MUSIC HAS NO FRONTIERS

Sound of musical instruments coming from the small classrooms of the Fikret Amirov Art School, voices of students, the bust of maestro Fikret Amirov towering at the entrance to the school with his gaze fixed at the distance... That’s where we begin our conversation with the soloist of the Azerbaijan State Academic Opera and Ballet Theatre, baritone, laureate of international and national competitions, laureate of the Youth Prize Mahir TAGHIZADE. However, the location was not chosen by chance—despite his rather young age, Mahir is already a teacher, who teaches the future musical generation of Azerbaijan. He firmly believes: “The improvement and even greater development of national music is in the hands of our talented youth." His serious approach to his work, tremendous love for the national treasure, and care about the country's musical future make him work tirelessly.

"What is the situation with classical music in Azerbaijan?"

"I think it is a little ambiguous. Of course, today much heed is paid to the development and promotion of our music. But I would say the main problem is the indifference to the classical music. For a musician, the audience is the most valuable wealth, on which they focus all their activities. I would urge all our fellow citizens and guests to attend concerts, show interest in our work, and give our souls a pleasant experience. Fortunately, our music has a strong and greatest foundation. These are the immortal composers Uzeyir Hajibeyov, Gara Garaev, Fikret Amirov and many others. They are legends, whales on which Azerbaijani music is standing. But we have another, modern group of musicians who create high-quality  music too. I believe that along with our legendary musicians, the music of young composers should be promoted too. Our new musical generation is growing in the hands of true professionals. That’s why I believe that the improvement and even greater development of national music is in the hands of our talented youth."

"Do you support the promotion of opera music?"

"I believe that a nation cannot be represented in only white or black colours. It is necessary to show all the brightness, juiciness, the whole vocal culture, the classical school. Just think what colour we have. All our music, like art and culture, is worthy of comprehensive coverage. As for the opera, it is no secret that the first opera in the East was written by a fellow compatriot Uzeyir Hajibeyov in Azerbaijan. Consequently, the origins of the oriental opera tradition have been laid precisely in Azerbaijan. This means that we can tour proudly and confidently around the world with our immortal opera creations. For example, in 2018, the Astana Opera and Ballet Theatre of Kazakhstan, as well as at the Carlo Felice Theatre in Italy showed the famous Kazakh opera Abai in Kazakh. The Italians applauded standing. I would like to see the same full opera halls abroad at our performances. Moreover, the year 2020 in Italy has been declared the Year of Azerbaijani Culture. This is a chance to surprise the European audience.”

"Which of Azerbaijani opera performances would be interesting to perform abroad?"

"Oh, that's a good question. Sevil by Fikret Amirov was written in the European style, as well as Koroghlu by Uzeyir Hajibeyov, the heroic opera, great music, vibrant colour and a demonstration of our ancient roots. These two do the job. For example, it is no secret that the operetta Arshin Mal Alan was performed in Los Angeles in English, having received great recognition.”

"You probably had memorable moments in your musical life..."

"I performed in Poland, Belarus, Russia, the Baltic countries, Turkey, Germany, Italy. I was lucky to visit Kuwait with maestro Yalchyn Adygozalov. Once I was in Poland at a master class after the Bulbul Vocalists Competition. It so happened that I was asked to perform something national. I sang Mardan’s aria from the opera Veten (Homeland) by Gara Garayev. Audience exclaimed: “Shostakovich!"

"Why?"

"In fact, Gara Garayev was a student of Shostakovich. I explained the similarities to the audience, underlining the composer genius of Gara Garayev. In Georgia, at the 2nd International David Andguladze International Vocal Competition, I sang Tofig Guliyev’s song Night Serenade. It so impressed the audience that immediately after the performance they asked me for notes and a translation of the work. This is another proof that there is great interest in Azerbaijani music, and it is very easy to read. Although the Armenian participants tried to spoil my performance, an Armenian member of the jury gave me high scores in all categories. He wanted to invite me to the international Aram Khachaturian competition, and presented me a certificate. Then he took it back saying that he “forgot that I am an Azerbaijani, and will not be able to visit Armenia." (laughs).

"How did you find yourself in music?"

"My mother often took me and my sister to various opera performances and concerts. Seeing how we are messing around and trying to present musical instruments with pencils, she thought that we got a thing for music and decided to enroll us in a music school. And all of a sudden, music became part of my life. I am overly grateful to her for giving me such an opportunity. No matter where I am tomorrow or whatever stage I perform on, I will always remember that it was my mother who opened the door to the bright and colourful world of music. My father has always been against my profession, believing that it is not a man’s job to sing or play musical instruments. It seems that he begins to realise that I am doing something interesting (laughs). Then I graduated from the Gara Garaev Art School. In addition, I attended the Bulbul Special Music School, which also influenced me a lot. That’s a serious school indeed. Then I entered the Uzeyir Hajibeyov Academy of Music, and on the advice of a very famous musician, I started teaching at music schools.”

"How do your students feel about the young teacher?"

"I encourage all my students to learn solfeggio and music theory, and I get good results. I have students who are completely unfamiliar with musical theory. And I am fully aware that I am doing this not specifically for one student, but for the whole country, because in the future this child will represent us abroad, he or she will likely have discussions about the musical culture of Azerbaijan, will become the face of our country. It is important for me that the people I belong to are literate. Our generation understands and knows the national culture, which is not true for our children though.”

