Is your house in Moscow?

OK.:- We have two of them. One is here, the other is in Germany, in Bavaria. We love to read, lie on the bed, cook something, sit in front of the TV...

R.R.:- But in Moscow this happens extremely rarely, we run around here like crazy.

OK.:“It’s only in the West that I can rehearse and go home, but in Moscow we return well after midnight. All that remains is to quickly figure out something for dinner and go to bed.

— Do you cook at home?

OK.:- Certainly. I can’t say that I love it, but I cook...

R.R.:- And very tasty!

— What are your signature dishes?

OK.:- A lot of them! Sweet vegetarian pilaf with raisins and dried apricots turns out well. We really love vegetables, fruits, salads - I think I know 155 recipes. And Robert is a genius at making strudels.

— Kazarnovskaya’s style is large jewelry. Where do you buy them?

OK.:— My husband chooses them for me. He just sees what suits me. She knows that I am a large, tall woman, and that small doesn’t look good on me. There is a certain operatic quality to my style. And Robert knows this, he finds fantastic jewelry for me. Same thing with concert dresses. Sometimes I see something in a window and say: “Oh, this would be brilliant on me!” But he notes: “No need. Try something else, you’ll look like a princess in it!” And maybe I wouldn’t even pay attention to this outfit. Robert sees me from the outside and guesses everything very accurately. So we even go shopping together.

Private bussiness

Lyubov KAZARNOVSKAYA born in Moscow. She studied at the Faculty of Musical Comedy of the Gnessin Institute, as well as at the Moscow State Tchaikovsky Conservatory. She made her debut on the stage of the Moscow Musical Theater named after Stanislavsky and Nemirovich-Danchenko. From 1986 to 1989 she was a soloist at the Mariinsky Theater in St. Petersburg. Since 1989 she began performing abroad. She performed leading roles at the Metropolitan Opera (New York) and La Scala (Milan). In 1997, she established the Lyubov Kazarnovskaya Foundation to support Russian opera. She was a jury member in the shows “The Phantom of the Opera”, “One to One”, and is now a judge in the program “Exactly the Same” (Channel One). Married to Austrian producer Robert Roscik, son Andrey is 21 years old.

Makeup and hairstyle: stylists of the Yves Rocher brand.
Photo: Mikhail FROLOV

Opera singer, Doctor of Music, professor. Lyubov Kazarnovskaya was born on July 18, 1956 in Moscow. Father - Kazarnovsky Yuri Ignatievich. Mother - Kazarnovskaya Lidiya Aleksandrovna. Spouse: Roscik Robert. Son - Andrey (born 1993).

Lyubov Kazarnovskaya grew up in an intelligent Moscow family, at first glance, far from the musical sphere: her mother was a philologist, taught Russian language and literature; father is a reserve general, worked in military-diplomatic work, and is the author of a number of books on military history. My maternal grandfather was the director of a physics institute, my grandmother was the chief physician, and my paternal grandmother worked as a fashion designer. Lyuba’s older sister followed in her mother’s footsteps; now she is a unique specialist in French grammar and regularly lectures at the Sorbonne.

After school Lyubov Kazarnovskaya submitted documents to the Gnessin Institute, to the faculty of musical theater actors, although she was preparing to become a student at the faculty of foreign languages. Her student years gave her a lot as an actress, but the meeting with Nadezhda Matveevna Malysheva-Vinogradova, a wonderful teacher, vocalist, accompanist of Chaliapin, student of Stanislavsky. The meeting with Nadezhda Matveevna finally determined the fate of the young singer.

The creative life of Lyubov Kazarnovskaya

In 1981, at the age of 25, while a student at the Moscow Conservatory, Lyubov Kazarnovskaya made her debut in the role of Tatiana in the opera " Eugene Onegin" on the stage Musical Theater named after Stanislavsky and Nemirovich-Danchenko. In 1982 she graduated Moscow Conservatory, and in 1985 – graduate school. In 1981-86, Kazarnovskaya was a soloist at the Stanislavsky and Nemirovich-Danchenko Theater, her repertoire included roles in operas “Eugene Onegin”, “Iolanta”, “May Night”, “Pagliacci”, “La Boheme”. In 1984, she sang the part of Fevronia in "Tales of the Invisible City of Kitezh", in 1985 – the role of Tatiana in Eugene Onegin and Nedda in Pagliacci in State Academic Theater of Russia.

In 1984, Kazarnovskaya won the Grand Prix of the competition for young performers UNESCO, held in Bratislava. In 1986 - laureate Lenin Komsomol Prizes.

