Tamara Ilyinichna Sinyavskaya |

Tamara Sinyavskaya

Spring 1964. After a long break, a competition was again announced for admission to the trainee group at the Bolshoi Theater. And, as if on cue, graduates of the conservatory and Gnessins, artists from the periphery poured in here – many wanted to test their strength. The soloists of the Bolshoi Theater, defending their right to remain in the troupe of the Bolshoi Theater, also had to pass the competition.

These days, the phone in my office did not stop ringing. Everyone who only has anything to do with singing called, and even those who have nothing to do with it. Old comrades in the theater called, from the conservatory, from the Ministry of Culture … They asked to record for an audition this or that, in their opinion, a talent that was disappearing into obscurity. I listen and indistinctly answer: okay, they say, send it!

And most of those who called that day were talking about a young girl, Tamara Sinyavskaya. I listened to the People’s Artist of the RSFSR E. D. Kruglikova, the artistic director of the pioneer song and dance ensemble V. S. Loktev and some other voices, I don’t remember now. All of them assured that Tamara, although she did not graduate from the conservatory, but only from a music school, but, they say, is quite suitable for the Bolshoi Theater.

When a person has too many intercessors, it is alarming. Either he is really talented, or a trickster who managed to mobilize all his relatives and friends to “push through”. To be honest, sometimes it happens in our business. With some prejudice, I take the documents and read: Tamara Sinyavskaya is a surname known more for sports than for vocal art. She graduated from the music school at the Moscow Conservatory in the class of teacher O.P. Pomerantseva. Well, that’s a good recommendation. Pomerantseva is a well-known teacher. The girl is twenty years old … Isn’t she young? However, let’s see!

On the appointed day, the audition of candidates began. The chief conductor of the theater E. F. Svetlanov presided. We listened to everyone very democratically, let them sing to the end, did not interrupt the singers so as not to injure them. And so they, the poor, worried more than necessary. It was Sinyavskaya’s turn to speak. When she approached the piano, everyone looked at each other and smiled. Whispering began: “Soon we will start taking artists from kindergarten!” the twenty-year-old debutante looked so young. Tamara sang Vanya’s aria from the opera “Ivan Susanin”: “The poor horse fell in the field.” The voice – contralto or low mezzo-soprano – sounded gentle, lyrical, even, I would say, with some kind of emotion. The singer was clearly in the role of that distant boy who warned the Russian army about the approach of the enemy. Everyone liked it, and the girl was allowed to the second round.

The second round also went well for Sinyavskaya, although her repertoire was very poor. I remember that she performed what she had prepared for her graduation concert at the school. There was now the third round, which tested how the singer’s voice sounds with the orchestra. “The soul has opened like a flower at dawn,” Sinyavskaya sang Delilah’s aria from Saint-Saens’ opera Samson and Delilah, and her beautiful voice filled the huge auditorium of the theater, penetrating into the farthest corners. It became clear to everyone that this is a promising singer who needs to be taken to the theater. And Tamara becomes an intern at the Bolshoi Theatre.

A new life began, which the girl dreamed of. She began to sing early (apparently, she inherited a good voice and love of singing from her mother). She sang everywhere – at school, at home, on the street, her sonorous voice was heard everywhere. Adults advised the girl to enroll in a pioneer song ensemble.

In the Moscow House of Pioneers, the head of the ensemble, V.S. Loktev, drew attention to the girl and took care of her. At first, Tamara had a soprano, she loved to sing large coloratura works, but soon everyone in the ensemble noticed that her voice was gradually getting lower and lower, and finally Tamara sang in alto. But this did not prevent her from continuing to get involved in coloratura. She still says that she sings most often on the arias of Violetta or Rosina.

Life soon connected Tamara with the stage. Raised without a father, she tried her best to help her mother. With the help of adults, she managed to get a job in the musical group of the Maly Theater. The choir at the Maly Theatre, as in any drama theater, most often sings backstage and only occasionally takes the stage. Tamara first appeared to the public in the play “The Living Corpse”, where she sang in a crowd of gypsies.

