苏联音乐的黄金时代的最后代表 Nelly Akopian-Tamarina 访谈录
Nelly Akopian-Tamarina, pianist meettheartist.online
是谁或什么激励你拿起钢琴，并追求音乐的职业生涯？
我的父母都是音乐人，我母亲会带我去大剧院看歌剧和芭蕾舞。我的母亲会带我去大剧院看歌剧和芭蕾舞。我父亲给我读普希金的作品，并涉猎巴赫的音乐。但最主要的是我的母亲，她不顾一切的困难和障碍，单枪匹马地实现了她的理想和梦想，让我成为一名音乐会钢琴家。刚开始的时候，我真的没有发言权，但那时我还只是个小孩子。后来，我有了一切发言权!
谁或什么对您的音乐生活和事业产生了最重要的影响？
首先，我的老师。莫斯科中央音乐学院的Anaida Sumbatian为我开启了音乐之美。Bel canto的艺术是她教学的核心："唱Nellinka，唱"，她常说。她制作了《阿什肯纳兹》和《克拉涅夫》。然后，莫斯科音乐学院的亚历山大-戈登威泽和德米特里-巴什基洛夫。金维泽是拉赫玛尼诺夫的朋友，是一位严肃的学者，他对文本的关注是著名的。他回忆起与托尔斯泰喝茶的情景，使我们的课程变得丰富多彩。他在四楼42号室--斯克里亚宾的旧工作室教课。年轻的巴什基洛夫，在他的职业生涯的开始，解放了我的想象力。我是他的第一个学生。
然后，我发现自己所处的时间和地点：苏联音乐的黄金时代。你会在楼梯上遇到吉列斯、奥伊斯特拉赫，他们会停下来聊天。肖斯塔科维奇会在电梯里问该按哪个按钮。和里希特一起坐电梯是另一回事。一个人不敢动，到一楼就像永恒......索夫罗尼茨基遵守自己的意见。他是受人崇拜的。你可以走进任何人的课堂--我经常坐在诺伊豪斯、奥博林、罗斯特罗波维奇的课堂上......他们的课都是满满当当的，他们一直在上，没有人看时间！我们只是把所有的东西都喝进去了。我们只是把它全部喝进去。我们从一场音乐会到另一场音乐会。多么精彩的音乐会！我们的老师是舞台上的偶像。
我们学生是相当多的人群。天赋异禀的学生，有很多人都注定了要做大事业。回想起来，也有很多来自国外的学生。拉杜-卢普，彼得-罗塞尔，多迪-特里格瓦松，阿瑟-莫雷拉-利马。还有来自英国的莉莎-威尔逊、阿兰-席勒......当然，还有年轻的杰奎琳-杜普雷，她的笑容让人难以忘怀。爱是无处不在的。Radu在追求Liza. Dódý和Vova[Ashkenazy]在一起。来自德累斯顿的Peter看上了我。我们互相支持，庆祝我们的胜利。克拉涅夫和波斯特尼科娃在利兹[钢琴比赛]上的表现还记忆犹新。不要忘记尼古拉-彼得罗夫带着他的八度音从范-克里本号上抵达。还有亚历山大-斯洛博迪亚尼克，帅得不可一世，他从未赢得过比赛，却用肖邦偷走了我的心。
到目前为止，你职业生涯中最大的挑战是什么？
进入勃拉姆斯的世界。我记得在学生时代就演奏过作品117的《间奏曲》、作品79的《狂想曲》和F小调奏鸣曲。然而，真正的联系时刻，直到很久以后，在英国生活的过程中才发生。它绵延成一段漫长的时间，带着自我怀疑的负担。我对勃拉姆斯--贝多芬也是如此--的感情近乎崇敬，与在某个哥特式大教堂内不知所措，说不出话来，同样，在远处欣赏一件易碎的珍贵物品时，也不敢触摸。也许是印在我俄罗斯人的心理，对勃拉姆斯和贝多芬的敬畏，对苏联伟大钢琴巨匠--吉列斯、里希特、尤迪娜的定义神。
您最引以为傲的演出/录音是哪一张？
我最近的勃拉姆斯五重奏CD。特别令人高兴的是，制作团队能如此忠实地捕捉到我的声音，以及我演奏的亲切感。
你有最喜欢的演出场地吗？
我更喜欢老式的音乐厅，因为它们的声学特性和美学特征。布拉格Rudolfinum的Dvořák大厅是我最喜欢的地方之一。还有莫斯科音乐学院。当然，在伦敦，还有威格莫尔音乐厅。在现代音乐厅中，伊丽莎白女王音乐厅（Queen Elizabeth Hall）尤其吸引人，它有很多不错的钢琴选择。说到录音，对我来说，没有什么比Snape Maltings更适合录音，也没有什么比它特殊的气氛环境更适合录音。
你最喜欢的音乐家是谁？
Maria Callas、Carlos Kleiber、Moiseiwitsch...。
你最难忘的演唱会经历是什么?
