Eliso Virsaladze and her husband. Eliso Virsaladze: “When they scold Russia, it hurts me a lot. When they scold Georgia, too. - When was the last time you cried?

Eliso Konstantinovna Virsaladze is the granddaughter of Anastasia Davidovna Virsaladze, a prominent Georgian artist and piano teacher in the past. (In the class of Anastasia Davidovna, Lev Vlasenko, Dmitry Bashkirov and other subsequently famous musicians began their journey.) Eliso spent his childhood and youth in his grandmother's family. She took her first piano lessons from her, attended her class at the Tbilisi Central Music School, and graduated from her conservatory. “In the beginning, my grandmother worked with me sporadically, from time to time,” recalls Virsaladze. - She had a lot of students and finding time even for her granddaughter was not an easy task. And the prospects for working with me, one must think, were at first not too clear and defined. Then my attitude changed. Apparently, grandmother herself was carried away by our lessons ... "

From time to time Heinrich Gustavovich Neuhaus came to Tbilisi. He was friendly with Anastasia Davidovna, advised her best pets. Genrikh Gustavovich listened, more than once, to young Eliso, helping her with advice and critical remarks, encouraging her. Later, in the early sixties, she happened to be in Neuhaus's class at the Moscow Conservatory. But this will happen shortly before the death of a wonderful musician.

Virsaladze Sr., say those who knew her closely, had something like a set of fundamental principles in teaching - rules developed over many years of observation, reflection, and experience. There is nothing more pernicious than the pursuit of quick success with a novice performer, she believed. There is no worse than forced learning: one who tries to forcefully pull a young plant out of the ground runs the risk of uprooting it - and only ... Eliso received a consistent, thorough, comprehensively thought-out upbringing. Much was done to expand her spiritual horizons - from childhood she was introduced to books and foreign languages. Its development in the piano-performing sphere was also unconventional - bypassing the traditional collections of technical exercises for compulsory finger gymnastics, etc. Anastasia Davidovna was convinced that it is quite possible to practice pianistic skills using only artistic material for this. “While working with my granddaughter Eliso Virsaladze,” she once wrote, “I decided not to resort to etudes at all, except for etudes by Chopin and Liszt, but I selected the appropriate (artistic.- G. Ts.) repertoire ... and paid special attention to the works of Mozart, allowing the maximum polish the craft"(My discharge. - G. Ts.) (Virsaladze A. Piano Pedagogy in Georgia and the Traditions of the Esipova School // Outstanding Pianists-Teachers on Piano Art. - M.; L., 1966. P. 166.). Eliso says that school years she went through many works by Mozart; the music of Haydn and Beethoven occupied no less place in its curricula. In the future, we will still talk about her skill, about the magnificent "polished" of this skill; for now, we note that under it is a deeply laid foundation of classical plays.

And one more thing is characteristic of the formation of Virsaladze as an artist - the early acquired right to independence. “I loved to do everything myself - whether it’s right or wrong, but on my own ... Probably, this is in my character.

And of course, I was lucky to have teachers: I never knew what pedagogical dictatorship was.” They say the best teacher in art is the one who strives to be in the end unnecessary student. (V. I. Nemirovich-Danchenko once dropped a remarkable phrase: “The crown of the director’s creative efforts,” he said, “becomes simply superfluous for the actor with whom he had done all necessary work".) Both Anastasia Davidovna and Neuhaus understood their ultimate goal and task precisely in this way.

Being a tenth grader, Virsaladze gave the first solo concert in her life. The program was composed of two sonatas by Mozart, several intermezzos by Brahms, Schumann's Eighth Novelette and Rachmaninov's Polka. In the near future it public performance have become more frequent. In 1957, the 15-year-old pianist became the winner at the Republican Youth Festival; in 1959 she won a laureate diploma at the World Festival of Youth and Students in Vienna. A few years later, she won the third prize at the Tchaikovsky Competition (1962) - a prize obtained in the most difficult competition, where her rivals were John Ogdon, Susin Starr, Alexei Nasedkin, Jean-Bernard Pommier ... And one more victory on Virsaladze's account - in Zwickau, on international competition named after Schumann (1966). The author of "Carnival" will be included in the future among those deeply revered and successfully performed by her; there was an undeniable regularity in her winning the gold medal at the competition ...

In 1966-1968, Virsaladze studied at the postgraduate course of the Moscow Conservatory with Ya. I. Zak. She has the brightest memories of this time: “The charm of Yakov Izrailevich was felt by everyone who studied with him. In addition, I had a special relationship with our professor - sometimes it seemed to me that I had the right to talk about some kind of inner closeness to him as an artist. This is so important - the creative "compatibility" of a teacher and a student ... " Soon Virsaladze herself will begin to teach, she will have her first students - different characters, personalities. And if she happens to be asked: “Does she like pedagogy?”, She usually answers: “Yes, if I feel a creative relationship with the one I teach,” referring as an illustration to her studies with Ya. I. Zak.

A few more years passed. Meetings with the public became the most important thing in Virsaladze's life. Experts began to look at it more and more closely, music criticism. In one of the foreign reviews of her concert, they wrote: “For anyone who first sees the thin, graceful figure of this woman behind the piano, it is difficult to imagine that so much will will appear in her playing ... she hypnotizes the hall from the very first notes she takes.” The observation is correct. If you try to find something most characteristic in the appearance of Virsaladze, you must start with her performing will.

Almost everything that Virsaladze-interpreter conceives, is brought to life by her (praise, which is usually addressed only to the best of the best). Indeed, creative plans- the most daring, daring, impressive - can be created by many; they are realized only by those who have a firm, well-trained stage will. When Virsaladze, with impeccable accuracy, without a single miss, plays the most difficult passage on the piano keyboard, this shows not only her excellent professional and technical dexterity, but also an enviable pop self-control, endurance, strong-willed attitude. When she climaxes in piece of music, then its peak turns out to be at a single necessary point - this is also not only knowledge of the laws of form, but also something else psychologically more complex and important. The will of a musician performing in public is in the purity and infallibility of the game, in the confidence of the rhythmic step, in the stability of the tempo. It is in the victory over nervousness, the vagaries of moods - in, as G. G. Neuhaus says, in order “not to shed on the way from behind the scenes to the stage not a drop of precious excitement with the works ...” (Neigauz G. G. Passion, intellect, technique // Named after Tchaikovsky: About the 2nd International Tchaikovsky Competition of Performing Musicians.- M., 1966. P. 133.). Probably, there is no artist who would be unfamiliar with hesitation, self-doubt - and Virsaladze is no exception. Only in someone you see these doubts, you guess about them; she never has.

