Opera prima Khibla Gerzmava: a singer must love! Khibla Gerzmava: personal life Abkhazian opera singer Khibla Gerzmava.

Many titles and awards, stylish dresses, shimmering diamonds around the neck, huge baskets of flowers, the adoration of the public of various nationalities, as well as immense hard work, endurance and perseverance. All this - opera singer with Abkhaz roots Khibla Gerzmava. From the outside, her life seems like a fairy tale, 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 sacrifice that had to be sacrificed on the altar of art.

The biography of Khibla Gerzmava began 46 years ago in Pitsunda. In addition to her, the family of the senior boarding house administrator and translator also has a son. The entire family of the future opera star had musical abilities and hearing. True, for a long time Khibla Gerzmava was preparing precisely 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, since she had to travel to neighboring Gagra to go to music school. Having also graduated from a music school with a degree in piano after school, Khibla Gerzmava decided to enter the Moscow Conservatory. This educational institution- the dream of her mother who passed away early. By the way, in an interview, the singer admitted that she acquired a real deep and colorful voice just after this tragic event, and subsequently, almost all tragedies and troubles in her personal life somehow had a beneficial effect on her voice. Two years after her mother, her father also left, and therefore, from her early years at the conservatory, Khibla Gerzmava was forced to independently overcome the difficulties and hardships associated with life in the capital. But such a frantic rhythm, when she worked obscured everything else, very quickly put the singer on a pedestal. While still a student, she won prizes at festivals, and therefore it is not surprising that after receiving her diploma she became a singer at the Nemirovich-Danchenko Theater. It became a second home and an additional school for her, because it was here that the singer honed her acting skills, stage presence, 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 a cheerful and open person with a great sense of humor. In her environment, by Khibla Gerzmava’s own admission, male friends predominate, and women can be counted on one hand, but all of them are time-tested and situation-tested people who can be relied on. The singer willingly spends her free time with friends. But above all, she is a mother to her only son, Alexander. Today he is already eighteen years old. Despite inherited musical abilities and experience on stage, acquired in the theater’s children’s choir, he did not follow in his mother’s footsteps. Almost nothing is known about Khibla Gerzmava’s husband. For a long time, judging by the singer’s interview, they had a strong and harmonious family, but the couple have not lived together for several years. Naturally, Khibla Gerzmava tries to pass over the reasons for this decision in silence.
Also see.

Khibla Gerzmava is a “new type” opera artist, as the press writes about her. Khibla amazes fans not only with her vocal abilities, but also with her subtle acting, grace, and thoughtfulness of her image. The singer with her entire appearance gives the feeling of a fairy tale, which made the artist not only a recognized opera diva, but also a style icon.

Khibla Levarsovna Gerzmava was born on January 6, 1970 in the Abkhaz resort town of Pitsunda. The girl's family was not at all musical. The mother of the future opera singer is a translator from German, her father is the senior administrator of the Pitsunda boarding house. Translated from Abkhazian, Khibla means “golden-eyed”; the artist’s surname translates as “she-wolf”.

When little Khibla was three years old, her father brought a piano from Germany, which the future opera singer has since tried to learn to play. This sudden purchase determined the future biography of the singer, pushing the girl towards music. Soon Khibla began to sing and play the piano.

Khibla spent her childhood near the Pitsunda Orthodox Cathedral, through the walls of which organ music constantly sounded. Gerzmava first felt an artistic urge in her youth, when she attended a performance by the Abkhaz song and dance group “Sharatyn”. She was also amazed by the performance of violinist Liana Isakadze. As the girl grew, her passion for music also grew.

Gerzmava lost her parents early. When she was 17 and then 19 years old, her parents left one after another. The girl only has a younger brother left. This fact influenced the further biography of Khibla Gerzmava. Already at this age, the girl firmly decided that her choice was a creative profession. In connection with this decision, she graduated from a music school in Gagra, then a music school with a degree in piano.

