"THERE WERE A LOT OF LAYLAS"

Mugam makes people more courageous, giving women the strength of men. We noticed it in our conversation with the people's artist Sakina Ismayilova. Here, in the University of Culture and Arts, where she teaches, Region plus had a conversation with one of the brilliant voices of Azerbaijan.

- Spring is the time of renewal and inspiration. What are your expectations from this time of year?

- You'll get nowhere with simple expectations. Nothing comes so easily. Novelty requires training and work. You must work hard. I recently participated in a festival in the city of Delhi. Our mugam, which was famous before, once again demonstrated its beauty and charm in an interesting project on stage in India. We sang the Rast mugam together with the Indian musician Vasumathi Badrinathan, who was visiting us during the mugam festival. I'm very happy about that. I thank our government and personally Mehriban Aliyeva who supported me in this project. State care is even more encouraging for us. Not only I, but all masters of art are happy that they didn't live their lives in vain. For example, many years ago, going to mugam festivals abroad, I dreamed of such festivals in our homeland and of the same grand salons. Praise to God, a similar festival has been held for 5 years in Azerbaijan, where a huge mugam centre has been built.

- You're the first female singer to start accompanying your performances by playing the gaval. Was it difficult?

- If we look at the history of Azerbaijani mugam, we'll see that along with men, this art was also developed by women. We had such performers as Haqiqat Rzayeva, Gulhar Hasanova, Sara Qadimova, Tukazban Ismayilova and Fatima Mehraliyeva. When it was my turn, I thought if a woman has already become known as a singer, she can play the gaval. Why can't she accompany her voice by playing this instrument? After all, a trio must consist of three people. Of course, every initiative is a struggle. Sometimes an innovation doesn't take root, but I didn't think about it. We were going to a huge festival. It was a trip to the United States. It was impossible for four people to go there. So I decided that I would accompany my performance with the gaval myself. In just 15 days, I first appeared on stage with the gaval in the United States. I was terribly worried. But it turned out well. But on my return, not only couldn't I perform without the gaval, other female singers began to follow my example. It was a memorable event for me and for the history of our music.

Everyone thought that it would be too difficult for a woman to sing while holding and playing a gaval. I didn't agree. A singer should be able to combine a sense of rhythm, sound, understanding the poetry of gazel [genre of poetry], pronunciation and stage embodiment. That's why not everyone can be called a singer. If you want to have a say in arts, don't be afraid of difficulties.

- It turns out that mugam can be considered a field of courage and bravery for women singers?

- Of course. And why not? I would say that the courage and bravery inherent in Azerbaijani women are not given to every man. In the early 1990s, they claimed that the Sustar mugam is performed only by men, and women are not capable of it. But I sang it. Today I'm pleased that the initiative in this matter is related to my name. This encourages and inspires me to take new steps.

- Mugam is education in itself. How do you think this happens?

- It depends on the wish of the individual himself. If you aspire to nobility, listening to mugam, you will be cleansed. For me, mugam is cleansing and an ocean. In mugam I found my inner peace. To improve, I came to know this ocean drop by drop. And today, I continue to do so. The world of mugam has played a huge role in my development. Thirty years is a long period. All this time I've served the art of mugam.

- You've played the role of Layla for many years. What's your attitude to the next generation of performers of this role?

- When I came to the Opera and Ballet Theatre, the role of Layla was performed by three famous masters - Zeynab Xanlarova, Rubaba Muradova and Nazakat Mammadova. However, I had to go my own way and open my own path. To create the image of Layla, I learnt something of my own from each of the three performers. For example, Zeynab Xanlarova's Layla was a bit capricious, while the voice of Rubaba Muradova had some sadness. The performance of Nazakat Mammadova had different dynamics. I want to say that, coming on stage, you must learn something from others and definitely bring something of your own.

Each of these singers had their own style, listeners and viewers. There were a lot of Laylas, but not all of them are remembered. There're many of them today, and it will be so in the future.

- What's your biggest regret when you remember the past?

- I came to the Opera and Ballet Theatre very young. Soon after that, the theatre lost two of its great singers - Rubaba Muradova and Nazakat Mammadova - at once. After that, it seemed to me that there was emptiness both on stage and in life. And today there are people who often appear on the air but will not leave any mark in history. But the masters I named left behind whole mugam schools. This is our only consolation.

- Is it possible to conquer the summit of mugam?

- No. If anyone claims to be at this summit, I think they will be wrong. We aspire to these heights. There are very few of us - only 5-6 people who go this way with their own performance and innovations.

- What do you think is harder - to be a teacher or a student? 

- As you know, the first Grand Prix at the recent International Mugam Festival in Azerbaijan was won by Tayyar Bayramov, whom we had chosen at the mugam competition. The young performers we - the jury - selected in these competitions are also considered our pupils. We have the responsibility to choose the worthy ones. They have the responsibility not to forget those who selected them and to be worthy of their mentors. Today our youth is happy. We are also happy, but they're doubly happy because they're surrounded by state care. At their age, we didn't know what kind of fate would befall us. Today they and we have a firm support. Therefore, we're obliged to live, knowing the responsibility that has befallen us.