Will and in the most emotional tone artist's art. In her character performance expression. For example, Ravel's Sonatina is a work that appears from time to time in her programs. It happens that other pianists do their best to envelop this music (such is the tradition!) with a haze of melancholy, sentimental sensitivity; in Virsaladze, on the contrary, there is not even a hint of melancholic relaxation here. Or, say, Schubert's impromptu - C minor, G-flat major (both - Op. 90), A-flat major (Op. 142). Is it really so rare that they are presented to the regulars of piano parties in a languid, elegiacly pampered manner? Virsaladze in Schubert's impromptu, as in Ravel, has decisiveness and firmness of will, an affirmative tone of musical statements, nobility and severity of emotional coloring. Her feelings are the more restrained, the stronger they are, the temperament is the more disciplined, the hotter, the affected passions in the music revealed by her to the listener. “Real, great art,” V. V. Sofronitsky reasoned at one time, “is like this: red-hot, boiling lava, and on top of seven armor” (Memories of Sofronitsky. - M., 1970. S. 288.). Virsaladze's game is art the present: Sofronitsky's words could become a kind of epigraph to many of her stage interpretations.

And another one distinguishing feature pianists: she loves proportion, symmetry and does not like what could break them. Her interpretation of Schumann's C major Fantasy, now recognized as one of the best numbers in her repertoire, is indicative. A work, as you know, is one of the most difficult: it is very difficult to “build” it, under the hands of many musicians, and by no means inexperienced, it sometimes breaks up into separate episodes, fragments, sections. But not at Virsaladze's performances. Fantasy in her transmission is an elegant unity of the whole, almost perfect balance, "fitting" of all elements of a complex sound structure. This is because Virsaladze is a born master of musical architectonics. (It is no coincidence that she emphasized her closeness to Ya. I. Zak.) And therefore, we repeat, that she knows how to cement and organize material by an effort of will.

The pianist plays different music, including (in many!) created by romantic composers. Schumann's place in her stage activities has already been discussed; Virsaladze is also an outstanding interpreter of Chopin - his mazurkas, etudes, waltzes, nocturnes, ballads, B minor sonata, both piano concertos. Spectacular in her performance are Liszt's compositions - Three Concert Etudes, Spanish Rhapsody; she finds a lot of successful, truly impressive in Brahms - the First Sonata, Variations on a Theme of Handel, the Second Piano Concerto. And yet, with all the achievements of the artist in this repertoire, in terms of her personality, aesthetic preferences, and the nature of her performance, she belongs to artists not so much romantic as classical formations.

The law of harmony reigns unshakably in her art. In almost every interpretation, a delicate balance of mind and feeling is achieved. Everything spontaneous, uncontrollable is resolutely removed and clear, strictly proportional, carefully “made” is cultivated - up to the smallest details and particulars. (I. S. Turgenev once made a curious statement: “Talent is a detail,” he wrote.) These are the well-known and recognized signs of the “classical” in musical performance, and Virsaladze has them. Isn't it symptomatic: she addresses dozens of authors, representatives different eras and directions; and yet, trying to single out the name most dear to her, it would be necessary to name the first name of Mozart. Her first steps in music were connected with this composer - her pianistic adolescence and youth; his own works to this day are at the center of the list of works performed by the artist.

Deeply revering the classics (not only Mozart), Virsaladze also willingly performs compositions by Bach (Italian and D minor concertos), Haydn (sonatas, Concerto major) and Beethoven. In her artistic Beethovenian - "Appassionata", and a number of other sonatas of the great German composer, all piano concertos, variation cycles, chamber music (with Natalia Gutman and other musicians). In these programs, Virsaladze knows almost no failures.

However, we must pay tribute to the artist, she generally rarely fails. She has a very large margin of safety in the game, both psychological and vocational. Once she said that she brings a work to the stage only when she knows that she can not learn it on purpose - and she will succeed anyway, no matter how difficult it may be.

Therefore, her game is little subject to chance. Although she, of course, has happy and unhappy days. Sometimes, say, she is not in the mood, then you can see how the constructive side of her performance is exposed, only a well-adjusted sound structure, logical design, technical infallibility of the game begin to be noticed. At other moments, Virsaladze's control over what he performs becomes excessively rigid, "screwed up" - in some ways this damages open and direct experience. It happens that you want to feel in her playing a sharper, burning, piercing expression - when it sounds, for example, the coda of Chopin's C-sharp minor scherzo or some of his etudes - Twelfth (“Revolutionary”), Twenty-second (octave), Twenty-third or Twenty-fourth.

They say that the outstanding Russian artist V. A. Serov considered a painting to be successful only when he found in it some kind of, as he said, “magic mistake”. In “Memoirs” by V. E. Meyerhold, one can read: “At first, it took a long time to paint just a good portrait ... then suddenly Serov came running, washed everything away and painted a new portrait on this canvas with the same magical mistake that he spoke about. It is curious that in order to create such a portrait, he had to first sketch the correct portrait. Virsaladze has a lot of stage works, which she can rightfully consider "successful" - bright, original, inspired. And yet, to be frank, no, no, yes, and among her interpretations there are those that resemble just a “correct portrait”.

In the middle and at the end of the eighties, Virsaladze's repertoire was replenished with a number of new works. Brahms' Second Sonata, some of Beethoven's early sonata opuses, appears in her programs for the first time. The whole cycle “Mozart's Piano Concertos” sounds (previously only partially performed on the stage). Together with other musicians, Eliso Konstantinovna takes part in the performance of A. Schnittke's Quintet, M. Mansuryan's Trio, O. Taktakishvili's Cello Sonata, as well as some other chamber compositions. Finally, a big event in her creative biography was the performance of Liszt's B minor sonata in the 1986/87 season - it had a wide resonance and undoubtedly deserved it ...

The pianist's tours are becoming more and more frequent and intense. Her performances in the USA (1988) are a resounding success, she opens many new concert "venues" for herself both in the USSR and in other countries.

"Made for last years as if not so little, - says Eliso Konstantinovna. - At the same time, I am not left with a feeling of some kind of internal split. On the one hand, I devote today to the piano, perhaps even more time and effort than before. On the other hand, I constantly feel that this is not enough ... "Psychologists have such a category - insatiable, unsatisfied need. How more people gives to his work, the more labor and soul he invests in it, the stronger, the more acute his desire to do more and more becomes; the second increases in direct proportion to the first. So - every true artist. Virsaladze is no exception.

She, as an artist, has an excellent press: critics, both Soviet and foreign, never tire of admiring her performance. Fellow musicians treat Virsaladze with sincere respect, appreciating her serious and honest attitude to art, her rejection of everything petty, vain, - and, of course, paying tribute to her invariably high professionalism. Nevertheless, we repeat, some kind of dissatisfaction is constantly felt in her - regardless of the external attributes of success.

“I think dissatisfaction with what has been done is a completely natural feeling for a performer. How else? Let's say, "to myself" ("in my head"), I always hear music brighter and more interesting than it really comes out on the keyboard. It seems so to me, at least... And you constantly suffer from this.