Gradually, the secrets of the actor’s craft in the good sense of the word were comprehended. Naturally, therefore, Tamara entered the Bolshoi Theater as if she were at home. But in the house, which makes its demands on the incoming. Even when Sinyavskaya studied at the music school, she, of course, dreamed of working in the opera. Opera, in her understanding, was associated with the Bolshoi Theater, where the best singers, the best musicians and, in general, all the best. In a halo of glory, unattainable for many, a beautiful and mysterious temple of art – this is how she imagined the Bolshoi Theater. Once in it, she tried with all her might to be worthy of the honor shown to her.

Tamara did not miss a single rehearsal, not a single performance. I looked closely at the work of leading artists, tried to memorize their game, voice, the sound of individual notes, so that at home, maybe hundreds of times, repeat certain movements, this or that voice modulation, and not just copy, but try to discover something of my own.

In the days when Sinyavskaya entered the trainee group at the Bolshoi Theater, the La Scala Theater was on tour. And Tamara tried not to miss a single performance, especially if the famous mezzo-sopranos – Semionata or Kassoto performed (this is the spelling in Orfyonov’s book – прим. ред.).

We all saw the diligence of a young girl, her commitment to vocal art and did not know how to encourage her. But soon the opportunity presented itself. We were offered to show on Moscow television two artists – the youngest, the most beginners, one from the Bolshoi Theater and one from La Scala.

After consulting with the leadership of the Milan theater, they decided to show Tamara Sinyavskaya and the Italian singer Margarita Guglielmi. Both of them had not sung in the theater before. Both of them crossed the threshold in art for the first time.

I had the good fortune to represent these two singers on television. As I remember, I said that now we are all witnessing the birth of new names in the art of opera. Performances in front of a multi-million television audience were successful, and for young singers this day, I think, will be remembered for a long time.

From the moment she entered the trainee group, Tamara somehow immediately became the favorite of the entire theater team. What played a role here is unknown, whether the girl’s cheerful, sociable character, or youth, or whether everyone saw her as a future star on the theatrical horizon, but everyone followed her development with interest.

Tamara’s first work was Page in Verdi’s opera Rigoletto. The male role of the page is usually played by a woman. In theatrical language, such a role is called “travesty”, from the Italian “travestre” – to change clothes.

Looking at Sinyavskaya in the role of the Page, we thought that now we can be calm about the male roles that are performed by women in operas: these are Vanya (Ivan Susanin), Ratmir (Ruslan and Lyudmila), Lel (The Snow Maiden), Fedor (“Boris Godunov”). The theater found an artist capable of playing these parts. And they, these parties, are very complex. Performers are required to play and sing in such a way that the viewer does not guess that a woman is singing. This is exactly what Tamara managed to do from the very first steps. Her page was a charming boy.

The second role of Tamara Sinyavskaya was the Hay Maiden in Rimsky-Korsakov’s opera The Tsar’s Bride. The role is small, just a few words: “The boyar, the princess has awakened,” she sings, and that’s it. But it is necessary to appear on the stage in time and quickly, perform your musical phrase, as if entering along with the orchestra, and run away. And do all this so that your appearance is noticed by the viewer. In the theater, in essence, there are no secondary roles. It is important how to play, how to sing. And it depends on the actor. And for Tamara at that time it did not matter what role – big or small. The main thing is that she performed on the stage of the Bolshoi Theater – after all, this was her cherished dream. Even for a small role, she prepared thoroughly. And, I must say, I have achieved a lot.

It’s time to tour. The Bolshoi Theater was going to Italy. The leading artists were getting ready to leave. It so happened that all the performers of the part of Olga in Eugene Onegin had to go to Milan, and a new performer had to be urgently prepared for the performance on the Moscow stage. Who will sing the part of Olga? We thought and thought and decided: Tamara Sinyavskaya.