In 1986-1989 she was the leading soloist of G State Academic Theater named after Kirov, where she performed Leonora in “ To the power of fate"Verdi, Margherita in " Faust"Gounod, Donna Anna and Donna Elvira in " Don Juan» Mozart and other parts.

The singer's first foreign triumph was her performance of the role of Tatiana in Tchaikovsky's opera " Eugene Onegin» in Covent Garden. In 1989 Herbert von Karajan invited the young singer to the summer festival in Salzburg, where she made her triumphant debut in “ Requiem» Verdi. Then the entire musical world noted and appreciated the performance of the owner of the beautiful soprano from Russia. This performance marked the beginning of a dizzying career, which later led Kazarnovskaya to Covent Garden, Metropolitan Opera, San Francisco Opera and other major opera venues in the world.

Among her partners are Pavarotti, Domingo, Carreras. In 1994-1997, Lyubov Yuryevna worked closely with the Mariinsky Theater and Valery Gergiev. In 1996 she made her successful debut on the stage of La Scala in Prokofiev's opera The Gambler.

« La Kazarnovskaya" - that's what the Italian press calls it. The singer has more than fifty parts in her repertoire. She is called the best Salome of our days, the best performer of Verdi's operas and the role of Tatiana in Eugene Onegin.

In 1997, Lyubov Yurievna created “ Lyubov Kazarnovskaya Foundation"to support the opera art of Russia. She invites leading masters of vocal art to Russia for concerts and master classes, and establishes scholarships to help young Russian singers. In 2000, she headed the creative coordination council of the Cultural Center "Union of Cities", carrying out extensive cultural and educational work in cities and regions of Russia. In 2002, Lyubov Kazarnovskaya was elected chairman of the commission on cultural and humanitarian cooperation of municipalities of Russia. She is also the chairman of the board of the Russian Musical Educational Society.

Lyubov Kazarnovskaya was awarded a diploma from the prestigious center in Cambridge as one of the 2000 most outstanding musicians of the twentieth century.

In 2011, Lyubov Kazarnovskaya was invited to the jury of the Phantom of the Opera project. Since 2013, the singer has sat on the jury of the projects “One to One! ", "Exactly the same ". In 2017, Kazarnovskaya herself became a participant in a musical transformation show.

Since 2012, he has been a co-founder and leader of the Cultural and Educational Movement “Promotion of Creative Education” foundation.

Personal life of Lyubov Kazarnovskaya

In 1989 she married Austrian producer Robert Roscik. He came to Moscow to select opera singers for the Vienna Opera. Among the many voices, Robert noticed Love, with whom they began to communicate closely. In 1993, their son Andrei was born. He studied at college at the conservatory and plays the violin.

Filmography of Lyubov Kazarnovskaya

The Gypsy Baron (1988) vocals by Saffy (the role of Kira Danilova)
Anna (2005) Anna Romanova, singer
Dark Instinct (2005)

Lyubov Yuryevna Kazarnovskaya. Born on July 18, 1956 in Moscow. Soviet and Russian opera singer (soprano), teacher, professor.

Lyubov Kazarnovskaya was born on July 18, 1956 in Moscow in the family of General Yuri Ignatievich and philologist Lidia Aleksandrovna Kazarnovsky.

Her father, Yuri Ignatievich, taught at the General Staff and was in military-diplomatic work. The singer’s mother, Lidia Alexandrovna, who met her future husband at school, is a candidate of philological sciences.

She has an older sister, Natalya.

The girls studied music, although it was assumed that both of them would receive a philological education. Natasha began to study French, and Lyuba was preparing to enter the journalism department of Moscow State University. However, after receiving a school certificate, her mother suggested that she audition at Gnesinka before applying to the university. The girl was accepted into the Faculty of Musical Comedy, and during vocal classes she heard from teachers that she had an operatic voice. Lyuba began performing the classical repertoire, opera arias, and immediately realized what her calling was.

She studied at the Faculty of Musical Comedy of the Gnessin Institute and the Moscow State Conservatory. P.I. Tchaikovsky.

Already from the second year she took part in concerts - the payment for a student performance was 1 ruble.

She made her debut at the age of 21 on the stage of the Moscow MAMT named after. K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko as Tatiana in the opera “Eugene Onegin” by Tchaikovsky.

From 1974 to 1978 she lived in Yerevan. She graduated from the conservatory in 1982, graduate school at the conservatory in 1985, class of E.I. Shumilova.