Well, it supports, inspires, gives new strength communication with the outstanding masters of pianism of our time. Communication is purely creative - concerts, records, video cassettes. It's not that she takes an example from someone in her performance; this question itself - to take an example - in relation to it is not very suitable. Just touching art major artists usually gives her deep joy, gives her spiritual food, as she puts it. Virsaladze speaks respectfully of K. Arrau; she was particularly impressed by the recording of the concert given by the Chilean pianist to mark his 80th birthday, which featured, among other things, Beethoven's Aurora. Much admires Eliso Konstantinovna in the stage work of Annie Fischer. She likes, in a purely musical perspective, the game of A. Brendle. Of course, it is impossible not to mention the name of V. Horowitz - his Moscow tour in 1986 belongs to the bright and strong impressions in her life.

Once a pianist said: “The longer I play the piano, the closer I get to know this instrument, the more its truly inexhaustible possibilities open up before me. How much more can and should be done here ... ”She is constantly moving forward - this is the main thing; many of those who once were on a par with her, today are already noticeably lagging behind ... As in an artist, there is an unceasing, everyday, exhausting struggle for perfection in her. For she is well aware that it is in her profession, in art, stage incarnation music - unlike a number of other creative professions- cannot be created eternal values. In this art, in the exact words of Stefan Zweig, “from performance to performance, from hour to hour, perfection must be won again and again ... art is an eternal war, there is no end to it, there is one continuous beginning” (Zweig S. Selected works in two volumes. - M., 1956. T. 2. S. 579.).

G. Tsypin, 1990

“I pay tribute to her idea and her outstanding musicality. This is an artist of great scale, perhaps the strongest female pianist now ... She is a very honest musician, and at the same time she has real modesty. (Svyatoslav Richter)

Eliso Virsaladze was born in Tbilisi. She studied the art of piano playing with her grandmother Anastasia Virsaladze (Lev Vlasenko and Dmitry Bashkirov also started in her class), a well-known pianist and teacher, an elder of the Georgian piano school, a student of Anna Esipova (Sergey Prokofiev's mentor). She attended her class at the Paliashvili Special Music School (1950-1960), and under her guidance she graduated from the Tbilisi Conservatory (1960-1966). In 1966-1968 she studied at the postgraduate course of the Moscow Conservatory, where her teacher was Yakov Zak. “I loved to do everything myself – whether it was right or wrong, but on my own... Probably, this is in my character,” says the pianist. “And of course, I was lucky with teachers: I never knew what pedagogical dictatorship was.” She gave her first solo concert as a 10th grade student; the program includes two sonatas by Mozart, an intermezzo by Brahms, Schumann's Eighth Novelette, Polka Rachmaninoff. “In my work with my granddaughter,” wrote Anastasia Virsaladze, “I decided not to resort to etudes at all, except for the etudes of Chopin and Liszt;

Laureate VII world festival youth and students in Vienna (1959, 2nd prize, silver medal), the All-Union Competition of Performing Musicians in Moscow (1961, 3rd prize), the II International Tchaikovsky Competition in Moscow (1962, 3rd prize, a bronze medal), the IV International Competition named after Schumann in Zwickau (1966, 1 prize, gold medal), Schuman Prize (1976). “Eliso Virsaladze left a wonderful impression,” said Yakov Flier about her performance at the Tchaikovsky Competition. – Her playing is surprisingly harmonious, real poetry is felt in it. The pianist perfectly understands the style of the pieces she performs, conveys their content with great freedom, confidence, ease, real artistic taste.”

Since 1959 - soloist of the Tbilisi, since 1977 - the Moscow Philharmonic. Since 1967 he has been teaching at the Moscow Conservatory, first as an assistant to Lev Oborin (until 1970), then to Yakov Zak (1970-1971). Since 1971 he has been teaching his own class, since 1977 he has been an assistant professor, since 1993 he has been a professor. Professor at the Higher School of Music and Theater in Munich (1995-2011). Since 2010 - professor at the Fiesole School of Music (Scuola di Musica di Fiesole) in Italy. Gives master classes in many countries of the world. Among her students are laureates of international competitions Boris Berezovsky, Ekaterina Voskresenskaya, Yakov Katsnelson, Alexei Volodin, Dmitry Kaprin, Marina Kolomiytseva, Alexander Osminin, Stanislav Khegay, Mamikon Nakhapetov, Tatyana Chernichka, Dinara Clinton, Sergei Voronov, Ekaterina Richter and others.

Since 1975, Virsaladze has been a jury member of numerous international competitions, among them the Tchaikovsky, Queen Elizabeth (Brussels), Busoni (Bolzano), Geza Anda (Zurich), Viana da Mota (Lisbon), Rubinstein (Tel Aviv), Schumann ( Zwickau), Richter (Moscow) and others. At the XII Tchaikovsky Competition (2002), Virsaladze refused to sign the jury protocol, disagreeing with the majority opinion.

Performs with the world's largest orchestras in Europe, USA, Japan; worked with such conductors as Rudolf Barshai, Lev Marquis, Kirill Kondrashin, Gennady Rozhdestvensky, Evgeny Svetlanov, Yuri Temirkanov, Riccardo Muti, Kurt Sanderling, Dmitry Kitaenko, Wolfgang Sawallisch, Kurt Masur, Alexander Rudin and others. She performed in ensembles with Svyatoslav Richter , Oleg Kagan, Eduard Brunner, Viktor Tretyakov, the Borodin Quartet and other outstanding musicians. A particularly long and close artistic partnership links Virsaladze with Natalia Gutman; their duet is one of the long-lived chamber ensembles of the Moscow Philharmonic.

The art of Virsaladze was highly appreciated by Alexander Goldenweiser, Heinrich Neuhaus, Yakov Zak, Maria Grinberg, Svyatoslav Richter. At the invitation of Richter, the pianist took part in the international festivals Musical Festivities in Touraine and December Evenings. Virsaladze is a permanent participant of the festival in Kreuth (since 1990) and the Moscow International Festival "Dedication to Oleg Kagan" (since 2000). Founded international festival chamber music in Telavi (held annually in 1984-1988, resumed in 2010). In September 2015, under her artistic direction, the chamber music festival "Eliso Virsaladze Presents" was held in Kurgan.

For a number of years, her students took part in the philharmonic concerts of the season ticket "Evenings with Eliso Virsaladze" at the BZK. Among the monograph programs of the last decade played by students and graduate students of her class are works by Mozart in transcriptions for 2 pianos (2006), all Beethoven sonatas (a cycle of 4 concertos, 2007/2008), all etudes (2010) and Liszt's Hungarian rhapsodies (2011 ), piano sonatas Prokofiev (2012) and others. Since 2009, Virsaladze and students of her class have been participating in subscription chamber music concerts held at the Moscow Conservatory (project by professors Natalia Gutman, Eliso Virsaladze and Irina Kandinsky).

“By teaching, I get a lot, and there is a purely selfish interest in this. Starting with the fact that pianists have a gigantic repertoire. And sometimes I instruct a student to learn a piece that I would like to play myself, but do not have time for it. And so it turns out that I willy-nilly study it. What else? You are growing something. Thanks to your participation, what is inherent in your student comes out - this is very pleasant. And this is not only musical development, but also human development.