Olga’s party is no longer two words. Lots of games, lots of singing. The responsibility is great, but the time for preparation is short. But Tamara did not disappoint: she played and sang Olga very well. And for many years she became one of the main performers of this role.

Talking about her first performance as Olga, Tamara recalls how she was worried before going on stage, but after looking at her partner – and the partner was tenor Virgilius Noreika, an artist of the Vilnius Opera, she calmed down. It turned out that he, too, was worried. “I,” Tamara said, “thought how to be calm if such experienced artists are worried!”

But this is a good creative excitement, no real artist can do without it. Chaliapin and Nezhdanova were also worried before going on stage. And our young artist has to worry more and more often, as she has become increasingly involved in performances.

Glinka’s opera “Ruslan and Lyudmila” was being prepared for staging. There were two contenders for the role of the “young Khazar Khan Ratmir”, but both of them did not really correspond to our idea of ​​​​this image. Then the directors – conductor B. E. Khaikin and director R. V. Zakharov – decided to take the risk of giving the role to Sinyavskaya. And they were not mistaken, although they had to work hard. Tamara’s performance went well – her deep chest voice, slender figure, youth and enthusiasm made Ratmir very charming. Of course, at first there was a certain flaw in the vocal side of the part: some upper notes were still somehow “thrown back”. More work was required on the role.

Tamara herself understood this well. It is possible that it was then that she had the idea of ​​entering the institute, which she realized a little later. But still, the successful performance of Sinyavskaya in the role of Ratmir influenced her future fate. She was transferred from the trainee group to the staff of the theater, and a profile of roles was determined for her, which from that day became her constant companions.

We have already said that the Bolshoi Theater staged Benjamin Britten’s opera A Midsummer Night’s Dream. Muscovites already knew this opera staged by Komishet Oper, a theater of the German Democratic Republic. The part of Oberon – the king of the elves in it is performed by a baritone. In our country, the role of Oberon was given to Sinyavskaya, a low mezzo-soprano.

In the opera based on the plot of Shakespeare, there are artisans, lovers-heroes Helen and Hermia, Lysander and Demetrius, fabulous elves and dwarves led by their king Oberon. Scenery – rocks, waterfalls, magical flowers and herbs – filled the stage, creating a fabulous atmosphere of the performance.

According to Shakespeare’s comedy, inhaling the aroma of herbs and flowers, you can love or hate. Taking advantage of this miraculous property, the king of the elves Oberon inspires the queen Titania with love for the donkey. But the donkey is the craftsman Spool, who has only the head of an ass, and he himself is lively, witty, resourceful.

The whole performance is light, cheerful, with original music, although not very easy to remember by the singers. Three performers were appointed to the role of Oberon: E. Obraztsova, T. Sinyavskaya and G. Koroleva. Each played the role in their own way. It was a good competition of three female vocalists who successfully coped with a difficult part.

Tamara decided on the role of Oberon in her own way. She is in no way similar to Obraztsova or the Queen. The king of the elves is original, he is capricious, proud and a little caustic, but not vindictive. He is a joker. Cunningly and mischievously weaves his intrigues in the forest kingdom. At the premiere, which was noted by the press, Tamara charmed everyone with the velvety sound of her low, beautiful voice.

In general, a sense of high professionalism distinguishes Sinyavskaya among her peers. Maybe she has it inborn, or maybe she brought it up in herself, understanding the responsibility to her favorite theater, but it’s true. How many times professionalism came to the rescue of the theater in difficult times. Twice in one season, Tamara had to take risks, playing in those parts that, although she was “on hearing”, she did not know them properly.

So, impromptu, she performed two roles in Vano Muradeli’s opera “October” – Natasha and the Countess. The roles are different, even opposite. Natasha is a girl from the Putilov factory, where Vladimir Ilyich Lenin is hiding from the police. She is an active participant in the preparation of the revolution. The countess is an enemy of the revolution, a person who incites the White Guards to kill Ilyich.