"What innovations have you specifically introduced?"

"For example, one of my innovations concerns the performance of three jazz nocturnes by Gara Garayev, after 30-35 years. I was the first one who performed all these of them with a chamber orchestra. Gara Garayev composed them for a jazz orchestra, and I thought “why not do it in the Garayev style for a chamber orchestra?!” For the first time in Azerbaijan, together with a chamber orchestra, we did it at the proper level. Maestro Teymur Goychayev—at that time the chief conductor and artistic director of the G. Garayev Chamber Orchestra, the director of the Bulbul Special Music School, fully supported me and was so happy about the idea that it is impossible to explain. For some reason, there is a perception that there is little vocal music in Garayev’s works. I searched and found his vocal music both in Moscow and Baku. It is of great importance for Azerbaijani music indeed.

“I also did orchestrations for some folk songs that have never been performed. I collected some notes of folk songs, processed them, corrected here and there, and created the whole picture. I am a person who respects what has been created before us, but am constantly hungry for something new, fresh and bright. I think that it is wrong to make the audience listen to the same pieces repeatedly. This can make the audience completely lose interest in music.”

“What does encourage you?"

"My goal is to show all the advantages and diversity of the Azerbaijani musical culture. From my own experience, it can be studied endlessly, again and again to find something new, interesting and unknown.”

"You have worked with many conductors. Who was the most comfortable to work with?"

"Indeed, I was lucky to work with almost all conductors of Azerbaijan. I think my all time favourite would be Rauf Abdullayev. At our first joint performances with him, he gave me tangible support when I was too anxious to start performing. I was the youngest participant of the Bulbul International Vocalists Competition. He always knew how to help in the most difficult situations and inspire confidence. Recently, I began working with young and talented conductors Orkhan Hashimov, a graduate of the Moscow State Conservatoire, and Mustafa Mehmandarov. They are both professionals. It was easy for me to work also with Fuad Ibrahimov, maestro Yalchyn Adygozalov and Eyyub Guliyev. Azerbaijan has a very strong conducting school.”

"Tell us about your project about opera singers of Azerbaijan.”

"A year ago, we launched a project called Opera Singers of Azerbaijan, the purpose of which was to tell people of art, and to everyone who is interested about our singers who once were famous all around the former Soviet Union. Only few people know their names today. Thanks to this venture, we also learned about many foreign singers who at one time  worked in Azerbaijan. The project has been suspended for some reason at the moment, but I am prooud that it contributed to the creation of other important projects also associated with the history and eminent figures of Azerbaijani music.”

"You are a soloist of the Azerbaijan State Academic Opera and Ballet Theatre...”

"Yes, I’ve started working the Opera and Ballet Theatre since January. I received an invitation for audition and was eventually invited to become part of this wonderful temple of music. I am glad that the leadership of the Azerbaijan Opera House attracts young musicians. Along with updating the team, they suggest new ideas, a new repertoire and new productions, which attracts the audience. We should thank and acknowledge the efforts of the director of the theatre, Honoured Art Worker Akif Melikov, and the main ductor of the theatre, Honoured Artist of Azerbaijan, Eyyub Guliyev.

Currently, I am cast in small roles, but I will do my best to start playing the main ones. It is very difficult because the competition is overwhelming. I have already taken part in two large operas before working at the Opera Theatre though. It was a joint performance with the soloists of the Odessa National Academic Opera and Ballet Theatre, Eduard Martynyuk, the National Academic Bolshoi Opera and Ballet Theatre of the Republic of Belarus, Vladimir Gromov, the Ukrainian National Opera, Tatyana Ganina. And it is a great honour for me at my first performance to be on stage with such artists. I also work with national artists of Azerbaijan, Ali Askerov and Akram Poladov, Honoured Artist, Inara Babayeva, and many others. I am proud that today I have become a colleague to my teachers, such as the Honoured Artist of Azerbaijan, Farida Mammadova. What could be better?!”

"Who is easier to work with—women or men?"

"Frankly, with women. They by nature love to control and direct the situation. And men are mostly indifferent (laughs).”

"Did you find your muse?"

"Yes, I am very happy. There is a person in my life who, together with me, can experience all the difficult and joyful moments in both personal and creative life... I am lucky that she also plays music and works, like me, in the opera house. Since she’s familiar with all ‘behind the scenes’ of my job, it’s easy and interesting for me professionally. We think alike. Sometimes we look at a situation from an absolutely different perspective, but in the end, without realizing it ourselves, we both come to the same conclusion. Thanks to her, I became even more demanding of myself. I always try to achieve even greater heights - a kind of maximalist attitude towards myself. She does the same too. What could be better when two people can influence each other so positively?! Every day I thank God for being able to find my muse.”

"What is music for you?"

"(thinking) A way to express myself, to tell about my feelings, to share them. Each melody, each song has a deep meaning and carries a certain thought. When one is ill, he listens to sad songs, when good—to funny ones. We create a background for our inner states. We are all addicted to music. Music is created for men, and men lives for music ...”