From 1989 to 1994 she studied at the Moscow Conservatory in the vocal department. In 1996 she completed her assistantship at the Conservatory. At the same time, she studied organ music for three years, eventually mastering her favorite instrument.

Music

Gerzmava first appeared abroad in 1993. Then Khibla took part in the “Verdi Voices” competition, receiving third prize. A year later, she was recognized from the name competitions in St. Petersburg and Francisco Viñas in Spain, where the singer received second place. Triumphant success came during his student years at the 10th International Competition. It was in 1994, she performed Rosina's final aria, winning the Grand Prix.

The singer is often compared to an opera singer. They are somewhat similar: both are young and attractive women, both southerners, and due to their voice and type, they perform the same roles on stage.

Netrebko became famous five years earlier than Khibla and, had circumstances been different, could well have pushed her competitor out of the scene. Instead, two opera divas divided music world in half. Anna is a singer from the St. Petersburg school; Khibla studied and performs more often in Moscow. Even playing the same roles, they shine on different but equally significant stages. For example, Anna Netrebko, who made both of them famous, sang at La Scala in Milan, and Gerzmava at Covent Garden in London.

During her busy career, opera singer Khibla Gerzmava performed on the great stages of the world. Among them are the Mariinsky Theater of St. Petersburg, the Teatro Communale in Florence, the Metropolitan Opera in New York (debut in 2010), Covent Garden in London (the already mentioned role of Donna Anna in 2012), the Vienna State Opera, the Grand Teatro de Liceu in Barcelona, ​​Sofia National Opera in Bulgaria, Théâtre des Champs-Élysées in Paris, Palau de les Art Reina Sofía in Valencia.

The singer collaborated with many legends of the music scene. Among them are a virtuoso pianist, conductor and violinist, pianist Nikolai Lugansky, Music Viva orchestra, singer and saxophonist and others.

Khibla Gerzmava also takes part in modern performances. But, of course, not in all of them, but only in tasteful productions that do not cross the line of theatrical conventions. Abroad, the singer performs encore songs in her native Abkhazian. Her performances attract large audiences both in Moscow and New York.

The singer also left her mark in the chamber genre classical music, having recorded a number of records entitled “Khibla Gerzmava Performs Russian Romances”, “Oriental Romances of Khibla Gerzmava”, as well as discs with cycles of romances by Nikolai Myaskovsky, Mikhail Ippolitov-Ivanov. Khibla has a lot of video recordings of the performance of songs, romances and arias, and there are video versions of opera productions where the artist sings. In 2016, the singer released a video for the vocal work “The Gray-Eyed King,” based on poetry.

However, Khibla's main musical love was and remains jazz. She participated in concerts of Daniil Kramer. The project was called “Opera. Jazz. Blues". The singer and pianist toured Russia and Europe and not only repeated the same compositions, but changed the program every six months. In 2016, the musicians released an album of the same name, which included best works from their program. Khibla also collaborated with the famous jazz saxophonist Georgy Garanyan.

In February 2014, Khibla Gerzmava performed the “Olympic Waltz” at the closing of the Sochi Olympic Games. The singer took part in a romantic show during Sochi 2014: the artist sang while the Herald of Spring ship carried her across the airy sea.

On February 22, 2015, Khibla appeared in the show “One to One” on the TV channel “Russia 1” as a member of the jury. During her performance as Khibla, she was asked to perform everyone’s favorite hit “ Eternal love", which the singer did flawlessly.

In December 2016, the singer sang a part in the opera Don Carlos. The production was different star cast, but almost all the participants were known for their solo vocal careers, so the audience was looking forward to seeing them together on the same stage. The highlight of the program was supposed to be, but due to a serious illness the singer refused to participate, and he was replaced by Ildar Abdrazakov, whom journalists later called “the sex symbol of the opera world.”

At the end of the same year, a scandal broke out. Before the Channel One Hockey Cup match, Khibla was supposed to sing the anthem Russian Federation, but, as many thought, she forgot or mixed up the words. The artist apologized and asked to be given the opportunity to perform this composition again, but the organizers refused the request.

