Mr. Abdrazakov is a very busy man. Without question, one appreciates NOT to trouble an elite artist for interviews when they are in the midst of final preparations to essay the title role of a work at a top tier house. Particularly when the run includes the debut of the most acclaimed living conductor of opera on the planet. The Attila will undertake its prima this Tuesday evening at The Metropolitan Opera in New York. Entering into the interview, COMMANDOpera had been cautioned the artist was fluent in Russian and Italian.
Photo Credit: Mr. Ken Howard courtesy of The Metropolitan Opera.
Mr. Abdrazakov who is in his 30′s has followed what would appear to be a rather unique career path, yet in Russia would seem very much at home. The classical entertainments are still enjoyed in Europe as well as Russia by all generations, and are not displaced by more modern trends as they are simply a part of the national fabric and identity. This is important to recognise, because it resolves why the top tier artists today involved with the classics are largely populated from Europe and Russia. Mr. Abdrazakov arrives to us from Ufa, the capital city of the Republic of Bashkortostan. Here is a cityscape the artists home town:
The Kresto-Vozdvizhenskiy Cathedral in Ufa.
Given the size of Ufa, COMMANDOpera first enquired after the musical traditions of Ufa. Mr. Abdrazakov clearly enjoyed speaking on the topic as he advised that Ufa had a long and great history of opera which began on December 17, 1890 with no less then the Great Russian Bass Feodor Chaliapin, when he performed with an opera troupe under the conductor Mikhail Semenov. The notable work of that tournee being the opera ’Pebbles’ by the composer Stanislav Manyushka. The Ufa festival continues to this day with top rank opera artists from around the globe who appear at least once in their career.
Mr. Abdrazakov as Faust. Photo credit: Marthy Stohl courtesy of The Metropolitan Opera.
The artists keen interest in music became clearly evident from an extremely young age; he was actually singing chorus from the time he was five. When Mr Abdrazakov turned six years old, his father sent him to a musical academy where he began studies on the piano. At home he would pick off different melodies with lavish encouragement from both of his parents who instilled in him a great love for music. He waxed nostalgically as he recalled often playing the piano in concert with his father on the violin. By the time Mr. Abdrazakov completed school, he entered the Ufa Academy of Vocal Arts where he immediately began winning vocal competitions. And pour in they did: Prize-winner at the I Televised Irina Arkhipova Moscow Grand Prix Competition (1997), Recipient of the first-prize at the XVII International Glinka Competition (Moscow, 1997), Grand-prix at the III International Rimsky-Korsakov Competition (St Petersburg, 1998), Grand-prix at the I International Elena Obraztsova Competition (St Petersburg, 1999)… and then: Grand-prix at the V International Maria Callas Competition Nuove voci per Verdi (Parma, 2000). It was at this point Mr. Abdrazakov modestly mused that he expected he would sing on the stage of the Ufa theatre, yet after the St. Petersburg competition the Mariinsky immediately laid claim to the artist where he made his debut in Le Nozze di Figaro. The artist assured COMMANDOpera he certainly had not expected at that time to star in productions at the Teatro alla Scala and The Metropolitan working with the most illustrious conductors of our day.
Mr. Abdrazakov with Miss Netrebko in Lucia di Lammermoor. The Metropolitan. 2009.
COMMANDOpera was curious to know what the artist thought of his vocal instrument as it is today, and what repertoire he deemed suitable. Mr. Abdrazakov intoned that low voices were like brandy; the older the better! COMMANDOpera could not have agreed more… Still, he finds his vocal instrument young enough for the bass repertoire he now essays; the Bel Canto works which are essential to correct vocal development as the years progress. His vocal instrument happily provides the artist with possibility to combine Mozart, Verdi, Rossini, and Bellini.
Photo Credit: Mr. Ken Howard courtesy of The Metropolitan Opera.
COMMANDOpera then enquired after the Baroque repertoire given his extremely well rounded training of such works from his favoured Professor Murtazina. I was pleased to hear Mr. Abdrazakov brighten at the concept. The artist’s vocal instrument is impressive in its flexibility and agility which to COMMANDOpera is a necessity to approach the works of this period. Given the opportunity, Mr. Abdrazakov would most assuredly be inclined to illuminate the period airs of Cherubini, Handel, Scarlatti, and Bach. COMMANDOpera invites readers from the various houses to please take note of this.
Photo Credit: Mr. Giovanni Caccamo. Mr. Abdrazakov wears Ermenegidlo Zegna.
COMMANDOpera did not wish to take up more time than was necessary from Mr. Abdrazakov, but was curious to know if there was a house he preferred or conductors he most enjoyed working with. Again, Mr. Abdrazakov exhibited great humility when speaking of the distinguished conductors with whom he has worked and continues to do so; Maestro Riccardo Muti, Maestro James Levine, Maestro Valery Gergiev. The artist holds fondly all of the theatres he has worked, but particularly noted The Metropolitan, and The Royal Opera House Covent Garden. The Attila prima will hold a great deal of interest as the Metropolitan is utilising an original version of the work, not seen before at the theatre. Mr. Abdrazakov who has worked on numerous occasions with Maestro Muti, is thoroughly enjoying the experience of recalibrating his portrayal of Attila with the Maestro. He closed the interview telling COMMANDOpera of his gratefulness to God for giving him this opportunity to be on the same stage with great musicians, both conductors and singers.
COMMANDOpera found in Mr. Abdrazakov a profoundly devoted musician who owns an open nature and a deep sincerity as a human. He, is an iconic portrait to this mind of all that is correct and right among men.
