Interview by Oleg Kusov. Exclusively to Vesntik Kavkaza
Vestnik Kavkaza’s guest is Alisa Gitsba, an Honored Artist of Russia, opera singer.
- Hello, Alisa! I have recently read Dmitry Khvorostovsky’s quotation: “I think there are few judges of opera at the moment in the world, I mean people who could distinguish the singing of one singer from another’s, hear and appreciate the nuances, shades, features of the singing techniques of each singer.” Do you agree with this verdict?
- Of course I don’t want to agree with that. I want to stay positive. However, unfortunately, today the situation is like the master has said.
- Don’t you feel upset about it? Do you try to enlighten people in the sphere?
- I have spent all my life on this. I do this because I cannot live without it. I hope that my art is interesting for people to some extent.
- Do you think you are recruiting people into a community of opera lovers?
- At least I have the task. I am well-known as an educator, as I sing a lot of avant-garde and modern music, apart from classical opera. And it is always interesting for me to take part in projects which bring something new. I am glad to involve people. I think it is my personal mission.
- How did you choose your path in this complicated art?
- I began to be involved with music when I was five. At first I intended to be a pianist. Then I entered the musical college in the department of theory. Suddenly, I began to sing, and singing didn’t let me go. That’s how I became a singer. In 1989 I entered the Gnesinys Institute; today it is the Russian Academy of Music.
- You studied in Sukhumi beforehand, didn’t you?
- I studied at the Sukhumi musical college in the department of music theory. In 1989 I entered “Gnesenka”, where I had studied for five years and had interned for two years. When I was in my third year, I got into the ensemble of ancient music of Madrigal with Lidia Davydova, who was Amaga Gotti’s teacher. I had worked there for two years. Then, I came to Gelikon-Opera in 1993. Since that time, I have been working in Gelikon-Opera for 20 years. On December 5th we marked the 20th anniversary of my career on the stage of Gelikon-Opera. It was a big and interesting concert.
- Speaking about your education, you studied in Sukhumi and Moscow. Have you ever wanted to study in Europe?
- When I studied it was a bad time, the turbulent 1990s. I participate in casting tmfor Belvedere in Vienna, but I had no money to go to the competition. However, I interned and took part in workshops of foreign stars in Moscow.
- You have said you have been working in Gelikon-Opera since 1993. An incredible regular basis. Is the theatre attractive for you?
- It is very interesting, due to the atmosphere in the theatre. I wish I always stayed in that atmosphere. It is very friendly and creative. I cannot rule out intrigues, probably they exist, but I have never faced them, intrigues have never touched me. For 20 years I have sung good big opera roles, leading roles, and I have always been honest to my artistic director. I always try to be useful at any moment. Even if they make me sing La Traviata at night, I will sing it under any conditions. I think it is a secret of my long career in the theatre. Devotion and love to my profession help me to work in the troupe.
- What are the most memorable performances?
- Any performance is a milestone event. There is no performance in my life which would be insignificant for me. It is always a milestone period in life. Speaking about my anniversary evening, it was well-structured. In the first part of the concert I sang Baroque and Renaissance music, as I started my career in Madrigal. The second part included opera arias, my favourite ones. The core was Verdi – Aida, Macbeth, Violetta. We had a very interesting performance of Verdi’s opera Falstaff. It wasn’t included in the concert, as there are no sola arias. And of course my favourite aria role is Norma. I dream about singing it in full from beginning to end. I hope that when we move to the new building of Gelikon-Opera, the performance will be restored, Norma by Bellini.
- Are you situated on Arbat Street at the moment?
- We are situated on New Arbat temporarily, but soon we will move to our previous stage of the Gelikon-Opera on Bolshaya Nikitskaya.
- Was the theatre situated there in the past?
- Previously, we occupied the theatre. It was a former house of Princess Shakovskaya, which became the House of Culture of Medical Workers in the Soviet Union. The House of Culture was headed by Alexander Bertman, father of Dmitry Bertman. The son grew up, graduated from GITIS, staged a diploma play, and his father provided him with the stage of the small house. That’s how it began to develop. They played one performance, another, a third one, and a troupe was formed, the theatre was founded. New artists, new conductors, an orchestra, singers, new opportunities appeared. And this year the theater marks its 25th anniversary. And we used to perform on the small stage of the house. Under former mayor Lushkov it was closed for reconstruction, a very interesting project was initiated. A ditch was dug in the inner yard of the theatre, and a new theatre was being built. There were many difficulties with the construction. It has been taking place for 8 years. As Lushkov was dismissed, the construction was shut down.
Then there were problems with Arkhnadzor. It is a long story. But I would like to say that Dmitry Bertman is an outstanding person who has managed to figure it out and achieve a new stage for the theater. I don’t know how many years of his life he spent on solving the problem. He had many opportunities to leave the country and stay abroad. But he stayed. He loves his child – his theatre. He cannot live without it. He would lose his roots if he left. However, I am sure there could be a last straw. Thank God, he didn’t leave and certain people supported him. We expect that in September we will return to the new stage. There will be a few halls: one is in the yard, a beautiful theater; and the theatre where we used to work previously will be a chamber hall.
- It seems the most successful artistic directors should be producers in their hearts.
- I think so.