This mistake by the singer caused a stream of condemnation in the press. The next day, the Russian Hockey Federation expressed a different version of what was happening. According to its president, there were technical problems, so the music sounded slower than expected, which confused the performer. The Federation made an official apology to Khibla Gerzmava.

This incident could not hinder the artist’s career. Gerzmava still remains in demand on the opera stage. On the singer's official website, her performances are scheduled several months in advance.

Personal life

Khibla Gerzmava is reluctant to talk about her personal life. Few people know why Khibla’s husband now lives separately. From their marriage they have a son, Sandro, born in 1998. Since childhood, the boy sang in the choir of the Moscow Theater. and Vladimir Nemirovich-Danchenko. Sometimes Sandro took part in performances with his famous mother. Photos of my son often appear in personal " Instagram» singers.

Family life the artist’s identity remains a mystery, but, according to journalists, the opera singer has no new children or husband. Khibla maintains close relations with his younger brother Loretz, who was educated at MGIMO and the Sorbonne. Now my brother’s family lives in two countries – France and Abkhazia. Gerzmava's family nest is located in the village of Duripsh, where relatives gather in the summer months of the year. The graves of his father and mother remained there.

Khibla Gerzmava devotes a lot of effort and money to charity. The singer financially supports musical groups and young artists of Abkhazia. Until 2014, in the summer months, the music festival “Khibla Gerzmava invites...” was held on the territory of the Pitsunda museum complex, which was later moved to Moscow. The constant host of the event was Svyatoslav Belza. Over the course of three evenings, the public got acquainted with the work of young musicians, performers of classical and jazz music.

In Russia, the artist supports the #LIVE campaign, which also includes

In March 2018, the First International BraVo Music Award took place on the stage of the Bolshoi Theater. Khibla Gerzmava was honored to become a laureate in the “Best Classical Female Vocal” category. There, Dmitry Hvorostovsky was posthumously awarded in the category “Best Classical Album of the Year” for the recording of the disc “Verdi. Rigoletto." The soloist also received awards Mariinsky Theater Ildar Abdrazakov, pianist and others.

Parties

• Lyudmila, "Ruslan and Lyudmila"
• The Swan Princess, “The Tale of Tsar Saltan” N. Rimsky-Korsakov
• Rosina, "The Barber of Seville"
• Adina, “Elisir of Love” by G. Donizetti
• Violetta Valerie, La Traviata
• Mimi and Musetta, La Bohème
• Nymph, "Daphne" by M. da Galliano
• Adele, "Die Fledermaus"
• Donna Anna, "Don Juan"
• Vitellia, La Clemenza di Titus, W. A. ​​Mozart
• Liu, "Turandot", G. Puccini
• Amelia Grimaldi, Simon Boccanegra, G. Verdi

If you ask people on the street about the most famous Abkhazian, there will be one answer - Fazil Iskander. The question of the most famous Abkhazian may confuse passersby, but opera lovers will not think for a second: of course, Khibla Gerzmava. And if they once joked about Dmitry Hvorostovsky that Western audiences loved him so much that they even learned to pronounce his last name, then fans of the golden voice of the world opera star simply call their idol Khibla. Golden-eyed, if translated from Abkhazian.

So, Khibla Gerzmava: daughter of Abkhazia and daughter of her parents, actress of the Moscow Musical Theater named after Stanislavsky and Nemirovich-Danchenko, prima donna of the world opera, wife, mother and organizer of the festival “Khibla Gerzmava Invites”. And simply beautiful!

DAUGHTER OF ABKHAZIA AND JUST A DAUGHTER

Khibla translated from Abkhaz means"golden eyes" Look at my eyes: they are yellow. They say I was born with “golden” eyes. The parents decided: the girl will be beautiful.

I was born in Abkhazia, in a wonderful and sunny Pitsunda. Studied in Gagra music school, and then at the Sukhumi school in piano class.