To sing these roles in one performance requires the talent of impersonation. And Tamara sings and plays. Here she is – Natasha, sings the Russian folk song “Through the blue clouds are floating across the sky”, requiring the performer to breathe widely and sing a Russian cantilena, and then she famously dances a square dance at the impromptu wedding of Lena and Ilyusha (opera characters). And a little later we see her as the Countess – a languid lady of high society, whose singing part is built on old salon tangos and half-gypsy hysterical romances. It’s amazing how the twenty-year-old singer had the skill to do all this. This is what we call professionalism in musical theater.

Simultaneously with the replenishment of the repertoire with responsible roles, Tamara is still given some parts of the second position. One of these roles was Dunyasha in Rimsky-Korsakov’s The Tsar’s Bride, a friend of Marfa Sobakina, the Tsar’s bride. Dunyasha should also be young, beautiful – after all, it is still unknown which of the girls the tsar will choose at the bride to be his wife.

In addition to Dunyasha, Sinyavskaya sang Flora in La Traviata, and Vanya in the opera Ivan Susanin, and Konchakovna in Prince Igor. In the play “War and Peace” she performed two parts: the gypsies Matryosha and Sonya. In The Queen of Spades, she has so far played Milovzor and was a very sweet, graceful gentleman, singing this part perfectly.

August 1967 Bolshoi Theater in Canada, at the World Exhibition EXPO-67. The performances follow one after another: “Prince Igor”, “War and Peace”, “Boris Godunov”, “The Legend of the Invisible City of Kitezh”, etc. The capital of Canada, Montreal, enthusiastically welcomes Soviet artists. For the first time, Tamara Sinyavskaya also travels abroad with the theater. She, like many artists, has to play several roles in the evening. Indeed, in many operas about fifty actors are employed, and only thirty-five actors went. This is where you need to get out somehow.

Here, Sinyavskaya’s talent came into full play. In the play “War and Peace” Tamara plays three roles. Here she is the gypsy Matryosha. She appears on the stage for only a few minutes, but how she appears! Beautiful, graceful – a real daughter of the steppes. And after a few pictures she plays the old maid Mavra Kuzminichna, and between these two roles – Sonya. I must say that many performers of the role of Natasha Rostova do not really like to perform with Sinyavskaya. Her Sonya is too good, and it is difficult for Natasha to be the most beautiful, the most charming in the ball scene next to her.

I would like to dwell on the performance of the Sinyavskaya role of Tsarevich Fedor, the son of Boris Godunov.

This role seems to be specially created for Tamara. Let Fedor in her performance be more feminine than, for example, Glasha Koroleva, whom reviewers called the ideal Fedor. However, Sinyavskaya creates a magnificent image of a young man who is interested in the fate of his country, studying science, preparing to govern the state. He is pure, courageous, and in the scene of Boris’s death he is sincerely confused like a child. You trust her Fedor. And this is the main thing for the artist – to make the listener believe in the image she creates.

It took the artist a lot of time to create two images – the wife of the commissar Masha in Molchanov’s opera The Unknown Soldier and the Commissar in Kholminov’s Optimistic Tragedy.

The image of the commissar’s wife is stingy. Masha Sinyavskaya says goodbye to her husband and knows that forever. If you saw these hopelessly fluttering, like broken wings of a bird, the hands of Sinyavskaya, you would feel what the Soviet patriot woman, performed by a talented artist, is going through at this moment.

The role of the Commissar in “The Optimistic Tragedy” is quite well known from the performances of drama theaters. However, in the opera, this role looks different. I had to listen to Optimistic Tragedy many times in many opera houses. Each of them puts it in his own way, and, in my opinion, not always successfully.