Virsaladze's first recordings were made at the Melodiya company - works by Schumann, Chopin, Liszt, a number of piano concertos by Mozart. Her CD is included by the BMG label in the Russian Piano School series. The largest number of her solo and ensemble recordings were released by Live Classics, including works by Mozart, Schubert, Brahms, Prokofiev, Shostakovich, as well as all Beethoven cello sonatas recorded in an ensemble with Natalia Gutman: this is still one of the duet's crown programs , regularly performed all over the world (including last year - in the best halls Prague, Rome and Berlin). Like Gutman, Virsaladze is represented in the world by the Augstein Artist Management agency.

Virsaladze's repertoire includes works by Western European composers of the 18th-19th centuries. (Bach, Mozart, Haydn, Beethoven, Schubert, Schumann, Liszt, Chopin, Brahms), works by Tchaikovsky, Scriabin, Rachmaninov, Ravel, Prokofiev and Shostakovich. Virsaladze is cautious about contemporary music; Nevertheless, she took part in the performance of Schnittke's Piano Quintet, Mansuryan's Piano Trio, Taktakishvili's Cello Sonata, and a number of other works by composers of our time. “In life, it so happens that I play the music of some composers more than others,” she says. – In recent years, my concert and teaching life has been so busy that you often cannot concentrate on one composer for a long time. I enthusiastically play almost all the authors of the 19th and the first half of the 20th century. I think that the composers who composed at that time had practically exhausted the possibilities of the piano as a musical instrument. In addition, they were all unsurpassed performers in their own way.

People's Artist of the Georgian SSR (1971). People's Artist of the USSR (1989). Laureate of the State Prize of the Georgian SSR named after Shota Rustaveli (1983), State Prize Russian Federation(2000). Cavalier of the Order of Merit for the Fatherland, IV degree (2007).

“Is it possible to wish a better Schumann after the Schumann played by Virsaladze today? I don't think I've heard such a Schumann since Neuhaus. Today's Klavierabend was a real revelation - Virsaladze began to play even better... Her technique is perfect and amazing. She sets scales for pianists.” (Svyatoslav Richter)

Eliso Virsaladze. Photo - Elina Axelrod

The outstanding pianist Eliso Virsaladze tells Yaroslav Timofeev about the advantages of freedom, competitive intrigues and Sobyanin's tiles.

The transcript is published with abbreviations.

- You beautiful name- at least to the Russian ear it sounds like music. Does it mean something specific in Georgian?

“Absolutely nothing.

So it's also music. You studied with your grandmother, Anastasia Davidovna. All musicians say that it is difficult to learn from parents. But grandmother, probably, is easier than mom or dad?

- I think it's even worse.

- Why?

- She did not want to teach me at all - precisely because she considered it impossible. Well, the time she gave me as a teacher was quite insignificant, because students constantly came to her house. We had rare classes, but very fruitful ones. She was very strict: I don't remember her ever telling me after the concert that I played decently.

- Did she tell you anything about Rimsky-Korsakov, who took her exams?

Yes, she was extremely proud. Not only Rimsky-Korsakov, Glazunov too - he was then the rector of the St. Petersburg Conservatory. She got five plus.

- You came to Moscow only at the stage of graduate school. It must have been quite difficult to integrate into the life of the capital without studying at the Moscow Conservatory?

- In fact, even before that, I often came to Moscow and played Heinrich Gustavovich Neuhaus, with whom I was going to be a graduate student. After his death, I decided that I would study with Yakov Izrailevich Zak, his former assistant and a wonderful pianist.

- You won the Schumann competition, and, besides, Svyatoslav Richter said that you play Schumann well. Thanks to these two facts, you have become associated with this composer for life and are considered his exemplary performer. And you yourself distinguish him among all?

- I understand that the first prize at the Schumann competition is a certain face of the performer. I have been playing Schumann since childhood, but I cannot say that he is the only one I single out from my rather large repertoire.

– You were also the first in the Soviet Union to play all Mozart's concertos. How did it happen?

- Firstly, it was a proposal of the chamber orchestra, which was part of the Mravinsky orchestra. We played without a conductor.

- Did you conduct a little bit?

- No, no, there was an accompanist, the first violin - Leonid Gozman, who gave some kind of aftertastes, but there was no conductor. They were great musicians, so in that sense it was all right. The first time it was with them, and the second time with Yuri Tsiryuk, a wonderful conductor, who, unfortunately, died early.

- Richter said about you that you are the best female pianist. Such, as they say now, sexism - separately women, separately men. Is there a difference between female and male pianism for you?

I can't say that I see a big difference. At one time, Liszt dedicated his Paganinian etudes to Clara Wieck, which he wonderfully arranged for the piano. I can't imagine that Liszt doubted she could play them. I understand that there is a big difference between women's and men's chess, but in terms of pianism, I don't know, I can't say.

- Why then, say, among the conservatory applicants, both sexes are represented approximately equally, and there are quite a few women in the major league of pianists?

- A lot, actually.

- Well, less than men?

- Maybe due to the fact that female biography implies not only a powerful career, but also children, a family, and so on. Although I doubt, I never counted, you somehow distributed it. May be. At one time, Liszt's students were amazing pianists who made a very big career. I cannot answer this question unambiguously.

- Did you choose teaching as one of the parts of your life, or did it somehow develop on its own?

- It worked out. You correctly noted this.

- Don't you regret it?

- You know, sometimes I regret it, because I have a lot of students now. When I started teaching, it was not a requirement. Then everything was very difficult - you are too young to remember this. When I was invited to the conservatory, I was a visitor from Georgia, so, naturally, I did not have a residence permit, which was necessary to work. In this regard, there was no housing, in general, a lot of all sorts of difficulties.

And I know that Yakov Izrailevich went to Sveshnikov, the then rector of the Moscow Conservatory, and said that I was a member of the conservatory, that I should teach. And, as they say now, with great pull, through Yakov Izrailevich, I was invited as an assistant. Since Yakov Izrailevich had no place, I started working with Lev Nikolaevich Oborin, which I do not regret at all, because I loved and appreciated him very much.

And the fact that I really liked it all from the beginning, I consider it my minus. Because if I didn't like it so pedagogical activity I probably wouldn't be teaching today. In 2018, it will be fifty years since I taught at the conservatory. It was at the Moscow Conservatory, I emphasize, because it is often said that I left and did not teach for some time. It is not true. Since 1968, as a graduate student, I began to teach.

- Oddly enough, although I don’t know that time, I understand you perfectly, because the problems with registration and housing for nonresident students are almost the same now.

- Truth?

- Please state what is the pleasure of pedagogy.

– The pleasure is that you see how your student is transformed before your eyes and becomes interesting as a musician, as an artist, as a person who reveals himself with different sides. It happens to be very pleasant. I cannot say that I maintain friendly relations with all my students, who have become very famous and popular.

