A TRULY AZERBAIJANI VOICE

Apparently, the best musical instrument is a human voice, which is capable of reflecting the entire range of emotions. So says the Art Director and Chief Conductor of the Azerbaijan State Capella, People's Artist of Azerbaijan, Gulbaji Imanova. Despite her busy agenda, she made time to answer the questions of R+. 

- What was the musical instrument you learned to play first and why did you become a choirmaster?

- I finished school in piano, but the conductorship has always attracted me. My parents did not like my choice; they thought this was a purely male profession. However, when entering the music school, I insisted on the faculty of choral conducting. My teacher was Haji Khanmammadov, who in addition to conducting also taught me the composition making. His teachings are very useful today. Upon graduation, our director and composer Vasif Adigozalov advised me studying in Leningrad. My mother resisted, urging me to continue my education at the Baku Conservatory. I already was singing in Capella under the leadership of Eduard Novruzov. I had also worked at the music school of the village of Kirov. Our choir won the first place in the all-country contest of children's choral collectives. At the Conservatory, I studied under the main choirmaster of the Opera and Ballet Theatre, Assiatant Professor, Nijat Melikov, who helped me to learn a wide range of operatic repertoires. A choirmaster performs many specialties at the same time: I have to master the instrument, have a wide range of vocal abilities, be theoretically savvy, and morally stable. I continue improving my skills even now. And before that, I had been taught by the great conductor, Niyazi. I used to ‘spy’ on him during rehearsals at the Philharmonic. I was also trying not to miss the valuable comments of another guru, Fikrat Amirov, when his works were performed.

- You are a professor of the Baku Music Academy, Chair of the Department of Choral Conducting. What have you achieved during your professorship?

- Some of my graduates are working with me at the department, while the others teach in various music institutions of Azerbaijan. Since I am the chairwoman of the jury of contest of choral musical school groups, organized and conducted by the Ministry of Culture, I have been observing the growth of musical success of children in our country. In 1996, in acknowledgement of my abilities to work with student choirs and the opera studio of the Conservatory, Polad Bulbuloglu appointed me the Head of the Azerbaijan State Capella thanks to a recommendation of Farhad Badalbeyli.

- The Azerbaijan State Choir Capella has been highly successful in many European cities. Memorable choral events held in Spain, Georgia and other countries have remained in memories of the grateful music fans.

- Indeed, the fantastic performance of our choir in Spain has become proverbial. Due to shortage of tickets, the audience was standing to listen to the whole concert. The hall was full and our performance was highly appreciated. On the other hand, our concerts in the Georgian town of Gori, which hosted an international festival of choirs, was a great success too. We sang not only the best samples from the world and Azerbaijani classics, but folk music and mugham. The hall was in shock, and we were recognized as the best. We were invited to Moscow twice to take part at international choral festivals. It is a shame that we are able to go on tours rarely, but we are able to conquer the world. We have something to show, we have a large repertoire. The world-famous conductor from Russia, Vladimir Verbitsky, has performed with our choir the magnificent oratorio "Tsar Ivan the Terrible" of Sergei Prokofiev's, and noted highly professional level of the choir. The composer Faraj Garayev, the son of the great composer Gara Garayev, when staging his pioneering opera "The Outsider" at the Philharmonic, said that we have a very good European level.

- In 90s, many musicians have left Azerbaijan to work abroad. What is your opinion about this?

- Like other art workers, I could also go to work in another country, but I thought it was better to stay at home to educate national staff.

- How such a high level of professionalism is achieved?

- Of course, working with such a large group is difficult. It is important to have an individual approach to each artist, to be able to find the right words to set up the choir before the performance. Besides, depending on performance, the mood of the choir is also important. And it is very important to inspire the choir in the performance of highly professional works of different genres. For this purpose, it is necessary to know the ceiling and abilities of each actor, and the team as a whole. After all, sensitive and especially vulnerable singers need a subtle approach.

- Externally you give an impression of a strong, strong-willed person, able to lead the masses of people.

- Our work is simply impossible without leadership qualities.

- We know that you are able to gather people not only to get them to perform as you wish, but you also believe in their strength. It is necessary before the concerts. How do you choose the artists of the Capella?

- They should necessarily have a musical education. I arrange a kind of audition to test their abilities.

- Do you think it is a good idea for Azerbaijan to organize a children's choir?

- We have already such a team at The Children's Philharmonic under the leadership of the Honored Artist of Azerbaijan, Dilara Aliyeva. The 50^th anniversary of the Azerbaijani Capella is coming and we should work hard to prepare, but we are always ready for concerts. We rehearse everyday, and sometimes on weekends and public holidays. 

- I wish you success and a great anniversary event!