In Leningrad, for example, it comes with the least number of banknotes. But on the other hand, there are many lengthy and purely operatic ariose moments. The Bolshoi Theater took a different version, more restrained, concise and at the same time allowing the artists to show their abilities more widely.

Sinyavskaya created the image of the Commissar in parallel with two other performers of this role – People’s Artist of the RSFSR L. I. Avdeeva and People’s Artist of the USSR I. K. Arkhipova. It is an honor for an artist starting her career to be on a par with the luminaries of the scene. But to the credit of our Soviet artists, it must be said that L. I. Avdeeva, and especially Arkhipova, helped Tamara to enter the role in many ways.

Carefully, without imposing anything of her own, Irina Konstantinovna, as an experienced teacher, gradually and consistently revealed to her the secrets of acting.

The part of the Commissar was difficult for Sinyavskaya. How to get into this image? How to show the type of a political worker, a woman sent by the revolution to the fleet, where to get the necessary intonations in a conversation with sailors, with anarchists, with the ship’s commander – a former tsarist officer? Oh, how many of these “how?”. In addition, the part was written not for contralto, but for a high mezzo-soprano. Tamara at that time had not quite mastered the high notes of her voice at that time. It is quite natural that at the first rehearsals and first performances there were disappointments, but there were also successes that testified to the artist’s ability to get used to this role.

Time has taken its toll. Tamara, as they say, “sang” and “played out” in the role of the Commissar and performs it with success. And she was even awarded a special prize for it along with her comrades in the play.

In the summer of 1968, Sinyavskaya visited Bulgaria twice. For the first time she took part in the Varna Summer festival. In the city of Varna, in the open air, saturated with the smell of roses and the sea, a theater was built where opera troupes, competing with each other, show their art in the summer.

This time all the participants of the play “Prince Igor” were invited from the Soviet Union. Tamara played the role of Konchakovna at this festival. She looked very imposing: the Asian costume of the wealthy daughter of the powerful Khan Konchak … colors, colors … and her voice – the beautiful mezzo-soprano of the singer in a drawn-out slow cavatina (“Daylight Fades”), against the backdrop of a sultry southern evening – simply fascinated.

For the second time, Tamara was in Bulgaria at the competition of the IX World Festival of Youth and Students in classical singing, where she won her first gold medal as a laureate.

The success of the performance in Bulgaria was a turning point in the creative path of Sinyavskaya. Performance at the IX festival was the beginning of a number of various competitions. So, in 1969, together with Piavko and Ogrenich, she was sent by the Ministry of Culture to the International Vocal Competition, which was held in the city of Verviers (Belgium). There, our singer was the idol of the public, having won all the main awards – the Grand Prix, the gold medal of the laureate and the special prize of the Belgian government, established for the best singer – the winner of the competition.

The performance of Tamara Sinyavskaya did not pass by the attention of music reviewers. I will give one of the reviews characterizing her singing. “Not a single reproach can be brought against the Moscow singer, who has one of the most beautiful voices we have heard recently. Her voice, exceptionally bright in timbre, flowing easily and freely, testifies to a good singing school. With rare musicality and great feeling, she performed the seguidille from the opera Carmen, while her French pronunciation was impeccable. She then demonstrated versatility and rich musicality in Vanya’s aria from Ivan Susanin. And finally, with genuine triumph, she sang Tchaikovsky’s romance “Night”.

In the same year, Sinyavskaya made two more trips, but already as part of the Bolshoi Theater – to Berlin and Paris. In Berlin, she performed as the commissar’s wife (The Unknown Soldier) and Olga (Eugene Onegin), and in Paris she sang the roles of Olga, Fyodor (Boris Godunov) and Konchakovna.

The Parisian newspapers were especially careful when they reviewed the performances of young Soviet singers. They wrote enthusiastically about Sinyavskaya, Obraztsova, Atlantov, Mazurok, Milashkina. The epithets “charming”, “voluminous voice”, “genuinely tragic mezzo” rained down from the pages of newspapers to Tamara. The newspaper Le Monde wrote: “T. Sinyavskaya – the temperamental Konchakovna – awakens in us visions of the mysterious East with her magnificent, exciting voice, and it becomes immediately clear why Vladimir cannot resist her.