But I don’t think that a student to whom you give a lot should be incredibly grateful to you and say all the time: “Oh, how wonderful that I learned from so-and-so.” Giving yourself away is okay. And the fact that I can’t do otherwise is, unfortunately, also normal. Although this is sometimes very detrimental for me, I am insanely tired of so many lessons that I have to give from morning to evening after some concerts, trips.

- You recently said that you are now giving two or three times more gigs than before.

- Yes, imagine that it happened. Well, at least not less. With many more students than before.

– Why did it happen?

- That's it, unfortunately.

- Well, you were always invited, you always went.

- Well, they always invited and always did not invite, it was all different. Fate is different. You say: today is the same as then. I do not agree with you. A lot has changed - I mean now the musical life. If earlier you had to go to a foreign competition, you had to - everyone knows this - come to Moscow and audition here. Now everyone can go to any competition. This is both a plus and a minus, because in the past we almost always won high places in competitions. There were these endless selections, they were all trained, and they prepared themselves, so they played at the highest level. Now everything is different, everyone can go. But there is much more freedom. And yet, I think it's better.

– Is your concert activity connected with freedom?

- On the one hand, yes. And this not only concerns me, I do not want to single out myself. This applies to many of my colleagues who, having all the musical talents to go abroad, did not go anywhere, because everything went through the State Concert. There was a state impresario who supported someone, but not someone.

- You have had a difficult relationship with the Tchaikovsky Competition in recent years. In 2002, you didn't sign the protocol when you gave the first prize to Ayako Uehara. In the end, it turned out that you are right, because she is not on stage.

- And I was recently told with delight that she had three children. I was very happy about this. But you see, the whole point is that before that they had not given the first prize to such a wonderful pianist as Lugansky! I thought it was perfectly fair not to give the first prize in 2002.

– practical question. When you didn't sign the protocol, did you receive the jury's fee?

- You know, I don’t even remember - it was all so insignificant by our current standards. I still think yes.

- Well, you know, it was still a scandal.

- Yes, understand. But the scandal was, unfortunately, not the one I thought about. There would be a scandal if the premiums were revised. But no one supported me. This surprised and even horrified me, because the questions that then arose in me were absolutely fair.

- And in 2015 you spoke in the sense that this is not the Tchaikovsky competition, but the Gergiev competition.

- Yes, Gergiev and Matsuev, who joined him.

So you don't like this reform?

– But do you agree that the competition has become louder in the world in recent years?

- You know, if you have so much money, you will sound very loud all over the world. They had so much money! They could pay the Medici for a webcast that was top notch, which is great. But if they gave me that kind of money, I would probably also be able to hold a contest. No, I don’t want to, don’t think, I don’t have any data for this. I basically say.

Can you imagine how difficult it is to divide the competition into two cities? I will not go into it, because I am not an accountant, I cannot calculate how much it cost. But I know that many of my colleagues, having received an offer to participate in the jury of the Tchaikovsky Competition, refused to travel to other competitions precisely because the fee is higher here. And much less work.

- May I ask a frank question? You worked a lot in the jury of various competitions. Have you personally encountered situations of behind-the-scenes intrigue?

- You know, I can’t say that I personally encountered intrigues as such. I just watched it. They treat me with caution, so they can’t reveal to me some of their secret desires, which, perhaps, they share with other members of the jury.

- There is a lot of talk about the piano mafia, that there is not a single honest competition in the world.

- Yes and no. Recently I was at a competition in Rio de Janeiro and, as a wedding general, I was the chairman of the jury. There, a wonderful boy from Belarus by the name of Shichko, a student of Mikhail Sergeevich Voskresensky, did not make it to the final. He was one of the brightest candidates for the finals, but he didn't make it because three of my colleagues gave him the lowest score.

How can you get out of this situation when you already know who bets how much? The only thing is to ask for an argument. But this is not figure skating, where there are clear objective criteria. Here they will tell you: there was no such and such, and this will be true. But there was something!

It is very difficult to argue with colleagues when they say: “But I don’t like it, because his pedal was dry, he had very square phrases, the line was interrupted all the time, there was some kind of abruptness in his statements, the form was loose.” What can you say? Nothing. Therefore, it is very difficult to talk about intrigues in a direct manner. I always tend to believe that at every competition there are some very unfair things, but then life, if you're lucky, will put everything in its place. There are a lot of first prizes in recent years, which are not heard at all.

I can list a few first prizes in Brussels - this is one of the most prestigious competitions - that no one knows about. Do you understand?

– I remember a conversation with Nikolai Lugansky: he said that in the world classical music no, roughly speaking, exaggerated figures. That is, if, say, a pianist has an international career, then he is definitely worth a lot. I don't quite agree with this.

– I totally disagree. I could list (but I won't) seven or eight performers who have a very long career, but they are completely inflated figures.

I am very glad that there is such a pianist as Grigory Sokolov - he is a completely different type of musician. Or the same Radu Lupu. These pianists are very serious and do not engage in familiarity with the public - and today it is very fashionable. And they have a colossal weight in the music world.

Or the same Kirill Petrenko, who became the chief conductor of the Berlin Philharmonic. It was such a boom! For the first time, a musician from the former Soviet Union (he comes from Omsk) became the conductor of such an orchestra as the Berlin Philharmonic. And I must tell you that neither Merkel was involved here, nor anyone else.

And it happens with us, unfortunately, when they put someone on some posts. Or some personality in the musical society can decide the fate of the chief conductor. Petrenko himself made his way to success only thanks to his colossal talent and ability to work.

– You know, there are such blitz questions: say, “Tolstoy or Dostoevsky”? Here is the question: Sokolov or Pletnev?

- Pletnev.

– You often note the advantages of the Soviet system of music education and the concert system, where everyone took care of the musicians. And yet, in general, the collapse of the Union - is it good or bad?

- The collapse of the Union is good. But some things that were under the Union need to be cherished, supported and continued. You can not destroy, ruin, destroy musical education. I only hear from my foreign colleagues: “How wonderful that you have such a musical education! We don't have that." But they have in mind the former musical education, and not what they want to do today.

What is your sense of self: you soviet man, Georgian or Russian?

“Oh, you know, I never thought about it. I am very Russian and very Georgian, and in general I am a person who absorbs many cultures into himself, so it’s hard for me to say. When they scold Russia, it hurts me a lot. When they scold Georgia - too. When they scold my school in Munich - even this was unpleasant for me when I worked there.

- Where do you feel at home?

- Still in Moscow, probably.

– Was it difficult for you during the Russo-Georgian war?

- Very hard. It’s hard for me even now because of the events in Ukraine. I have been traveling to Kyiv for the last four years in a row, and I am so delighted with how the public accepts and how they treat Russian performers! And in general to Russia. I don't even want to talk about what binds us, it's not even discussed. During the Russian-Georgian conflicts, they said: “Remember, we loved each other so much!” I don't want to discuss it at all, because people are always well disposed towards each other. There must be some kind of conflict that can blow people up. Even in a small family, this can happen - imagine what can be at the level big state! You can provoke anyone to do something. I think that the state makes a lot of mistakes here and should be held accountable for this.

