Almost every opera singer in Kyiv strives to get into the company of the National Opera House. But Olha Chubareva chose a different path, she became a soloist of the National Philharmonic Society and eventually benefited from it. The repertoire of classic theater assumes stability and uniformity, while working at the Philharmonic Society gives Chubareva the opportunity to try her own hand at various music genres from classical opera to contemporary pop songs, from serious academic avant-garde to jazz.
This time, Chubareva decided to experiment. She performed arias from operas by Giuseppe Verdi, Giacomo Puccini, Vincenzo Bellini, and Franz Lehar that formed the first part of the music night, accompanied by the National Academic Orchestra of Folk Instruments under the direction of Viktor Hutsalo (maestro reduced the orchestra to the classical structure of chamber orchestra with string and woodwind group). The second part featured Ukrainian folk songs and masterpieces of Ukrainian pop culture of the second half of the 20th century (songs by Ihor Poklad, Myroslav Skoryk, Platon Maiboroda, and others) in jazz arrangements of Artem Pohorelov.
In such concert projects it is crucial to ensure the integrity of the perception of the program, to convey to the audience the “unity in diversity,” and the fact that not a single line can be erased from the world culture. With the idea of the project, reinforced by her own brilliant performance, Chubareva as if tried to convince the audience in that, if there was no Italian opera of the 19th century, the pop singing culture in Ukraine in the 20th century would have not come into being. The interrelation between everything was also lined up in the musicological comments of the host of the night Svitlana Koretska: in art, as in life, it is almost impossible to distinguish between “high” and “low,” “your own” and “foreign” for the simple reason that one cannot exist without the other. Such visible and invisible connections exist not only in the artistic space, since the creative work of each individual is influenced by everything with no exception: place of birth, communication with teachers, close environment, hobbies, life success, and personal drama…
Ms. Chubareva was there a person in your life about whom you can say that he or she opened a singer in you?
“Perhaps, my singing career was predicted by my choir teacher at the music school Nadia Honcharova. There I was a member of an ensemble, I liked being a soloist, but did not enjoy singing in a choir and because of that I even wanted to quit music school! I did not hear harmony in choral singing back then… And then Nadia Honcharova invited me to go to audition to Poltava Music School. To be honest, at that time I did not plan to become a professional singer. I liked sciences, while music, which I was really good at but it came so easily, was rather a hobby for soul, rather pleasant but not serious activity.”
Voice is the most unique musical instrument but, at the same time, it is the most fragile. In you opinion what is more important in the process of “polishing” it: to develop strong sides of it or to use all strength and resources to “pull up” the weak ones?
I sing with almost all the philharmonic orchestras of different instrumental ensembles, with chamber, symphonic, and brass band orchestras. Philharmonic Society provides me with complete creative freedom. Here every performer can build his own customized plan for himself, can chose his own direction, try out everything possible – from opera scenes to jazz standards.”
“Without a doubt, you should try to fix the part that works poorly. But it is also important to remember that the flaw is not always a bad thing. It is often possible to use it to your benefit, make it a feature of your individuality. Let’s look, for example, at Maria Callas. Her contemporaries had so many questions about the sound of her voice: some did not like its twang, others had concerns about the ‘extra’ overtones on the verge of defect. But it is precisely because of this Callas’s voice is so recognizable! No one can sing the way she sang. Every artist must know his niche and know for sure that he is good at it. One could fight his flaws all his creative life – torturing yourself trying to overcome what’s in you. And then it may turn out that your ‘golden’ spot is in totally different area, in different kind of music… For example, you cannot compete with Cecilia Bartoli in performing baroque music, where this singer reaches the absolute heights. Her singing technique is on the verge of fiction, it is simply unbelievable!”
Usually people become professional opera singers in middle age, when the natural vocal apparatus is formed…
“In Rivne Institute of Arts I had a very good piano teacher. She focused a lot on classes with me and even suggested that I should go study at Piano Faculty of Odesa Conservatory. When I came to Kharkiv I came up with an idea to apply simultaneously to two departments, but people I knew there talked me out of it since piano and vocal studies require a lot of time and energy and between two stools one sure falls to the ground.”
One of the most difficult periods in life of every musician comes after graduation, when they have to search for their own path, make choices, and learn the rules. You too had to go through this, right?
“I am not one of those who easily lose heart. Because of circumstances and financial difficulties common to all, along with performing abroad I have mastered a new skill – I took up engraving on metal (my parents have a jewelry business). I must say that it went well, I even became a leading printmaker in Kharkiv, worked for six years as an entrepreneur. I mainly made inscriptions on rings, edged weapons, rifles, and sabers. Thanks to this I could get a bank loan to purchase an apartment and paid it off rather quickly.
“Then I got lucky. During one of the performing competitions, where I was a member of the jury, Kyiv delegation asked me to sing a piece and after that I got an invitation to work in Kyiv Philharmonic Society, where I work since 2006-07 season. After that I had many offers to go to work and live abroad. I even got an invitation to attend graduate school and work on both contracts and permanent basis. Two sides fought inside of me. On the one hand, I realized that Western conditions are much more attractive for creative people, classical music is highly valued there, opera singers feel needed. On the other hand, one should not flatter oneself since there are difficulties and negative sides to every place. We will always be immigrants and foreigners there. In Ukraine there are five conservatories and a number of young singers graduate from them each year, while our opera theaters and philharmonic societies cannot employ them all. Professional career of a Ukrainian singer is a lottery ticket. Unfortunately, fine vocal skills, good training, and appropriate appearance do not guarantee that everything will be brilliant. However, I am sure that thoughts materialize and dreams do come true. You only have to know how to take advantage of the circumstances.
“I do not want to indulge in breast-beating about patriotism, but in Ukraine I feel like I am being at home. I really wanted to grow professionally, to be needed and popular in my homeland.”
Are you satisfied with the conditions offered to you by the Directorate of the National Philharmonic Society?
“I sing with almost all the philharmonic orchestras of different instrumental ensembles, with chamber, symphonic, and brass band orchestras. Philharmonic Society provides me with complete creative freedom. Here every performer can build his own customized plan for himself, can chose his own direction, try out everything possible – from opera scenes to jazz standards. National Philharmonic Society has the best acoustic hall in the entire country, where hundreds of brilliant musicians of the past and present performed. This also spurs to self-improvement, makes you want to build up your forces.”