What happiness at the age of twenty-six to receive the recognition of a singer of the highest class! Who doesn’t get dizzy from success and praise? You can be recognized. But Tamara understood that it was still too early to be conceited, and in general, arrogance did not fit the Soviet artist. Modesty and constant persistent study – that’s what is most important for her now.

In order to improve her acting skills, in order to master all the intricacies of vocal art, Sinyavskaya, back in 1968, entered the A. V. Lunacharsky State Institute of Theater Arts, the department of musical comedy actors.

You ask – why to this institute, and not to the conservatory? It happened. Firstly, there is no evening department at the conservatory, and Tamara could not quit working in the theater. Secondly, at GITIS she got the opportunity to study with Professor D. B. Belyavskaya, an experienced vocal teacher, who taught many great singers of the Bolshoi Theater, including the wonderful singer E. V. Shumskaya.

Now, upon returning from the tour, Tamara had to take exams and finish the course of the institute. And ahead of defense of the diploma. Tamara’s graduation exam was her performance at the IV International Tchaikovsky Competition, where she, together with the talented Elena Obraztsova, received the first prize and a gold medal. A reviewer for the Soviet Music magazine wrote about Tamara: “She is the owner of a unique mezzo-soprano in beauty and strength, which has that special richness of chest sound that is so characteristic of low female voices. This is what allowed the artist to perfectly perform Vanya’s aria from “Ivan Susanin”, Ratmir from “Ruslan and Lyudmila” and the arioso of the Warrior from P. Tchaikovsky’s cantata “Moscow”. The seguidilla from Carmen and Joanna’s aria from Tchaikovsky’s Maid of Orleans sounded just as brilliant. Although Sinyavskaya’s talent cannot be called fully mature (she still lacks evenness in performance, completeness in the finishing of works), she captivates with great warmth, vivid emotionality and spontaneity, which always find the right way to the hearts of listeners. The success of Sinyavskaya at the competition … can be called triumphant, which, of course, was facilitated by the charming charm of youth. Further, the reviewer, concerned about the preservation of the rarest voice of Sinyavskaya, warns: “Nevertheless, it is necessary to warn the singer right now: as history shows, voices of this type wear out relatively quickly, lose their richness, if their owners treat them with insufficient care and do not adhere to strict vocal and mode of life.”

The whole of 1970 was a year of great success for Tamara. Her talent was recognized both in her own country and during foreign tours. “For active participation in the promotion of Russian and Soviet music” she is awarded the prize of the Moscow city committee of the Komsomol. She is doing well in the theatre.

When the Bolshoi Theater was preparing the opera Semyon Kotko for staging, two actresses were appointed to play the role of Frosya – Obraztsova and Sinyavskaya. Each decides the image in its own way, the role itself allows this.

The fact is that this role is not at all “opera” in the commonly accepted sense of the word, although modern operatic dramaturgy is built mainly on the same principles that are characteristic of the dramatic theater. The only difference is that the actor in the drama plays and speaks, and the actor in the opera plays and sings, each time adapting his voice to those vocal and musical colors that should correspond to this or that image. Let’s say, for example, a singer sings the part of Carmen. Her voice has the passion and expansiveness of a girl from a tobacco factory. But the same artist performs the part of the shepherd in love Lel in “The Snow Maiden”. Completely different role. Another role, another voice. And it also happens that, while playing one role, the artist has to change the color of her voice depending on the situation – to show grief or joy, etc.