- I can’t even imagine how difficult it is when, for example, there is Vakhtang Kikabidze, who says: “I won’t go to Russia anymore” ... You have many friends in Tbilisi.

- Lots of. And I have a festival in Georgia, I invite you to come and then broadcast about it.

- Thanks. But at that time you probably came across some words from the Georgians that ...

Never, mind you. There was nothing like it even in the press.

So you weren't condemned?

- Never.

- This is great. This is what we need to learn.

Now a few short questions. Is there anything that can piss you off?

- Narrow streets on Bolshaya Nikitskaya. It has become insanely difficult to park, and it is difficult to drop off, and to land, because the row immediately stops. And everyone is silent about it. This revolts me every time I come to the conservatory.

- Do you drive yourself?

- No, I don’t drive myself, I, thank God, take a taxi, but nevertheless I swear along with the taxi drivers.

- Anything else?

– What makes me angry? Oh, a lot. I just don’t want to talk about all this now, because you can’t talk only about negative things. I am outraged by the endless re-tiling of pavements. You see, everything is connected with Moscow. And about the narrowing of the streets - you know what surprises me? That everyone is silent.

I am very sorry that our conservatory is still being repaired. So much time has passed! It's a shame that the classes have become as if bleak, although they should have become, on the contrary, joyful. It's all about the profession. I am outraged by the things that I encounter on a daily basis.

- Well, I, for one, am a pedestrian, I like that the sidewalks have widened.

Well, I understand what you like. But when I look at pedestrians, I see absolutely empty spaces, because they are intended for cyclists who will ride with us for a maximum of three months. Where are the cyclists? I hardly see them. I don't know, it's a disgrace.

But you like to walk by yourself.

- Yes I love. But I always had enough of the sidewalk that was on Bolshaya Nikitskaya. I can say the same about Bolshaya Dmitrovskaya and Neglinnaya. I'm not talking about what a disgrace in terms of parking. And this does not affect the quality of the streets, unfortunately.

“Maybe the authorities are counting on the time when there will be thirty million Muscovites together with visitors, and then the sidewalks will be full.

- May be. But it will be without us. Even without you.

Do you ever yell at your students?

- Scream? No.

- When you last time laughed a lot?

- When the puppy, which was taken from Georgia to Moscow, and then to America, received new family and turned into a luxurious dog. I didn't laugh so much as I rejoiced.

- When was the last time you cried?

- Did you cry? For real? I don't know, I don't remember. In general, crying is such a concept ... I often say that - for how many years since my mother has been gone - that I did not cry out. I was in so much pain that I couldn't cry. Crying is not a quality expression of grief. You can cry from some insignificant mistake or if something suddenly seems very unfair to you. And it’s impossible to really cry when some kind of great grief happens.

- And the last. If you find yourself on a desert island, do you want to have a piano with you there, or is it better not to?

- Still, I would like to.

Yaroslav Timofeev, Moscow Philharmonic

Eliso Virsaladze - Soviet and Russian pianist, People's Artist USSR. She was born on September 14, 1942 in Tbilisi. She studied at the secondary specialized music school named after Z.P. Paliashvili, graduated from the Tbilisi Conservatory, of which she became a soloist in 1959, and the Moscow Conservatory.

Eliso Virsaladze collaborated with symphony orchestra and the London Philharmonic Orchestra. She worked with such figures as Evgeny Svetlanov. Svyatoslav Richter, famous pianist of the twentieth century, highly appreciated the skill of Eliso Virsaladze in the performance of the works of Robert Schumann. The pianist's repertoire also includes works by Mozart, Beethoven, Liszt, Chopin, Tchaikovsky, Prokofiev, Shostakovich.

Since 1967, Eliso Virsaladze has been teaching at the Moscow Conservatory, the Higher School of Music in Munich, and the Fiesole Music School.

Eliso Virsaladze is a laureate of the II International Tchaikovsky Competition in Moscow, the IV International Competition named after R. Schumann in Zwickau, and is the owner of the State Prize of the Russian Federation in the field of literature and art.

Eliso Virsaladze - performance poster for the 2019-2020 season*

December 01, 2019 – start at 18:00

Concert Hall "Big Guild" / Great Guild Hall / Latvia, Riga
Solo concert
Piano part:

December 05, 2019 – start at 19:00

Lithuanian National Philharmonic Hall / Lithuanian National Philharmonic Hall / Lithuania, Vilnius
VI Vilnius Piano Music Festival
Solo concert
Piano part:
The program includes works by Pyotr Tchaikovsky, Robert Schumann, Sergei Prokofiev

December 21, 2019 - beginning at 20.00

/ Saint Petersburg, Russia

Solo concert

Program: Robert Schumann Pyotr Tchaikovsky, Sergei Prokofiev

December 26, 2019 – beginning at 19:00

/ Russia Moscow
Solo concert
Piano part: Eliso Virsaladze

January 11, 2020 – start at 15:00

Kobe BunkeHall/ Japan, Kobe
Concert with the Kobe Chamber Orchestra
Conductor: Rüdiger Bohn
Piano part:
The program includes works by Ludwig van Beethoven

January 13, 2020 – start at 15:00

Kanagawa Concert Hall / Kanagawa Prefectural Music Hall / Japan, Kanagawa
Solo concert
Piano part:
The program includes works by Pyotr Tchaikovsky, Robert Schumann, Sergei Prokofiev

January 15, 2020 – start at 19:00

Baroque Hall /Kyoto baroque Hall/ Japan, Kyoto
Solo concert
Piano part:
The program includes works by Pyotr Tchaikovsky, Robert Schumann, Sergei Prokofiev

January 17, 2020 – start at 19:00

Asahi Symphony Hall / Hamarikyu Asahi Hall / Japan, Tokyo
Solo concert
Piano part:
The program includes works by Pyotr Tchaikovsky, Robert Schumann, Sergei Prokofiev

February 10, 2020 – beginning at 20:45

Milan Conservatory named after Giuseppe Verdi / Conservatorio Verdi / Italy, Milan
Solo concert
Piano part:
The concert program will be announced later.

February 21, 2020 - beginning at 19:00

Poznan National Philharmonic Hall / Poznan National Philharmonic Hall / Poland, Poznan
Concert with the Poznań Philharmonic Orchestra
Conductor: Ariel Zuckerman
Piano part:
, Gustav Mahler

February 28, 2020 – beginning at 19:00

/ Russia Moscow
Concert with the State Chamber Orchestra of Russia
Conductor: Alexey Utkin
Piano part: Eliso Virsaladze
State Academic Chamber Orchestra of Russia
The concert program will be announced later.