Ildar Abdrazakov Exclusive
Photo Credit: Mr. Alexander Vasiljev.
Mr. Abdrazakov is a very busy man. Without question, one appreciates NOT to trouble an elite artist for interviews when they are in the midst of final preparations to essay the title role of a work at a top tier house. Particularly when the run includes the debut of the most acclaimed living conductor of opera on the planet. The Attila will undertake its prima this Tuesday evening at The Metropolitan Opera in New York. Entering into the interview, COMMANDOpera had been cautioned the artist was fluent in Russian and Italian.
Photo Credit: Mr. Ken Howard courtesy of The Metropolitan Opera.
Mr. Abdrazakov who is in his 30′s has followed what would appear to be a rather unique career path, yet in Russia would seem very much at home. The classical entertainments are still enjoyed in Europe as well as Russia by all generations, and are not displaced by more modern trends as they are simply a part of the national fabric and identity. This is important to recognise, because it resolves why the top tier artists today involved with the classics are largely populated from Europe and Russia. Mr. Abdrazakov arrives to us from Ufa, the capital city of the Republic of Bashkortostan. Here is a cityscape the artists home town:
The Kresto-Vozdvizhenskiy Cathedral in Ufa.
Given the size of Ufa, COMMANDOpera first enquired after the musical traditions of Ufa. Mr. Abdrazakov clearly enjoyed speaking on the topic as he advised that Ufa had a long and great history of opera which began on December 17, 1890 with no less then the Great Russian Bass Feodor Chaliapin, when he performed with an opera troupe under the conductor Mikhail Semenov. The notable work of that tournee being the opera ’Pebbles’ by the composer Stanislav Manyushka. The Ufa festival continues to this day with top rank opera artists from around the globe who appear at least once in their career.
Mr. Abdrazakov as Faust. Photo credit: Marthy Stohl courtesy of The Metropolitan Opera.
The artists keen interest in music became clearly evident from an extremely young age; he was actually singing chorus from the time he was five. When Mr Abdrazakov turned six years old, his father sent him to a musical academy where he began studies on the piano. At home he would pick off different melodies with lavish encouragement from both of his parents who instilled in him a great love for music. He waxed nostalgically as he recalled often playing the piano in concert with his father on the violin. By the time Mr. Abdrazakov completed school, he entered the Ufa Academy of Vocal Arts where he immediately began winning vocal competitions. And pour in they did: Prize-winner at the I Televised Irina Arkhipova Moscow Grand Prix Competition (1997), Recipient of the first-prize at the XVII International Glinka Competition (Moscow, 1997), Grand-prix at the III International Rimsky-Korsakov Competition (St Petersburg, 1998), Grand-prix at the I International Elena Obraztsova Competition (St Petersburg, 1999)… and then: Grand-prix at the V International Maria Callas Competition Nuove voci per Verdi (Parma, 2000). It was at this point Mr. Abdrazakov modestly mused that he expected he would sing on the stage of the Ufa theatre, yet after the St. Petersburg competition the Mariinsky immediately laid claim to the artist where he made his debut in Le Nozze di Figaro. The artist assured COMMANDOpera he certainly had not expected at that time to star in productions at the Teatro alla Scala and The Metropolitan working with the most illustrious conductors of our day.
Mr. Abdrazakov with Miss Netrebko in Lucia di Lammermoor. The Metropolitan. 2009.
COMMANDOpera was curious to know what the artist thought of his vocal instrument as it is today, and what repertoire he deemed suitable. Mr. Abdrazakov intoned that low voices were like brandy; the older the better! COMMANDOpera could not have agreed more… Still, he finds his vocal instrument young enough for the bass repertoire he now essays; the Bel Canto works which are essential to correct vocal development as the years progress. His vocal instrument happily provides the artist with possibility to combine Mozart, Verdi, Rossini, and Bellini.
Photo Credit: Mr. Ken Howard courtesy of The Metropolitan Opera.
COMMANDOpera then enquired after the Baroque repertoire given his extremely well rounded training of such works from his favoured Professor Murtazina. I was pleased to hear Mr. Abdrazakov brighten at the concept. The artist’s vocal instrument is impressive in its flexibility and agility which to COMMANDOpera is a necessity to approach the works of this period. Given the opportunity, Mr. Abdrazakov would most assuredly be inclined to illuminate the period airs of Cherubini, Handel, Scarlatti, and Bach. COMMANDOpera invites readers from the various houses to please take note of this.
Photo Credit: Mr. Giovanni Caccamo. Mr. Abdrazakov wears Ermenegidlo Zegna.
COMMANDOpera did not wish to take up more time than was necessary from Mr. Abdrazakov, but was curious to know if there was a house he preferred or conductors he most enjoyed working with. Again, Mr. Abdrazakov exhibited great humility when speaking of the distinguished conductors with whom he has worked and continues to do so; Maestro Riccardo Muti, Maestro James Levine, Maestro Valery Gergiev. The artist holds fondly all of the theatres he has worked, but particularly noted The Metropolitan, and The Royal Opera House Covent Garden. The Attila prima will hold a great deal of interest as the Metropolitan is utilising an original version of the work, not seen before at the theatre. Mr. Abdrazakov who has worked on numerous occasions with Maestro Muti, is thoroughly enjoying the experience of recalibrating his portrayal of Attila with the Maestro. He closed the interview telling COMMANDOpera of his gratefulness to God for giving him this opportunity to be on the same stage with great musicians, both conductors and singers.
COMMANDOpera found in Mr. Abdrazakov a profoundly devoted musician who owns an open nature and a deep sincerity as a human. He, is an iconic portrait to this mind of all that is correct and right among men.