6 years ago, she conquered the mentors of the show “Voice. Children”, becoming a real universal favorite in her native Tatarstan. Today, 20-year-old Saida Mukhametzyanova teaches languages at Kazan Federal University, works at the Kazan Philharmonic and still dreams of making Tatar culture known all over the world. In an interview with “BUSINESS Online” Mukhametzyanova told why she will not become a “parquet singer”, how her classmates and teachers relate to her star status, and how much it costs today to record and promote one song.
A vocalist is not only one who sings, but also one who understands general musical literacy.
– Sayida, tell me honestly, does it irritate you when you are asked about participating in the children’s “Voice” again? After all, it was in 2015 …
– No, I am always pleased to talk about the ” Golos (Voice)”, how everything happened. But you are right in the sense that you need to go forward. I was offered to go to the adult “Voice” so that they would have forgotten that child Saida. But while I myself do not want to participate in the adult “Voice”, I do not see any sense for myself. And I rarely watch it myself now.
– Doesn’t it seem that the Russian “Voice” has already passed the peak of its audience popularity?
– The mentors changed, that’s why I passed. This is one of the reasons.
– Do you think if the “golden composition” (Gradsky, Agutin, Pelageya, Bilan) had not changed, everything was just as cool from season to season?
– I have asked many people, and people say that if the former team of mentors remained, it would be more interesting to watch. The advice of Gradsky alone is worth something! Many vocalists were waiting with great interest for what Gradsky and other mentors would say, I think it made a lot of sense.
– Do you yourself live today by something else besides music?
– Today I study in two places. Firstly, this is the Institute of International Relations of the Kazan Federal University, the Faculty of Oriental Studies, the direction “Economics and Politics of the Turkic Peoples”, I study Turkish, Arabic and English. In addition, I study at the Aukhadeev Kazan College of Music, continue to engage in creative work, I began to understand more that I need a musical literacy, it allows me to understand some things. Because a vocalist is not only one who sings, but also one who understands general musical literacy.
– And what is your priority: music and creativity or “peaceful” professions?
– I think that one does not interfere with the other. Let’s say that to sing in Turkish, knowledge of this language helps. To sing in Arabic is the same, and I already, for example, understand how words are pronounced, some sounds. So I think it’s all connected, languages and creativity. I just chose what can be knitted.
– So you are interested in everything …
– Yes, of course, now we need to gain knowledge in different areas, because any knowledge will still be needed in the future.
I work at the Kazan Philharmonic
– How many gigs do you have a month today? Or is this figure changing?
– It is changing a lot, especially now, because the pandemic continues, and the number of performances has decreased. In Tatarstan, the concert life has not yet fully resumed, so I cannot name the exact number.
– Happened that in a month not a single participation in concerts?
– Happened, but not now. In addition to studying, I also work at the Kazan Philharmonic, so I have a sufficient number of performances, but nevertheless I try not to take a lot, since I study in two places. You have to leave time for study.
And so on the line of the Philharmonic there are also government speeches, for example, I spoke on May 9, there was a celebration with the President of Tatarstan in the “Pyramid” for veterans.
– Were you invited to work at the Kazan Philharmonic?
– I didn’t mind, this is an experience, especially since I deal with such eminent artists. Any experience will not hurt, I am very glad that I work there.
– “Aksakals” give advice?
– They don’t give advice, but when you watch them perform, you can already use it as an experience. How to go on stage, how to present yourself. That is, you just look, observe and draw conclusions.
– Which of your colleagues at the Philharmonic do you especially pay attention to?
– Rustem Asaev, Reseda Sharafieva, Alina Sharipzhanova … There are many professionals there, I’m afraid they’ll be offended if I don’t name someone.
Few understand the classics, only the intelligentsia, those who grew up on this
– Do you have your own big solo program?
– In general, we can say that there is. When I had to send my repertoire to work in the philharmonic society, I probably ended up with about 100 compositions with folk and composer songs. In addition, we work very closely with various composers, they even write songs for me, and we want to make an album with Iskander Abyev Mustafin, with whom we are actively working.
– Will it be no longer your debut album?
– I had an album, it included both folk songs and religious ones, including pop compositions. We just divided them then into blocks.