March 14, 2020 – start at 18:00

Minato Mirai Concert Hall /Minato Mirai Hall/ Japan, Yokohama

Conductor: Kenichiro Kobayashi
Piano part:

March 15, 2020 – start at 14:30

Suntory Hall Concert Hall, Main Hall /suntory Hall: Main Hall/ Japan Tokyo
Concert with the Japan Philharmonic Orchestra
Conductor: Kenichiro Kobayashi
Piano part:
The program includes works by Pyotr Tchaikovsky, Hector Berlioz

02 April 2020 – start at 19:00

/ Russia Moscow
Concert with the Symphony Orchestra of the Moscow Conservatory
Conductor: Anatoly Levin
Piano part:
The program includes works by Pyotr Tchaikovsky

April 7, 2020 – start at 19:00

/ Russia Moscow
Solo concert
Piano part: Eliso Virsaladze
The concert program will be announced later.

April 12, 2020 – beginning at 20:00

Big Hall / Russia, St. Petersburg

Conductor:
Piano part: Eliso Virsaladze
The program includes works by Pyotr Tchaikovsky, Modest Mussorgsky

April 17, 2020 – concert time to be confirmed

Akros Symphony Hall / Fukuoka Symphony Hall (Acros Fukuoka) / Japan, Fukuoka
Concert with the Honored Ensemble of Russia Academic Symphony Orchestra of the St. Petersburg Philharmonic
Conductor:
Piano part:
The program includes works by Robert Schumann

April 19, 2020 – concert time to be confirmed

Kumamoto Prefectural Theater / Japan, Kumamoto
Concert with the Honored Ensemble of Russia Academic Symphony Orchestra of the St. Petersburg Philharmonic
Conductor:
Piano part:
The program includes works by Robert Schumann

April 20, 2020 – concert time to be confirmed

Bunka Kaikan Concert Hall / Tokyo Bunka Kaikan / Japan, Tokyo
Concert with the Honored Ensemble of Russia Academic Symphony Orchestra of the St. Petersburg Philharmonic
Conductor:
Piano part:
The program includes works by Robert Schumann

June 14, 2020 – start at 19:00

Solo concert
Piano part: Eliso Virsaladze
The concert program will be announced later.

July 3, 2020 – start at 19:00

Small Hall / Russia, St. Petersburg
Concert with string quartet named after Taneyev
Piano part: Eliso Virsaladze
Taneyev String Quartet consisting of: Ilya Kozlov (violin), Denis Gonchar (viola), Dmitry Koryavko (violin), Dmitry Khrychev (cello)
The concert program will be announced later.

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Eliso Konstantinovna Virsaladze(born September 14, Tbilisi) - Soviet Georgian and Russian pianist, teacher. People's Artist of the USSR (). Laureate of the State Prize of the Georgian SSR. Sh. Rustaveli () and the State Prize of the Russian Federation ().

Biography

Early Years

In 1950-1960 she studied at the Z. P. Paliashvili Specialized Secondary Music School, in 1960-1966 - at the Tbilisi Conservatory with her grandmother A. D. Virsaladze, pianist and teacher, professor, People's Artist of the Georgian SSR (1960). In 1966-1968 she studied at the graduate school of the Moscow Conservatory, where her teachers were G. G. Neugauz and Ya. I. Zak.

Creative activity

The pianist's repertoire includes works by Western European composers of the 18th-19th centuries (Mozart, L. van Beethoven, F. Schubert, R. Schumann, F. Liszt, F. Chopin), as well as works by P. I. Tchaikovsky, S. S. Prokofiev and D. D. Shostakovich.

She made numerous recordings published by Melodiya, Russian Disk, Live classic, etc.

Since 1975 he has been a jury member of numerous international competitions, including those named after P. I. Tchaikovsky, named after Queen Elizabeth (Brussels), named after F. Busoni (Bolzano), named after Geza Anda (Zurich), named after Viana da Mota (Lisbon). ), named after A. Rubinstein (Tel Aviv), named after R. Schumann (Zwickau), etc.

Pedagogical activity

Since 1967 he has been teaching at the Moscow Conservatory (since 1977 - associate professor, since 1993 - professor). Professor at the Higher School of Music in Munich (1995-2011). Since 2010 - professor at the Fiesole School of Music (Scuola di Musica di Fiesole) near Florence (Italy). Gives master classes in many countries of the world.

Among her students are laureates of major international competitions B. Berezovsky, E. Voskresenskaya, V. Bronevetsky, J. Katsnelson, A. Volodin, D. Kaprin, M. Kolomiytseva, A. Osminin, A. Khachaturian, S. Khegay, L. Akopova, M. Nakhapetov, T. Chernichka, O. Maceratini, E. Mirkasimova, D. Clinton and others.

Charity

Eliso Virsaladze - member board of trustees Moscow charitable foundation assistance to Vera hospices.

