In the new episode of the project “People of the Theatre”, Zoya Tsererina, opera singer, soloist of the Musa Jalil Tatar State Academic Theatre of Opera and Ballet, Honored Artist of the Republic of Tatarstan, spoke with Daria Sayapova about her family, her years of study at the conservatory, her transition from mezzo-soprano to dramatic soprano, and what distinguishes Russian theatre from foreign productions.
– You were born in the Vladimir region, in the town of Gus-Khrustalny. How did you come to music?
I was six years old when I started studying piano at music school. At that time, I had already been attending ballet classes for about a year. At my grandparents’ house on my father’s side there was a German grand piano, on which, with my grandmother’s help, I began my first lessons. Unfortunately, the piano was in poor condition and could not be repaired, so later I was given a new piano. Combining several schools became difficult, and after two years I left ballet school, choosing music.
– Was your family musical?
Yes. On holidays our large, close-knit family would gather: we staged small theatrical performances, sang choral and solo romances, opera arias, duets, and songs accompanied by piano, accordion, or guitar. My grandfather, who conducted an amateur choir and collected rare sheet music editions, was a great admirer of voices, especially basses; recordings of Fyodor Chaliapin and Boris Shtokolov were often played at home. One of my aunts is a professional concert singer at the philharmonic; another is a professional choir conductor. My father graduated from music school as an accordion player and has a naturally beautiful baritone voice. So music has always been part of my environment.
– After school you entered the Vladimir Music College for choral conducting. Why did you choose this field?
After graduating from music school at 14, I planned to enter the Vladimir music college, but my father did not want to let me move to another city at that age, so I stayed for grades 10–11. By the end of school I considered many professions: journalism, TV presenting, dramatic acting, translation… Eventually I leaned toward a technical university. But my grandmother Zoya, after whom I was named, firmly insisted on musical education.
I had barely played piano for two years, so I had to urgently prepare for entrance exams within a month. I did not reach the required level for piano faculty, so I was offered choral conducting. Two days before the exam, my aunt helped me learn conducting with both hands on the song “Eh, Dorogi,” and from my grandfather’s collection we found a romance by Dargomyzhsky, “I Feel Sad,” which I quickly learned. I passed the exams successfully and was admitted.
– How did you begin studying vocal performance?
I always loved singing, dancing, reciting poetry, and performing, but I never felt I had strong vocal abilities. My range was limited: I could not sing higher than F5. In my fourth year, I casually attended a vocal lesson with Elena Nazarovskaya. She immediately extended my range from low F to high F (three octaves), revealing a full, voluminous voice. It felt like a miracle.
Later, my music literature teacher Dmitry Kirеev noticed my voice and recommended I audition at the Gnessin Academy with Valentina Levko. I came without sheet music and had to sing a cappella, which surprised her, but she confirmed my talent and advised me to enter the conservatory.
– Why did you choose Nizhny Novgorod for higher education?
I initially wanted Moscow, but chose Nizhny Novgorod first because exams there started two days earlier. After a successful audition, I planned to go to Moscow, but the next morning I completely lost my voice. In Nizhny Novgorod I studied with Svetlana Livshina, who warmly supported me.
– How was your conservatory training?
After choral conducting, vocal studies were relatively easy. I performed with the Nizhny Novgorod Symphony Orchestra, won competitions such as Mikhail Balakirev and Bella Voce, and loved Italian language and chamber music classes. I was already mature and understood my path clearly.
– How did you train in Svetlana Livshina’s class?
Traditional training, focused on European singing culture and Italian technique, working on phrasing and expression. I regret not having learned a larger operatic repertoire during studies.
– How did the transition from mezzo-soprano to soprano happen?
There were doubts about my voice type throughout my career. I worked as a mezzo for many years in St. Petersburg and Kazan. The turning point was an audition at the Mariinsky Theatre for Eboli in Don Carlo. They suggested transitioning to soprano. It was risky, but I worked with tenor Alexander Tikhonchuk and gradually learned roles like Lisa, Tosca, Turandot, Abigaille.
A turning point came when I was invited to sing Tosca in Vladivostok with only two weeks of preparation. The debut was successful, and a new stage of my career began. What I could not achieve in 12 years as a mezzo, I achieved in 4 years as a soprano.
– How did you join the Kazan theatre?
I was invited while still in St. Petersburg. I auditioned for Zerlina in Don Giovanni, was accepted into a project, and later joined the company. The conditions were excellent and allowed artistic freedom.
– What does the Kazan theatre mean to you?
It is my home. I went through all stages there, from small roles to major ones, and the audience’s response always inspires me.
– Differences between Russian and foreign opera theatre?
European productions often focus more on psychology and detailed interpretation, with longer rehearsal periods. In Russia, orchestras tend to sound denser, and singers need more power due to hall acoustics.
– Your attitude toward modern directing?
If the direction is meaningful, logical, and respects music and plot, I fully support it.
– Audience differences?
Audiences are unpredictable. Once in Kazan during Tosca, after the murder of Scarpia, the audience suddenly started applauding — something I had never experienced elsewhere.
– Most unusual role?
The Foreign Princess in Rusalka, especially in different productions (Bolshoi vs Glyndebourne).
– Self-criticism?
Moderately. I always record performances and analyze them.
– Favorite singers?
Depends on the role: Nilsson, Dimitrova, Callas, Tebaldi, Vishnevskaya, Milashkina, Gulégina.
Blitz:
Favorite role: Leonora (Il Trovatore)
Last book: My Friend Puccini Tells by Arnaldo Fraccaroli