Until I was 18 I never thought O singing career. I just loved to sing and composed songs.

My mother dreamed that I studied at the Moscow Conservatory.

I've always been musical child . But she took up singing late, at the age of nineteen. I discovered this gift in myself after the death of my mother.

My dad brought me to the conservatory. He was very worried about me when I took the entrance exams. During the third round in Great hall Conservatory, dad listened to me even with tears in his eyes. And I will never forget this... Then something terrible happened. Two years after my mother’s death, my father also passed away. We had a very friendly, beautiful family. My brother and I grew up in an atmosphere of love.

From an early age I listened to polyphony. Grandfather loved folk songs. I sang with my grandchildren. Only men spoke publicly. But women have always been able to sing. And my mother sang. I really love Abkhaz music. There’s no way without her. Folk songs, drawn-out, sad, are the highlight of my solo concerts. They add spice and flavor to the classic program.

After the Tchaikovsky Competition, after the Grand Prix, I remember Japan Arts signed a contract with me, and I had my very first tour. And I went to sing with the orchestra. I was called for an encore so many times, and we had already run out of our encores, and there was absolutely nothing left to sing. And I went out and sang an Abkhazian folk song a cappella. The Japanese, apparently, did not expect that this could happen, and that it would touch them so much. They really liked it.

I speak Abkhaz perfectly. But Sandrik doesn’t speak it very well, because he studied in Moscow - both in kindergarten and at school. Only when he goes to visit his grandparents in Abkhazia in the summer, they try to teach him a little, and he remembers something. I think it’s my disadvantage that he doesn’t know the language, and I’m very worried about this. The Abkhaz language is very complex, so the first thing, of course, you need to speak it in the family.

In the Abkhaz language there is such a word “phasharop”. It means "ashamed." For Abkhazians, disrespect for elders and some kind of wrong actions are considered “phasharop”. Or some unacceptable things, say, in relation to women. But basically “phasharop” is said when there is some specific disrespect for something or someone. Conscience among Abkhazians, of course, comes first.

We have amazing folk ensembles dancing and polyphonic folk singing are what is considered the main thing in Abkhaz culture. This is given to us by nature. She created the Caucasian people in such a way that they all sing amazingly, and with polyphony. Not every Russian person will be able to perform a song that almost any Abkhazian can sing by ear.

I have long dreamed of making a holiday in Pitsunda for people. I love this city, this land, I am always drawn there. The air of Pitsunda is agitated - the sea, pine trees, iodine. It seems that I know every stone of our ancient temple, filled with the aromas of centuries. In Moscow, I go into churches to feel the atmosphere of burning candles and ancient icons. Once upon a time, the “Night Serenades” Festival was held in our temple. It was conducted by the famous violinist Liana Isakadze. I grew up on it. And for me, when I already became famous singer, the idea arose to carry out my interesting project associated with classical music.

ROAD TO GLORY

I was 16 years old when my mother passed away. I loved her very much. My mother dreamed of me becoming a musician and playing the organ. But one day I suddenly felt that I was singing in a special way. Then I was already studying at the Sukhumi Music College. My piano teacher, Karlen Yavrian, heard me sing and took me to Josephine Bumburudi, the head of the vocal department. She listened to me and said that we would work with her.

We only worked for a year. Practiced singing techniques, breathing, sound science, learned opera parts. And, importantly, Josephine showed everything to her students with her voice. She taught us to understand the essence of each piece performed. Opened magical world opera art.

Twenty years ago it seemed to me that I came to Moscow absolutely prepared. I was accepted into the conservatory! But during my studies, I realized how much more I still need to learn and how many secrets of vocals remain to be discovered.

A strong vocal foundation that allows I learned at the Moscow Conservatory from my professor Irina Ivanovna Maslennikova to actively perform with a diverse repertoire and maintain a tough tour schedule. From the third year I was in the chamber ensemble class of Professor Evgenia Mikhailovna Arefieva. She prepared me for the Tchaikovsky Competition, which became a springboard in my creative biography.