Awards and recognition

• Laureate of the VII World Festival of Youth and Students in Vienna (, 2 prize, silver medal)
• Laureate of the All-Union Competition of Performing Musicians in Moscow (, 3 prize)
• Laureate of the II International Tchaikovsky Competition in Moscow ( , 3 prize, bronze medal)
• Laureate of the IV International Schumann Competition in Zwickau ( , 1 prize, gold medal)
• People's Artist of the Georgian SSR ()
• People's Artist of the USSR ()
• State Prize of the Georgian SSR. Shota Rustaveli ()
• State Prize of the Russian Federation in the field of literature and art () - for concert programs 1995-1999
• Robert Schumann Prize (GDR, )
• – But how does the book say that you were Irish and Scots?! .. Or is it all wrong again?
  - Well, why not? It's the same thing, it's just that my father came from "warm" Russia to become the owner of that "island" camp, because the wars never ended there, and he was an excellent warrior, so they asked him. But I always yearned for "my" Russia... I was always cold on those islands...
  “May I ask you how you really died?” If it doesn't hurt you, of course. In all the books it is written differently about it, but I would really like to know how it really was ...
  - I gave his body to the sea, it was customary for them ... But I went home myself ... But I never reached ... I didn’t have enough strength. I so wanted to see our sun, but I couldn’t ... Or maybe Tristan “didn’t let go” ...
  “But how does it say in the books that you died together, or that you killed yourself?”
  – I don’t know, Svetlaya, I didn’t write these books… But people have always loved to tell each other stories, especially beautiful ones. So they embellished it so that they stirred up the soul more ... And I myself died many years later, without interrupting my life. It was forbidden.
  - You must have been very sad to be so far from home?
  - Yes, how can I tell you ... At first, it was even interesting while my mother was alive. And when she died, the whole world faded for me... I was too small then. And she never loved her father. He only lived in war, even I had only the price for him that I could exchange for me by marrying ... He was a warrior to the marrow of his bones. And he died like this. And I always dreamed of returning home. I even saw dreams... But it didn't work.
  - Do you want us to take you to Tristan? First, we will show you how, and then you will walk by yourself. It's just…” I suggested, hoping in my heart that she would agree.
  I really wanted to see this whole legend “in full”, since such an opportunity arose, and even though I was a little ashamed, but this time I decided not to listen to my strongly indignant “inner voice”, but to try to somehow convince Isolde to “walk” on the lower "floor" and find her Tristan there for her.
  I really loved this "cold" northern legend. She won my heart from the very moment she fell into my hands. Happiness in her was so fleeting, and there was so much sadness! .. Actually, as Isolde said, apparently they added a lot there, because it really hooked the soul very much. Or maybe it was so?.. Who could truly know this?.. After all, those who saw all this did not live for a long time. That's why I so strongly wanted to take advantage of this, probably the only case, and find out how everything really happened ...
  Isolda sat quietly, thinking about something, as if not daring to take advantage of this unique opportunity that so unexpectedly presented itself to her, and to see the one whom fate had separated from her for so long ...
  – I don’t know... Do I need all this now... Maybe just leave it like that? Isolde whispered in confusion. - It hurts a lot ... I wouldn’t make a mistake ...
  I was incredibly surprised by her fear! It was the first time since the day when I first spoke to the dead, that someone refused to talk or see someone whom I once loved so deeply and tragically ...
  - Please, let's go! I know you will regret it later! We'll just show you how to do it, and if you don't want to, then you won't go there anymore. But you must have a choice. A person should have the right to choose for himself, right, right?
  Finally she nodded.
  “Well then, let’s go, Light One. You're right, I shouldn't hide behind "the back of the impossible", that's cowardice. And we never liked cowards. And I've never been one of them...
  I showed her my protection and, to my great surprise, she did it very easily, without even thinking. I was very happy, because it greatly facilitated our "campaign".
  - Well, are you ready? .. - Stella smiled cheerfully, apparently to cheer her up.
  We plunged into the sparkling darkness and, after a few short seconds, were already “floating” along the silvery path of the Astral level...
  “It’s very beautiful here ...” Isolda whispered, “but I saw him in another, not so bright place ...
  “It's here too... Just a little lower,” I reassured her. "You'll see, now we'll find him."
  We “slipped” a little deeper, and I was ready to see the usual “terribly oppressive” lower astral reality, but, to my surprise, nothing of the sort happened ... We ended up in a rather pleasant, but, really, very gloomy and what something sad landscape. Heavy, muddy waves splashed on the rocky shore of the dark blue sea... Lazily “chasing” one after another, they “knocked” on the shore and reluctantly, slowly, returned back, dragging gray sand and small, black, shiny pebbles. Farther on, a majestic, huge, dark green mountain was visible, the top of which shyly hid behind gray, swollen clouds. The sky was heavy, but not intimidating, completely covered with gray clouds. Along the shore, in places, stingy dwarf bushes of some unfamiliar plants grew. Again - the landscape was gloomy, but "normal" enough, in any case, it resembled one of those that could be seen on the ground on a rainy, very cloudy day ... And that "screaming horror" like the others we saw on this "floor" of the place, he did not inspire us ...
  On the shore of this "heavy", dark sea, a lonely man was sitting in deep thought. He seemed still quite young and rather handsome, but he was very sad, and did not pay any attention to us who came up.
  - My bright falcon ... Tristanushka ... - Isolde whispered in a broken voice.
  She was pale and frozen like death ... Stella, frightened, touched her hand, but the girl did not see or hear anything around, but only looked at her beloved Tristan without stopping ... It seemed that she wanted to absorb every his line... every hair... the native curve of his lips... the warmth of his brown eyes... to keep it in his suffering heart forever, and perhaps even carry it into his next "earthly" life...
  - My light ice ... My sun ... Go away, do not torment me ... - Tristan looked at her in fright, not wanting to believe that this was reality, and closing himself from the painful "vision" with his hands, he repeated: - Go away, joy my... Go away now...
  Unable to watch this heartbreaking scene any longer, Stella and I decided to intervene...

- (b. 1942), Russian and Georgian pianist, People's Artist of the USSR (1989), State Prize of the Russian Federation (2000). In 1959, after graduating from the Tbilisi Conservatory, she became its soloist. In 1962 she won the third prize at the Tchaikovsky Competition in Moscow... encyclopedic Dictionary

Virsaladze, Eliso Konstantinovna- VIRSALADZE Eliso Konstantinovna (born in 1942), Georgian pianist. The popularity of Virsaladze was gained by a deep and subtle interpretation of the works of V.A. Mozart. The repertoire also includes music by romantic composers. … Illustrated Encyclopedic Dictionary

VIRSALADZE Eliso Konstantinovna- (b. 1942) Russian and Georgian pianist, People's Artist of the USSR (1989). Since 1959 she has been a soloist of the Tbilisi, since 1977 the Moscow Philharmonic. Since 1967 he has been teaching at the Moscow Conservatory. 1st prize at the International Competition. R. Schumann (Zwickau, ... ...

Virsaladze Eliso Konstantinovna- Eliso Konstantinovna Virsaladze (born September 14, 1942, Tbilisi) Georgian and Russian pianist, People's Artist of the Georgian SSR, People's Artist of the USSR. Contents 1 Early Years 2 Creative activity... Wikipedia

Eliso Konstantinovna Virsaladze- (born September 14, 1942, Tbilisi) Georgian and Russian pianist, People's Artist of the Georgian SSR, People's Artist of the USSR. Contents 1 Initial years 2 Creative activity ... Wikipedia

VIRSALADZE- Eliso Konstantinovna (born 1942), Georgian pianist. The popularity of Virsaladze was gained by a deep and subtle interpretation of the works of V.A. Mozart. The repertoire also includes music by romantic composers ... Modern Encyclopedia

Virsaladze- (Georgian ვირსალაძე) Georgian surname. Famous carriers: Virsaladze, Anastasia Davydovna (1883-1968) Georgian Soviet music teacher. Virsaladze, Simon Bagratovich (1909 1989) soviet artist stage designer. Virsaladze, ... ... Wikipedia

Virsaladze- owls. pianists. Anastasia Davidovna V. (29 X (10 XI) 1883, Kutaisi 5IX 1968, Tbilisi) people. art. Cargo. SSR (1960). In 1909 she graduated from the St. Petersburg Conservatory in the piano class. A. N. Esipova. From 1921 she taught at the Tbilisi Conservatory; in… … Music Encyclopedia

Virsaladze- pianists, teachers. Anastasia Davydovna (1883-1968), People's Artist of the Georgian SSR (1960). A student of A. N. Esipova. Professor at the Tbilisi Conservatory (since 1932). Her granddaughter and student Eliso Konstantinovna (b. 1942), People's Artist of the USSR (1989) ... encyclopedic Dictionary

Virsaladze- Virsaladze, a family of Georgian pianists. Anastasia Davidovna (1883-1968), People's Artist of the Georgian SSR (1960). A student of A. N. Esipova. Professor at the Tbilisi Conservatory (since 1932). Her granddaughter and student Eliso Konstantinovna (b. 1942), folk ... ... Big Encyclopedic Dictionary