In 1981-1986 she continued her solo career at the MAMT named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko. She sang leading roles in Tchaikovsky's Iolanta, Leoncavallo's Pagliacci, Puccini's La Bohème, Rimsky-Korsakov's The Tale of the Invisible City of Kitezh and other operas.

In 1986-1989 - soloist of LATOB named after. S. M. Kirov.

Since 1989 he has been performing abroad, starting with a performance at the 1989 Salzburg Festival in G. Verdi's Requiem. She has performed leading roles on the stage of the New York Metropolitan Opera since 1992, and Milan's La Scala since 1996.

She sang on the best stages in the world, worked with von Karajan, Levine, Muti and other famous conductors. Kazarnovskaya is called the best performer of “Salome” in the world, and her powerful voice with a deep and sensual timbre earned the singer a flattering nickname "Miss 1000 Volts".

Kazarnovskaya's repertoire includes more than 50 opera roles. According to the singer, her favorite works are the following: “Un ballo in maschera” by Giuseppe Verdi - Amelia; "La Traviata" by Giuseppe Verdi - Violetta; “Force of Destiny” by Giuseppe Verdi - Leonora; "Salome" by Richard Strauss - Salome; “Eugene Onegin” by Pyotr Tchaikovsky - Tatiana; “Tosca” by Giacomo Puccini - Tosca.

In 1997, she established the Lyubov Kazarnovskaya Foundation to support Russian opera.

She studies with the young Ukrainian performer Artyom Semyonov, better known as the drag queen diva Ursula, one of the few who simultaneously possesses both a unique female soprano and a male tenor.

In 2008, she voiced the evil sorceress Maleficent in the Disney cartoon “Sleeping Beauty”. “When children associate your voice with a good cartoon, when you can draw what you want with your timbre, then I am sure that in children this character, in addition to fear, will evoke great sympathy,” the singer said.

Since 2012, he has been a co-founder and leader of the Cultural and Educational Movement “Promotion of Creative Education” foundation.

In 2011 - member of the jury of the first channel project The Phantom of the Opera.

From March 3 to May 26, 2013, she was one of the four jury members of the first season of the show “One to One!”

Since March 2, 2014, he has been a member of the jury of the new transformation show “Just the Same” on Channel One.

She was a member of the jury from Russia at the Eurovision Song Contest 2015.

Since May 2015, he has been the chairman of the board of trustees of the Academy of Festive Culture.

The height of Lyubov Kazarnovskaya: 168 centimeters.

Personal life of Lyubov Kazarnovskaya:

In 1989, opera impresario from Vienna, a descendant of Croatian aristocrats, Robert Roscik came to Moscow. After meeting Lyubov, he selected her to audition for the Vienna Opera. The singer took part in the Salzburg festival, where she participated in the performance of “Requiem” conducted by Riccardo Muti.

Business relations with Roscik turned into love, and then into marriage. To avoid accusations of his wife's selfish motives, Robert stopped working as an opera impresario and took up other projects.

In 1993, the couple had a son, Andrei.

Unlike other opera singers, Lyubov Kazarnovskaya looks slim.

“Good physical shape is an incredible moment of self-discipline. I work out at a sports club on exercise machines and try, as Maya Plisetskaya says, to simply “not eat.” You need to find your weight at which you feel good, look good, and try to maintain it ". This, by the way, is a guarantee that you will feel great on stage. That is, you go out and broadcast to the public everything that is best in you - from your voice to your appearance. As soon as the singer gets heavier and goes on stage as a bedside tables, the audience simply stops believing him. He sings about love, about passion, about youth, but he himself looks like an old senile," she says.

She is also called one of the most stylish opera singers. Although in ordinary life, according to the singer, she loves a democratic style: jeans, skirts, sweaters - so that she is both pleasant and comfortable.

Filmography of Lyubov Kazarnovskaya:

1988 - Gypsy Baron - vocals by Saffy (role of Kira Danilova)
2005 - Anna - Anna Romanova, singer
2005 - Dark instinct

Voiceover by Lyubov Kazarnovskaya:

2008 - Sleeping Beauty - Maleficent

At the invitation of the R. Strauss Festival in the German city of Oberammergau and the Mariinsky Theater under the direction of V. Gergiev, L. Kazarnovskaya includes in her repertoire the part of Salome ("Salome" by R. Strauss) - a role in which the singer triumphs all over the world.
L. Kazarnovskaya is the first and so far the only Russian singer to perform this most difficult part.