少之又少，多之又多！伯恩斯坦和纽约爱乐乐团，莫斯科，1959年。1959年莫斯科，伯恩斯坦和纽约爱乐乐团。1958年克莱本在柴可夫斯基比赛中获胜：未经允许，我们中央音乐学校的同学集体离开，去听他与康德拉辛演奏拉赫玛尼诺夫的《第三》。俄国人都很崇拜他。我们坐在楼梯上。四年后奥格登在柴可夫斯基的《翁丁》。1964年是个特别的年份 春天的米开朗格利 10月，鲁宾斯坦在莫斯科音乐学院大礼堂演奏肖邦。很久以后，在伦敦，我有幸看到塞利比达奇顶替卡尔-伯姆，与LSO一起指挥勃拉姆斯。最近，在2009年的逍遥音乐节上，又看到了巴伦博伊姆的《菲德里奥》。
作为一个音乐家，你对成功的定义是什么？
当你感觉到你的演奏已经达到了观众的要求。大厅静止，寂静震动。亲密的感觉。这是一种直接的感觉，让人充满想象力。每个表演者都能体会到 听众也一样。完整的日记不一定能衡量成功。沟通不...
你认为传授给有志于音乐人最重要的思想和理念是什么？
对页面、对自己要真实，要问为什么。听取伟大大师的意见，千万不要抄袭。用情感上的诚实来表演。
你认为完美的幸福是什么？
幸福在于期待，在期待中。幸福是旅程，不是目的地。准备一部作品，穿透文字，放飞幻想，给我最幸福的时光。
你最珍贵的财产是什么？
我的钢琴，我的乐谱，我的书......
你现在的心境是什么？
疑惑... 徘徊...
Nelly Akopian-Tamarina, pianist
The Cross-Eyed PianistMarch 26, 2019
Who or what inspired you to take up the piano, and pursue a career in music?
Both my parents were musical. My mother would take me to opera and ballet at the Bolshoi. My father would read me Pushkin and dabble in Bach. But it was my mother principally who single-handedly executed her vision and dream for me to become a concert pianist, against all odds and obstacles. I really had no say in the matter when I started, but then I was only a small child. Subsequently I had every say!
Who or what have been the most important influences on your musical life and career?
Firstly, my teachers. Anaida Sumbatian at the Central School of Music [in Moscow], who opened up the beauty of music for me. The art of bel canto was central to her teaching: “sing Nellinka, sing,” she used to say. She produced Ashkenazy and Krainev. Then, Alexander Goldenweiser and Dmitri Bashkirov at the Moscow Conservatory. Goldenweiser, Rachmaninov’s friend, was a serious academic whose attention to the text was renowned. His recollections of having tea with Tolstoy regaled our lessons. He taught on the fourth floor, Room 42 – Scriabin’s old studio. Young Bashkirov, at the start of his career, freed my imagination. I was his first student.