I was just lucky. Became my teacher Irina Ivanovna Maslennikova. This is a block! A grandiose singer, a grandiose personality! Irina Ivanovna has her own teaching system, her own school. I came to her as an angular, shy, unconfident student. Irina Ivanovna taught me everything - to live, to make friends, to love music, theater, literature. She instilled taste and guided me. We talked a lot.

Irina Maslennikova couldn’t stand it, when I came to class in inappropriate shoes, because I was convinced that a singer should always wear elegant high-heeled shoes, fit and stylishly dressed. Irina Ivanovna liberated me. From a provincial girl she gradually molded herself into a singer. She gave me special exercises to develop my voice, a lyric-coloratura soprano...

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

During my student years, another one came true my dream. The fact is that in Pitsunda we have an amazing organ, and I always wanted to learn how to play it. At the conservatory, I was able to fulfill my dream by taking an elective organ class for three years.

Three years in organ class is a tribute my mom's dream. And then, I grew up next to a temple where the organ sounded.

I started a different life, I'm a girl from the provinces, homely, who did not understand what a hostel was, Moscow and the Moscow Conservatory. And suddenly all this opened up for me, and I began to choke a little, then somehow I pulled myself together. I studied very well, I was such a good student, correct, such a pioneer.

DIVA

We are invited people, we are invited, we come, we must make the audience fall in love with us, we must make the director, conductor fall in love with us, our first duty, and charm everyone, and make them interested in working with you. This is a very important point. If this line is reached, then it is very convenient to work further. Then you just let yourself go and create.

I think you need to be very open, warm, and it seems to me that you need to treat any theater with great love. If there is a feeling of love, then the voice always sounds, and the work is always interesting. We gather from different theaters, this is like a collective troupe. And in order for us to have a good tandem and good performances within a month and a half, for this we need to be very open.

It is important for Prima to be stylish. Look decent on stage, sing without distorting your facial features. Be able to “take” your viewer. Bring him love and warmth. The energy you emit is what matters. It seems to me that a singer should have a very warm energy. To be for real interesting person: A pacifier is boring to look at.

Most obvious timbre changes V better side I felt it even after the birth of my son. I was glad that my voice became softer, had less of a flattened sound, and the slightest tremolation, which sometimes bothered me, disappeared. The process of “rounding” may continue, but now I consider myself a lyric-coloratura soprano, with an emphasis on the “lyric”.

I am one of those singers who are careful in choosing their repertoire, at my age this is especially important to keep my voice fresh. Gilda or Juliet are no longer needed, but Lucia, Violetta or Mimi are mine now.

I don't know how I would react to the offer to participate in an overly frank production. Perhaps I would use my professionalism and try to find something new and interesting. But, to be honest, I’m afraid, I’m not thirsty. I love modern performances, but only those that have taste and do not cross the line of theatrical convention on stage.

I'm always grateful for the wave of positivity, coming from the public, from the fans. But I myself understand that everything is never perfect, no matter how hard you try. I take positive emotions into my piggy bank, but I still know what worked and what didn’t. Analysis works clearly for me, and no one “eats” me more than I do myself.

I need my voice to always be beautiful sounded. I know that his timbre cannot be confused with anyone else. But I have to constantly find new colors and nuances. It seems to me that I grew a lot after the conservatory, I began to sing with a different sound, a beautiful one. Having a good vocal ear helps me.

I don't care much about who gets what seat. puts me down. I just feel like a good singer and happy man. But, of course, it is important for me to be the first in my native theater. I work hard for this. As you know, the public needs to be won over, and above all with your individuality. I did this for several years after the conservatory. Today, my performances and concerts are always full. The name is already working.

I always try to be interesting to listeners- sophisticated, beautiful, stylish. It is important for them how an actor looks and how he behaves on stage. For music lovers, I find fresh intonations, colors, new sounds... I judge success by the silence of the hall, applause, and audience emotions.