Lyubov Kazarnovskaya grew up in an intelligent Moscow family, at first glance, far from the musical sphere: her mother was a philologist, taught Russian language and literature; father is a reserve general, worked in military-diplomatic work, and is the author of a number of books on military history. My maternal grandfather was the director of a physics institute, my grandmother was the chief physician, and my paternal grandmother worked as a fashion designer. Lyuba's older sister followed in her mother's footsteps; now she is a unique specialist in French grammar and regularly lectures at the Sorbonne.

Lyuba always sang, since childhood she was seriously involved in music, and after school she took the risk of applying to the Gnessin Institute to study at the Faculty of Musical Theater Actors, although she was preparing to become a student at the Faculty of Foreign Languages ​​and did not yet seriously think about a career as a singer. One day, a famous vocal teacher told her that she had a real operatic voice with a very interesting, unusual timbre and, due to her individuality, she would be able to find roles in which she would be the only one. And as soon as Kazarnovskaya began to sing her favorite composers - Verdi, Puccini, Tchaikovsky, Rachmaninov - she realized that this would be for the rest of her life.

Her student years gave Kazarnovskaya a lot as an actress, but the decisive one was the meeting with Nadezhda Matveevna Malysheva-Vinogradova, a wonderful teacher-vocalist, accompanist F.I. Shalyapin, student of K.S. Stanislavsky. In addition to invaluable singing lessons, Nadezhda Matveevna is the widow of literary critic and Pushkin scholar Academician V.V. Vinogradova - revealed to Lyuba all the power and beauty of Russian classics, taught her to understand the unity of music and words hidden in it. The meeting with Nadezhda Matveevna finally determined the fate of the young singer. At the conservatory she had other wonderful teachers - the outstanding singer Elena Ivanovna Shumilova and the pianist Lyubov Anatolyevna Orfenova, with whom she worked on stage from the first days. In 1982, Kazarnovskaya graduated from the Moscow State Conservatory, in 1985 - graduate school in the class of E.I. Shumilova.

In 1981, while still a student, Lyubov Kazarnovskaya became a soloist at the Stanislavsky and Nemirovich-Danchenko Musical Academic Theater, making her debut as Tatyana in P. Tchaikovsky’s “Eugene Onegin.” She became widely famous at the Glinka All-Union Vocal Competition, where she won second prize. Soon the singer's repertoire was replenished with the main roles in the operas "Iolanta" by P. Tchaikovsky, "May Night" by N. Rimsky-Korsakov, "Pagliacci" by R. Leoncavallo, and "La Bohème" by D. Puccini.

Then Lyubov Kazarnovskaya, at the invitation of E. Svetlanov, sang in performances of the State Academic Bolshoi Theater - Fevronia in “The Tale of the Invisible City of Kitezh” by N. Rimsky-Korsakov (1984), Tatyana in “Eugene Onegin” by P. Tchaikovsky (1985) and Nedda in “ Pagliacci" by R. Leoncavallo (1985).

The singer won worldwide recognition in 1984 at the UNESCO Young Performers Competition in Bratislava. In the same year, for her performance of Leonora's aria from Verdi's opera La forza del destino, she was awarded the third prize and an honorary diploma of the Mirjam Hellin Competition in Helsinki, which were presented to her by the great Birgit Nilsson, and in 1986 she became a laureate of the Lenin Komsomol Prize.

In 1986, Lyubov Kazarnovskaya received an invitation to the State Academic Theater named after Kirov (now the Mariinsky), and for 3 years she was its leading soloist. During this time, she performed all the main soprano roles in the theater's repertoire. Among them are Leonora ("Force of Destiny" by G. Verdi), Margarita ("Faust" by C. Gounod), Donna Anna and Donna Elvira ("Don Giovanni" by W.A. Mozart), Leonora ("Il Trovatore" by G. Verdi) , Violetta (La Traviata by G. Verdi), Tatiana (Eugene Onegin by P. Tchaikovsky), Lisa (The Queen of Spades by P. Tchaikovsky), soprano part in Requiem by G. Verdi.

The singer's first foreign triumph took place in 1988 on the stage of London's Covent Garden Theater, as Tatiana in Eugene Onegin.