Then, the time and place I found myself in: the Golden Era of Soviet music. You’d meet Gilels, Oistrakh on the stairs, they’d stop to chat. Shostakovich would ask which button to press in the lift. A lift with Richter was another matter. One didn’t dare move, getting to the first floor was like an eternity … Sofronitzky kept his own counsel. He was worshipped. You could walk into anyone’s class – I’d often sit in on Neuhaus, Oborin, Rostropovich … their lessons were packed out, they went on for ever, no one watched the clock! We just drank it all in. We went from one concert to another. And what concerts! Our teachers were the icons of the stage.
We students were quite a crowd. So prodigiously gifted, so many destined for grand careers. Looking back there were also a lot from abroad. There was Radu Lupu, Peter Rösel, Dódý Tryggvason, Arthur Moreira Lima. And from England Liza Wilson, Allan Schiller … and, of course, Jacqueline du Pré, young, smiling and unforgettable . Love was everywhere. Radu was courting Liza. Dódý was hanging around with Vova [Ashkenazy]. Peter from Dresden had his eye on me. We supported each other and celebrated our victories. Krainev’s and Postnikova’s at the Leeds [Piano Competition] are still fresh in the memory. Not to forget Nikolai Petrov arriving with his octaves from the Van Cliburn. Then there was Alexander Slobodianik, unbearably handsome, who never won a competition but stole my heart with Chopin.
What have been the greatest challenges of your career so far?
To enter Brahms’ world. I recall playing the Intermezzi Op 117, the Op 79 Rhapsodies, and the F minor Sonata as a student. The real moment of connection, however, didn’t occur until much later, in the course of life in England. It stretched into a long passage of time, burdened with self-doubts. My affection for Brahms – Beethoven too – borders on reverence, not dissimilar to being overwhelmed within some gothic cathedral, unable to speak, equally, when admiring a fragile precious object from a distance, not daring to touch. Maybe it is imprinted on my Russian psyche to be in awe of Brahms and Beethoven, the defining gods of the great Soviet piano titans – Gilels, Richter, Yudina.
Which performance/recordings are you most proud of?
My recent Brahms CD for Pentatone. It’s especially pleasing that the production team managed to capture my sound, and the intimacy of my playing, so faithfully.
Do you have a favourite concert venue to perform in and why?
I prefer old halls for their acoustic properties and aesthetic character. The Dvořák Hall of the Rudolfinum in Prague is one favourite. Then there is the Moscow Conservatory. And, of course, in London, the Wigmore. Of modern venues, the Queen Elizabeth Hall is particularly appealing, with a qood choice of house pianos. When it comes to recording, nothing for me beats Snape Maltings, nor its very special atmospheric environment.
Who are your favourite musicians?
Maria Callas, Carlos Kleiber, Moiseiwitsch …
What is your most memorable concert experience?
So few, so many! Bernstein and the New York Philharmonic, Moscow 1959. Cliburn winning the Tchaikovsky Competition in 1958: without permission, our class at the Central Music School left en masse to hear him play Rachmaninov’s Third with Kondrashin. Russia adored him. We sat on the stairs. Ogdon’s Ondine at the Tchaikovsky four years later. 1964 was special. Michelangeli in the spring. Then in October Rubinstein’s Chopin in the Great Hall of the Moscow Conservatoire. Much later, in London, I was fortunate to catch Celibidache standing in for Karl Böhm, conducting Brahms with the LSO. More recently, Barenboim’s Fidelio at the 2009 Proms.
As a musician, what is your definition of success?
When you sense that your playing has reached the audience. The hall goes still, the silence vibrates. Intimacy. It’s an immediate sensation, feeding one’s imagination. Every performer recognises it. So does the listener. A full diary doesn’t necessarily measure success. Communication does …
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Be truthful to the page, to yourself, question why. Listen to the great masters, never copy. Perform with emotional honesty.
What is your idea of perfect happiness?
Happiness lies in expectation, in anticipation. Happiness is the journey, not the destination. Preparing a work, penetrating the text, letting my fantasy fly, give me my happiest hours.
What is your most treasured possession?
My piano, my scores, my books…
What is your present state of mind?
Wondering… wandering…