I understand everything I sing about. I love Italian. It is melodious, beautiful and very capacious. Suitable for vocals like no other.

I value sincerity and sensitivity in partners to each other. If there is no contact between partners, it is impossible to play love on stage.

After the performance it is difficult for me to fall asleep. So much adrenaline in the blood. I never sing superficially. I let everything pass through me, I get used to the destinies of my heroines. And this is not easy. Then it takes me a long time to recover. After “Lucia di Lamermoor” or “La Traviata” I come to my senses for two or three days. I'm standing under the shower, swimming. But I don’t complain: the Lord gives me strength. We are like a vessel that he fills. Halfway, or to the brim. How will you be worthy?

ACTRESS OF THE NATIVE THEATER

Work with director Alexander Titel- for me this is pride, for me this is trembling happiness. I believe that you must love the person you work with. The first duty is respect, the first duty is love.

Through love you can do something. Therefore, at first I realized for myself that I love this theater, and that means I love Titel. I love him as a person, I love him as an elder, I can always consult with him, he can take me by the hand and lead me, like in childhood. He is the only person who made me be stylish, beautiful, and interesting to others.

I was ugly, I was fat I was 25 kilograms overweight, I didn’t know how to dress, I didn’t know how to walk on stage, I didn’t know how to jump on stage, I was “squeezing.” I didn’t know how to elegantly stand on the roof of a car and sing beautifully “Musetta’s Waltz.” I didn’t know, I didn’t know how, he taught me this.

Once upon a time, for the sake of this theater, for the sake of Titel, I lost 25 kilograms, came and said: “I want to work with you.” And he took me... No, well, of course, I auditioned, they liked the way I sang, it’s natural, I came like everyone else. They didn’t even listen to me with the orchestra, but immediately said: “We’ll take this girl without an orchestra!”

I'm not a blind kitten who will do everything as he was told. I have matured, I have become a grown woman. I don’t like to swear, I like to do it all in a very correct and gentle manner. Sometimes I come to his office, ask for help, and say: “I need it, urgently!” - “Okay, go.” And we sit for a very, very long time, sometimes until late and late. He explains what he wants and I explain that it is inconvenient. And so on down to our theater costumes...

You see, our theater is different in that, which very rarely happens on our stage when the singer is comfortable singing. I once already said: “We, the “titels”, who grew up and were born in this theater, we will soon sing with scuba gear!” And that's interesting to me. That is, I can’t just stand on stage and sing anymore. I need to do something, I need to move, I need to jump, I need some bright, lively staging.

I'm not ashamed to be funny on stage, ugly. Girls are worried: “God, how can I have something like this? I’d better emphasize my waist, but do it a little differently here, let’s hide my flaws.” Yes, of course, you need to hide your flaws. But I think I’m funny and You also need to be able to be ridiculous on stage.

I feel at home on stage. Here's the bed scene in the second act of La Traviata - I’m the same at home, I can sleep in a man’s shirt, fall asleep in the shirt of my loved one, wake up, tie something for myself and walk around, make coffee... The main thing is that I’m natural on stage. And if it works out vocally, it turns out smoothly, then I’m glad, it’s very important for me.

WIFE AND MOTHER

I usually prepare for a performance at home. I'm singing at the piano. It is impossible to remain silent. Main man in my life - son Alexander. At home we call him Sandro.. He comes home from school and, naturally, needs to communicate with me. How can you remain silent here? I am obliged to give my son everything he needs. By the way, I breastfed him for a whole year, which singers usually don’t do.

If God gave me the happiness of becoming a mother, then I must give the child everything I can. True, in Sandrik’s first year I took him with me, and we flew around the world together. I worked at Covent Garden for two and a half months when Onegin was being prepared. And I was able to arrange for my son, already a schoolboy, to fly to me in London. And so Sandro grew up. Handsome, smart, gifted. It seems to me that he will become an artist. Now she studies in a theater choir and goes on stage with him...