In 1989, the outstanding conductor, “maestro of the world” Herbert von Karajan invited Lyubov Kazarnovskaya to perform at the music festival in Salzburg. But a misfortune happened - during the rehearsal the maestro died. Kazarnovskaya performed Verdi's "Requiem" (conducted by Riccardo Muti) in memory of him. This sensational performance, which was celebrated and appreciated by the entire musical world, marked the beginning of her dizzying career, which later brought her to such leading opera houses in the world as Covent Garden, Metropolitan Opera, Lyric Chicago, San Francisco Opera, Wiener Staatsoper, Teatro Colon, Houston Grand Opera.

In September 1989, Lyubov Kazarnovskaya took part in a gala concert of world celebrities on the stage of the Bolshoi Theater in support of the victims of the earthquake in Armenia, along with Irina Arkhipova, Alfredo Kraus, Carlo Bergonzi and other outstanding performers.

In the same year, in Moscow, Lyubov Kazarnovskaya met her future husband Robert Roscik, an impresario from Vienna, who came to audition young singers, among whom she was.

In the 1990s, Lyubov Kazarnovskaya worked closely with the Metropolitan Opera, Covent Garden and leading opera houses in Italy and France. At the invitation of the R. Strauss Festival in the German city of Oberammergau and the Mariinsky Theater under the direction of V. Gergiev, L. Kazarnovskaya includes in her repertoire the part of Salome ("Salome" by R. Strauss) - a role in which the singer triumphs all over the world.

L. Kazarnovskaya is the first and so far the only Russian singer to perform this most difficult part.

While working on it, the singer studied with the best teachers from the Metropolitan Opera. The pianist and friend of Strauss, Walter Taussick, discovered a lot for her in this part. The impressions from the premiere exceeded all expectations. The grandson of Richard Strauss, who attended the performance, wrote: “Probably, my grandfather had Kazarnovskaya in mind when he wrote this opera.” Then this part became firmly established in the singer’s repertoire. She performs it equally successfully on the world's leading opera stages. “The Russian diva is so radiant in the role of Salome... The ice began to melt on the streets when Kazarnovskaya sang the final scene of Salome,” wrote the Cincinnati Enquirer newspaper. In 1996, she successfully made her debut on the stage of the La Scala theater in Prokofiev’s opera.” Player", and in February of the following year she triumphantly sang the role of Salome at the Teatro Santa Cecilia in Rome.

Lyubov Kazarnovskaya's repertoire includes more than 50 opera roles and a huge number of works of chamber music. Particular success was brought to her by performing the main roles in the operas "Salome" by R. Strauss (Salome), "Eugene Onegin" by P. Tchaikovsky (Tatiana), "Manon Lescaut" (Manon Lescaut) and "Tosca" (Tosca) by D. Puccini, " The Force of Destiny" (Leonora), "La Traviata" (Violetta), "Un ballo in maschera" (Amelia) and "Othello" (Desdemona) by G. Verdi. L. Kazarnovskaya is called the best Salome of our days, the best performer of Verdi's roles, and the role of Tatyana in Tchaikovsky's opera has truly become her calling card. “Her voice is deep and seductively insinuating,” wrote The New York Times about her Metropolitan Opera performance. “The touching, beautifully performed scenes of Tatyana’s letter and her last meeting with Onegin leave no doubt about the singer’s supreme skill.”

The creative biography of Lyubov Kazarnovskaya is a series of rapid victories, discoveries and achievements. At the beginning of her operatic career, she became the first Russian soprano invited to Salzburg by Herbert von Karajan. Nowadays the singer's repertoire includes opera roles that require subtlety and perfect control of timbre, technique, and musicality. Lyubov Kazarnovskaya is the only Russian singer who performed Mozart’s parts in the composer’s homeland in Salzburg on his 200th anniversary.

Lyubov Kazarnovskaya is the first singer to record (on CD) all 103 romances by P. Tchaikovsky. With these discs and her numerous concerts in various music centers around the world, Lyubov Kazarnovskaya opens the work of Russian composers to the Western public.

Leading masters of modern opera art work with her - conductors R. Muti, J. Levine, K. Thielemann, D. Barenboim, B. Haitink, Yu. Temirkanov, E. Kolobov, V. Gergiev; directors F. Zeffirelli, A. Egoyan, M. Wikk, D. Taymor, D. Dew. Her stage partners were outstanding masters of opera art - L. Pavarotti, P. Domingo, J. Cura, J. Carreras, F. Araiza, L. Nucci, P. Cappuccili, F. Cossotto, F. von Stade, A. Baltza .

