Today we have as our guest the singer, teacher, and simply wonderful woman Marina Shipulina.
- Marina, tell us, surely the love for classical music must live in a person's soul, igniting their heart?
- It so happened that from childhood I was immersed in the world of music, as my older sister studied at a music school. My parents had a hobby of singing duets, and I always listened to them with great pleasure. But it was in Yekaterinburg that I got acquainted with classical music when I went to study at a cultural and educational college. I had a wonderful teacher – Tatyana Germanovna Malakhovskaya, and it was she who immersed me in the world of classics and introduced me to true art. Until that time, I really had no idea what it was all about. It was only at the age of fifteen that I began to engage in classical music. I won't hide it; there was a moment when I wanted to leave classical music for cinema, but then I realized that I could express all my emotions only through music.
- You often participate in opening ceremonies at exhibitions and become a true adornment of the evening. What is your purpose for appearing at such events, since most ceremonies boil down to delivering official speeches?
- My father was an artist, and when he was in a good mood, he sang. Both visual art and music are two inseparable things for me; they always go hand in hand. In memory of my father, I always participate in exhibitions to uplift the mood of the artists, as they also have a challenging creative and philosophical profession.
- What musical direction is close to your soul?
- For a while, I really liked the Impressionists – that is, French classical music, and I sang many concerts in that direction. But by nature, I am closer to the everists, where the truth of life and raw emotions resonate. Recently, I am leaning more towards something calm and rational, but what I will ultimately arrive at, I do not yet know. Still, I lean more towards chamber music and thematic concerts. You know, I would really like to sing jazz.
- You travel a lot with concerts...
- For the past two years, I have hardly traveled. Being constantly in Kyrgyzstan is required by my position; I work as the dean of the Vocal and Choral Faculty of the Kyrgyz National Conservatory. Previously, I traveled to Russia and Kazakhstan, toured all of China with a pop repertoire, attended a festival in Austria, and was in Turkey.
- You know many languages and perform various compositions in them. What is your understanding of romance?
- I speak Italian, Chinese, and English. I understand German, French, Azerbaijani, Turkish, and Kyrgyz. I work on these languages, and as soon as I have time, I definitely improve them. As for romance – it is a dialogue between the soul and music. The music and the poem communicate through you, and you, as a mediator, must bring your interpretation, making it relevant for the listener.
- You teach vocals; tell me, is it true that Kyrgyz voices are very pure and beautiful?
- There is such a concept – the muscular structure of the larynx, and for Kyrgyz singers, it is very powerful, unlike Europeans. Indeed, these voices have a brighter timbral coloration, and they are more resilient; I would even say sonorous. Moreover, Central Asia is located in a warm climate zone, like Italy, so many talented performers live here who glorify Kyrgyzstan abroad.
- You had a dream to tour all over our republic; has this desire come true?
- Yes, the Swiss Cooperation Office sponsored my project called "Harmony," which carried the mission of "Tolerance, Culture, and Education in Kyrgyzstan." This project popularized classical music in Kyrgyzstan. I created a quintet, and with these musicians, we toured Osh, Jalal-Abad, Karakol, and Naryn, giving two concluding concerts in the capital. It was a very interesting project; we held master classes, and it was educational for us and for those for whom we did it.
- In one of your interviews, you mentioned that you are a cinephile...
- It all started with a visit to the Japanese Film Festival, where I met the director of the "House of Cinema," Alexander Korotenko, who approached my colleague to ask her to sing at the festival. I came as a viewer, but he noticed me and asked me to sing along. Thus, the duet "House of Cinema" was formed, and we voiced many festivals. At that time, my interest in cinema was born. We were constantly surrounded by directors, screenwriters, and discussed various topics. During the crisis in music, I took courses for film directors and thought that I would no longer return to music. But art reveals you like litmus paper, showing whether this is your place or not, and I even wrote several scripts. Soon, a film will begin to be shot based on one of them. Cinematography is my weakness. And I believe that music and cinema are very similar. We musicians convey all our emotions through sound, while in cinema, they are shown through the visual sequence.
As a singer, I still have not fully realized myself. I feel more like a teacher. Even as a child, I would open the wardrobe door and draw on it with chalk, explaining everything to my nieces and nephews, and of course, I sang. Now I sing and teach.
- Which of your concerts has left the biggest impression on you?
- You know, in Kyrgyzstan, the audience is the most grateful, and it doesn't matter where the concert takes place, whether in the conservatory or the opera theater. I would like to note that many concerts are held at the conservatory for those who cannot attend the opera theater due to financial issues. Here, it is a free venue; the main thing is that it should be interesting and new. I try to come up with something new, and I have more than twenty solo concerts behind me, with a very wide repertoire, performing everywhere. We are required to maintain a high level of professionalism to convey the spirit of classical music to the ordinary listener. I performed roles in the operas "The Magic Flute," "Pagliacci," and I also prepared roles for Lisa from "The Queen of Spades," Tatiana from "Eugene Onegin," and "Tosca." I left the opera theater in 2008, realizing that I could do more in chamber music and pedagogy, but I can always return if I feel the need.
I especially remember the concerts "Italian Passions" at the National Philharmonic with Vladimir Gudov from America and "Spanish Studies," by the way, it was the first after the revolution. The hall was packed, and another 100 people could not get in. And, of course, "Viennese Evenings" with the chamber orchestra "Manas." The main thing is to create something interesting and special, and I have many plans, so soon I will definitely invite everyone to another concert.