If I come home, I don't continue to play, like Somerset Maugham's character, the great actress Julia Lambert, I just loving mother. Having closed the door, I become an ordinary woman: homely, cozy, warm.

I brought my son to the theater to “work” first of all to spend more time together during my now infrequent visits to Moscow. And then, the theater schedule and rehearsal process are very disciplined, which many people don’t even realize!

I'm almost sure the son is the singer there won't be. Sandro has already spoken about the dramatic field, and I am not against it in principle, but only after he has fully matured. The most important thing is to guide the child, and then he will think and choose. The boy is good at mathematics and his head is inclined towards the exact sciences - we will orient him towards this.

My son honestly told me that he doesn’t like those performances where my heroines die at the end. Therefore, my best role in the perception of my son is Adina in “Elixir of Love.”

…AND JUST A BEAUTIFUL

I have stylists who do the costumes, hairstyle, makeup. But if I personally don’t like the proposed option, then I won’t do it at the concert, even if it’s super fashionable. I believe that a woman on stage simply must be beautiful, stylish and well-groomed. The actress must be a Dream - flawless, in the most expensive and exquisite outfit. A good dress gives me the feeling of a straight back, when I feel beautiful - I sing differently!

For a singer it is important, I am sure, to be simple happy woman. Then she has a good internal state. The eyes are burning. The back is straight. She feels like a queen on stage. The audience finds itself at the mercy of her charisma and energy.

… A LITTLE ABOUT LIFE

I'm interested in the Beatles, but I'm not a fan from them. Other music touches the soul. I never belonged to the majority. I am an individualist, a lone wolf.

Extensiveness is the path of populism, pop music. Intensity, movement in depth is the path of a real musician.

I only do what interests me. I don’t strive for easy money: the standard of living suits me quite well. I only take on projects that bring real pleasure. And the snow-white limousines... Let them go to the pop singers.

I always need it to be better so that I can sing better. I’m never ashamed to learn, I’m never ashamed to come up and ask: “Listen, how can I do this?”

I am very happy that I succeeded as a mother… I have wonderful son growing - Sandrik... I dream about his health, I pray for his health, I hope that he will grow up to be a real man. I want a good career for myself, a good job...

And the fact that I am a sought-after person today, - I want to keep it, because being in demand is very important to me. And finally, I want to be a very happy woman.

REFERENCE OF THE "ADYGI" FUND:

People's Artist of Russia and People's Artist of the Republic of Abkhazia Khibla Levarsovna Gerzmava born January 6, 1970 in Pitsunda, Abkhaz Autonomous Soviet Socialist Republic. In 1994 she graduated from the vocal department of the Moscow Conservatory. In the same year she was awarded the Grand Prix at the International Competition named after P.I. Tchaikovsky in Moscow. Since 1995 - soloist of the Moscow Academic Musical Theater named after K.S. Stanislavsky and V.I. Nemirovich-Danchenko. In 2001, she organized the annual music festival “Khibla Gerzmava invites...” in Abkhazia.

Khibla Gerzmava sings on the best stages of the world: at the Mariinsky Theater, at the Metropolitan Opera in New York, at the Royal Opera House Covent Garden in London, at the Roman Opera, at the Grand Teatro de Liceu in Barcelona, ​​at the Théâtre des Champs-Élysées in Paris and so on. Khibla Gerzmava is a laureate of the most prestigious theater awards "Golden Orpheus" and "Golden Mask", the "Triumph" award and theCastaDiva.

Recorded by Ilya Fedoseev.

Photo: Natalya Arefieva, Pavel Vaan, Leonid Semenyuk, Nino Dzyapsh-ipa

It took several years for me to recognize this amazing singer. Her voice is simply mesmerizing. I would like to introduce you to her.