Lyubov Kazarnovskaya participated a lot in modernist, avant-garde productions, such as “Salome” by film director Atom Egoyan, or John Dew’s play “Simon Boccanegra” in Cologne, where the entire stage is built from mirrors that become either the sea, then the sky, then a balcony, or a room . “In general, any production is an adventure in a good sense,” says Lyubov Yurievna. “Any true artist needs adventurism, since you are putting your professional status as an actress and singer on the line.”

In 1997, in order to support the art of opera in Russia, the singer created the Lyubov Kazarnovskaya Foundation. Through the fund, concerts and master classes are held in Russia by leading masters of world vocal art - Renata Scotto, Franco Bonisolli, Simon Estes, Jose Cura and many others. The Foundation has established scholarships to help young Russian singers.

Another unexpected project with the participation of L. Kazarnovskaya is “Portrait of Manon” on the stage of the Bolshoi Theater of Russia, with which the singer has been actively collaborating in recent years. The performance combines the most striking fragments of two operas at once - the French "Manon" by Massenet and the Italian "Manon Lescaut" by Puccini. The idea of ​​​​creating the performance belonged to the Lyubov Kazarnovskaya Foundation and was brought to life by a truly “opera team of the world”: singers from Russia, Italy, Mexico, France, Sweden, and Germany took part in the performance. In "Portrait of Manon" Lyubov Kazarnovskaya performed two roles in one evening for the first time - in the operas "Manon" by Massenet and "Manon Lescaut" by Puccini. The singer's other recent work is the role of Santuzzi in Mascagni's opera La honour rural, staged by Evgeny Kolobov at the Novaya Opera Theatre.

Currently, Lyubov Kazarnovskaya is preparing new programs for solo concerts, new opera roles (Carmen, Isolde, Lady Macbeth), planning numerous tours abroad and in Russia, and acting in films.

When choosing a program for solo evenings, L. Kazarnovskaya avoids a scattered selection of even winning, attractive numbers, giving preference to unique cycles representing the work of different authors. Her solo programs, such as “Gypsy Love” (Brahms, Dvořák), “Cabaret Songs” (Schoenberg, Weill, Gershwin) and “Russian Bel Canto” are a huge success among the public in Russia and abroad. The singer’s uniqueness, brightness of interpretation, subtle sense of style, individual approach to the embodiment of complex images in works of different eras make her performances genuine events in cultural life.

"Powerful, deep, superbly controlled soprano, expressive throughout the entire range... The range and brightness of the vocal characteristics are especially impressive (Lincoln Center, recital, New York Times).

“Lyubov Kazarnovskaya enchants the viewer with her sensual, magically sounding soprano in all registers” (“Muenchner Merkur”).

These few quotes are only a small part of the enthusiastic responses accompanying the performances of Lyubov Kazarnovskaya.

Since 2000, the singer has been a patron of the world's only Children's Opera House named after Lyubov Kazarnovskaya, which is located in the city of Dubna. With this theater, the singer is planning interesting projects in Russia and abroad. She also heads the creative coordinating council of the cultural center "Union of Cities" and conducts extensive cultural and educational work in various cities and regions of Russia.

On December 25, 2000, at the State Concert Hall "Russia" a brilliant musical show by Lyubov Kazarnovskaya "Faces of Love" took place, broadcast live to the whole world. The three-hour solo program, which included the entire spectrum of vocal art - opera, operetta, romance, chanson - became the first project of its kind presented by a leading opera singer, and the most striking musical event of the last year of the twentieth century, causing enthusiastic responses in Russia and abroad.

Lyubov Kazarnovskaya - Doctor of Music, Professor. She is active in social activities. In 2002, Lyubov Yuryevna was elected chairman of the commission on cultural and humanitarian cooperation of the Congress of Municipal Entities of the Russian Federation. She is also the chairman of the board of the Russian Musical Educational Society.

Lyubov Yurievna was awarded a diploma from the prestigious center in Cambridge (UK) as one of the 2000 most outstanding musicians of the 20th century.

Numerous audio and video recordings highlight the singer’s enormous vocal capabilities, high style and greatest musical talent. The American company VAI (Video Artists International) has released a series of videotapes with the participation of L. Kazarnovskaya, including “Gypsy Love” (a video recording of a concert in the Great Hall of the Moscow Conservatory) and the project “Great Singers of Russia 1901-1999” (two cassettes), which became a musical bestseller in different countries of the world and revealed to a wide audience the names of Sobinov, Lemeshev, Kozlovsky, Nezhdanova, Obukhova, Barsova and other outstanding Russian singers. The singer's discography also includes recordings in the companies DGG, Philips, DELOS, Naxos, and Melodiya.