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Hibla Gerzmava


Hibla Gerzmava
Hibla Gerzmava
  • Hibla Gerzmava is on the stage
  • Biography
  • «Hibla Gerzmava invites…»

    videos:
  • For F. Iskander
  • Hibla & Denis Matsuev
  • Hibla & Vladimir Spivakov
  • Hibla and Deborah Brown
  • Lucia di Lammermoor
  • Metropolitan Opera NY 28.09.2010
  • Royal Opera House London
  • Valencia Opera House Spain
  • Vivaldi «Bajazet»

    archive:
  • CHRISTMAS EVENING IN RUSSIAN MANOR
  • Hibla - Shemakhan Tsaritsa
  • Hibla Gerzmava in the country of a rising sun
  • Hibla Gerzmava invites… 2010
  • Hibla Gerzmava Metropolitan Opera NY 28.09.2010
  • Opera art has surprising ability to revive
  • The «Bohema» has left for the USA
  • The guest appearance in the USA
  • Hibla Gerzmava is on the stageHer soprano is of such a beauty that sang she simply scales, aesthetic pleasure would be guaranteed and then. Frequently, having left the hall after her concert, people before indifferent to an opera, understand, that they have fallen in love with this genre for the rest of their life. Unfortunately that does not often happen that you manage to get to the opera or solo performance pleasure of which is not seriously spoiled by convulsive spasms of the performers concerned only by the purity and swiftness of run on two octaves at once.

    If Hibla Gerzmava is on the stage, you understand, that have got into the theatre, not to the descant. Harmonically and without any particular strain she combines masterly vocal with the remarkable virtuosity, based on inexhaustible temperament. Truly European perfectionism of her singing manner and refinement of intonations do not lay as a stone onto her easy voice which does not burden an ear but is webbed of semitones, blinking of light and shadows. A non-standard perusal of the score, absence of any touch of advertising, the sure possession of style, sensitiveness and delicacy, attention to nuances transform the performance with her participation into an event. She is not afraid to attend to both actually unknown things, and masterpieces which sound frequently enough and are studied up to last note and demand accordingly extremely accurate performance.

    It is not so simple to get rid of heavy academism in the party of the Swan-Tsarevna in the «Fairy Tales on the Tsar Sultan» by Rimsky-Korsakov, of Muzeta from «Bohemia» by Puccini or of Adina from «The Love Drink» by Donizetti. It seems that the easy breath sensation was obtained by Hibla once and for ever, and having taken this height, her voice continues soaring along the ideally intoned, very complicated passages by Prokofiev, Possini and Galyani. Her rich flying soprano, disarming femininity and the actor's talent allowing her not to create stereotyped images of the well known characters, have been estimated at their true worth both in many theatres of the world and at the most prestigious contests
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