Tamara sharply, in her own way, understood the role of Frosya, and as a result she got a very truthful image of a peasant girl. On this occasion, the address of the artist was a lot of statements in the press. I will give only one thing that most clearly shows the singer’s talented game: “Frosya-Sinyavskaya is like mercury, a restless imp … She literally glows, constantly forcing her to follow her antics. With Sinyavskaya, mimicry, playful play turn into an effective means of sculpting a stage image.

The role of Frosya is Tamara’s new luck. True, the whole performance was well received by the audience and was awarded a prize at a competition held to commemorate the 100th anniversary of the birth of V. I. Lenin.

Autumn came. Tour again. This time the Bolshoi Theater is leaving for Japan, for the World Exhibition EXPO-70. Few reviews have come down to us from Japan, but even this small number of reviews talk about Tamara. The Japanese admired her amazingly rich voice, which gave them great pleasure.

Returning from a trip, Sinyavskaya begins to prepare a new role. Rimsky-Korsakov’s opera The Maid of Pskov is being staged. In the prologue of this opera, called Vera Sheloga, she sings the part of Nadezhda, the sister of Vera Sheloga. The role is small, laconic, but the performance is brilliant – the audience applauds.

In the same season, she performed in two new roles for her: Polina in The Queen of Spades and Lyubava in Sadko.

Usually, when checking the voice of a mezzo-soprano, the singer is allowed to sing the part of Polina. In Polina’s aria-romance, the range of the singer’s voice should be equal to two octaves. And this jump to the top and then to the bottom note in A-flat is very difficult for any artist.

For Sinyavskaya, Polina’s part was overcoming a difficult obstacle, which she could not overcome for a long time. This time the “psychological barrier” was taken, but the singer was entrenched at the achieved milestone much later. Having sung Polina, Tamara began to think about other parts of the mezzo-soprano repertoire: about Lyubasha in The Tsar’s Bride, Martha in Khovanshchina, Lyubava in Sadko. It so happened that she was the first to sing Lyubava. The sad, melodious melody of the aria during the farewell to Sadko is replaced by Tamara’s joyful, major melody when meeting with him. “Here comes the hubby, my sweet hope!” she sings. But even this seemingly purely Russian, chanting party has its own pitfalls. At the end of the fourth picture, the singer needs to take the upper A, which for such a voice as Tamara’s, is a record of difficulty. But the singer overcame all these upper A’s, and the part of Lyubava is going great for her. Giving an assessment of Sinyavskaya’s work in connection with the award of the Moscow Komsomol Prize to her that year, the newspapers wrote about her voice: “The exultation of passion, boundless, frantic and at the same time ennobled by a soft, enveloping voice, breaks from the depths of the soul of the singer. The sound is dense and round, and it seems that it can be held in the palms, then it rings, and then it’s scary to move, because it can break in the air from any careless movement.

I would like to finally say about the indispensable quality of Tamara’s character. This is sociability, the ability to meet failure with a smile, and then with all seriousness, somehow imperceptibly for everyone to fight against it. For several years in a row, Tamara Sinyavskaya was elected secretary of the Komsomol organization of the opera troupe of the Bolshoi Theater, was a delegate to the XV Congress of the Komsomol. In general, Tamara Sinyavskaya is a very lively, interesting person, she likes to joke and argue. And how ridiculous she is about the superstitions that actors are subconsciously, half-jokingly, half-seriously subject to. So, in Belgium, at the competition, she suddenly gets the thirteenth number. This number is known to be “unlucky”. And hardly anyone would be happy with him. And Tamara laughs. “Nothing,” she says, “this number will be happy for me.” And what do you think? The singer was right. The Grand Prix and the gold medal brought her her thirteenth number. Her first solo concert was on Monday! It’s also a tough day. That’s no luck! And she lives in an apartment on the thirteenth floor … But she does not believe in signs of Tamara. She believes in her lucky star, believes in her talent, believes in her strength. By constant work and perseverance, he wins his place in art.

Source: Orfenov A. Youth, hopes, accomplishments. – M .: Young Guard, 1973. – p. 137-155.