Biography

Khibla Gerzmava was born on Christmas Eve, January 6, 1970, in the Abkhaz resort town of Pitsunda in the family of a translator from German, an Intourist guide, and a senior administrator of the Pitsunda boarding house. In Abkhazian the name Khibla means “golden-eyed”, the surname Gerzmava means “wolf”, “she-wolf”. At the age of three, his father brought Hible a piano from Germany. Since childhood, she sang and played the piano. The girl grew up near the Pitsunda Orthodox Cathedral, where organ music was played. She first felt her artistic element in her youth, when the Abkhaz song and dance ensemble “Sharatyn” performed in the Pitsunda Resort Hall; the performances of violinist Liana Isakadze also made a strong impression on Khibla.

Early, at the age of 17 and 19, she was left without parents, which influenced her worldview and choice of a singing profession. She studied at a music school in Gagra. She graduated from the Sukhumi Music College, majoring in piano, and dreamed of becoming an organist. Her teachers in Sukhum were Karlen Yavryan and Josephine Bumburidi.

In 2001, she organized the annual music festival “Khibla Gerzmava invites...” in Abkhazia. The host of the festival for many years was Svyatoslav Belza. In 2014, the festival moved to Moscow.

In 2008, Gerzmava received an invitation to the Bolshoi Theater, but refused due to frequent tours around the world.

During her career, Gerzmava performed on the stages of the Mariinsky Theater in St. Petersburg, the Teatro Commune in Florence, the Metropolitan Opera in New York, Covent Garden in London, the Vienna State Opera, the Grand Teatro de Liceu in Barcelona, ​​the Sofia National Opera in Bulgaria, the Champs Elysees in Paris, Palau de les Art Reina Sofia in Valencia and other venues. Participated in tours of the Musical Theater named after. K. S. Stanislavsky and V. I. Nemirovich-Danchenko in South Korea and the USA. She performed at the Ludwigsburg Festival in Germany. She has toured with concert programs in Sweden, France, Holland, Great Britain, Austria, Belgium, Spain, Greece, USA, Japan, Turkey.

Khibla Gerzmava is divorced, she has a son, Sandro (born 1998), sang in the children's choir of the Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater, and sometimes participated in performances with his mother.

Khibla has a younger brother and has two nephews. Brother finished

Russian and Abkhaz opera singer (soprano). Soloist of the Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater, Honored Artist of Russia (2006), People's Artist of the Republic of Abkhazia (2006).

In 1994 she graduated from the Moscow Conservatory (vocal department, teachers - Professor I. I. Maslennikova, Professor E. M. Arefyeva), in 1996 - graduate school at the Moscow Conservatory in the class of Professor Maslennikova. She also studied in the organ class.

Since 1995 - soloist of the Musical Theater named after. K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko.

During her career, Khibla Gerzmava has performed on the stages of the Mariinsky Theater in St. Petersburg, the Teatro Comunale in Florence, the Grand Teatro de Liceu in Barcelona, ​​the Sofia National Opera in Bulgaria, the Théâtre des Champs-Élysées in Paris, the Royal Opera House Covent Garden in London, and the Palau de Lez Art of Queen Sofia in Valencia, etc.

In 2001, she organized the annual music festival “Khibla Gerzmava invites...” in Abkhazia. For the last few years, the festival has been held in 3 parts: “Concert of Young Musicians”, “Jazz Improvisations” and “Evening of Classical Music”. Vladimir Spivakov with the Moscow Virtuosi and Daniil Kramer with his Trio took part in the festival.

Titles and awards

1993 - Competition “Voci Verdiani” (Italy), 3rd prize

1994 - International competition Vocalists named after Francisco Viñas (Barcelona), 2nd prize

1994 - International Vocal Competition named after N. A. Rimsky-Korsakov (St. Petersburg), 2nd prize

1994 - X International Tchaikovsky Competition (Moscow), Grand Prix

2001 - Golden Orpheus Theater Award in the category “Best Singer”

2006 - Honored Artist of Russia

2006 - People's Artist of the Republic of Abkhazia

2010 - National Theater Award " Golden Mask"in the nomination "Best Actress"