ONE MORNING WITH THE GREATEST

Incredible People. Incredible Lifestyle.

KASAA LIFE

Dmitry Nikanorov Tenor Дмитрий Никаноров

Dmitry Nikanorov Tenor Дмитрий Никаноров Тенор KASAA

Opera has been moving people for a long time. More than 400 years ago, during the Renaissance in Italy, opera emerged as one of the most admirable audio and visual arts ever created.
Throughout the last 400 years, opera aficionados have been captivated by a number of writers. Our the most favourite Gioachino Rossini's "The Barber of Seville" (Il Barbiere di Siviglia) , the same goes for Gaetano Donizetti's "L'elisir d'amore" or Tchaikovsky's "Onegin," which was performed this year all over the world multiple times to honour the 225th anniversary of its author's birth, Alexander Poushkin.

KASAA could not pass up such a remarkable date, and this month we met with our friend, the prominent young tenor who performs Lensky and many other lead roles on one of the world's renowned opera stages. During our tennis match, we had a discussion with Dmitry Nikanorov about Lensky, the world of opera, the lifestyle of opera singers, their secrets, backstage stories, and much more, which you can read about in our November's KASAA COVER STORY.

Photography VICTORIIA MARKOVA / SERGEY RODIONOV / Videography EVAN SEGA / Producer MILA PROST

KASAA LIFE: Could you tell us how you typically start your day, Dmitry? Does your daily routine differ from that of a regular person and that of an opera singer?

DMITRY: I commence my day with a refreshing glass of water and a cup of Americano or lungo coffee for breakfast. My breakfast consists of English bacon, cheese, tomatoes, and mushrooms. I fry all the ingredients on a griddle. I arrange the mushrooms, bacon, and tomatoes in a particular sequence. I pound two eggs and add salt, paprika, and seasonings to my scramble. I avoid using cream or milk because they can affect the vocal cords.

What is the must - is a black bread with butter. Whenever I visited my grandmother as a child, she would always serve me butter, which I considered the most delectable food I had ever encountered.

This is the typical day of my professional life.

Nothing distinguishes my concert day from any other. Occasionally, I am able to view certain news channels, news programs, and YouTube news channels. And, in essence, everything is identical. The sole distinction I possess is that I never engage in negotiations during the initial half of the day. I don't answer or make calls. Unless I anticipate a crucial call. I remain muted in the morning on the days that I have an orchestra rehearsal or performance. I refrain from engaging in conversation, returning calls, or recording voice messages with anyone. Otherwise, everything undergoes a transformation after four o'clock. To put it another way, the morning serves as a period for introspection, and we must observe each action as a ritual.

KASAA LIFE: Are there any rituals you follow?

DMITRY: While discussing my rituals, allow me to share some personal stories with you. I may be tardy for morning rehearsals. I will not depart the house until I have completed all of the rituals that I previously discussed. For now, the only rationale I offer is that failing to complete this task will make my rehearsal ineffective. I understand that if I don't connect with my inner self, I will only be moderately productive and useful, resulting in a very low level of efficiency. I dislike hustle, rushing, and extreme haste. I find myself becoming perplexed, and it serves no purpose.

Paul Goodwin, (British actor and teacher Paul Goodwin, founder and director of The Shakespeare Edit (London) - Edit.), once asked, "Dmitry, why are you consistently tardy?" He advised me that in order to arrive punctually, it was necessary to leave home earlier. I concurred with him; however, I refrained from providing an explanation.

Well, I participated in all the rehearsals and stood out from the rest not because I was better, cooler, or didn't care, but because I was a calm soul and thoroughly prepared for work every time I was late.

At the conclusion of the two-week rehearsal period, I was approached by director Paul Goodwin. He asked me, How do I feel about the role of Malvolio? " And this was a dramatic performance of William Shakespeare's "12th Night." I explained to him my position on this character, on this person, and what I think about him, and he said, okay. All the guys—the actors who wanted to get this role—came on time every day, did something in advance, and did not get the role; he gave it to me. It's not because I excelled, but rather because I consistently showed up with a steadfast demeanor and unwavering confidence in my expertise. Paul simply observed me for the entire two weeks and assigned me to the role without making any additional comments. Here is a story about cherishing my rituals.

Here is another story. I worked at the Vakhtangov Theatre during my studies, where we learned a basic rule: five minutes of courtesy. Everyone, including the director, manager, and artists, will always wait 5 minutes, regardless of their position. The inhabitants of Vakhtangov taught me to be calmer and more patient and to recognize that life is a process. You can't simply toss away your entire existence, from the moment you wake up until you enter the theater. Your rehearsal starts at home. You have already begun your day by waking up in bed. You arrive at rehearsal carrying the burden of spending these few hours alone with yourself.

KASAA LIFE: Tell us about your everyday diet. Does your daily diet differ from the days you participate in concerts?

DMITRY: Starting my day with a glass of water is my routine. Aside from coffee, this is perhaps the most important thing that I always make an effort to retain. I prepare everything myself, try not to buy anything, and always carry food with me.

Despite having a strong sweet tooth and a genuine enjoyment of sweets, I refrain from consuming flour products and steer clear of sweets. However, I do enjoy sweets that are of the highest quality. The nutrition of an opera singer determines 50% of the health of his voice apparatus.

Many people are unaware that a singer's voice strongly correlates with the foods they consume. Every opera singer consumes a variety of products, each of which has its own unique effects on his stomach. The intimate connection between the esophagus and the vocal system is the primary cause. If you don't eat at the appropriate times or choose the wrong food, you may develop various issues with your gastrointestinal tract. Opera singers refer to it as reflux. At this time, the esophagus transports bile, an acid originating from the stomach, to the larynx. As a result of eating the wrong food right before going to bed at night, you can easily cause your vocal cords and mucous membranes to become damaged, which will result in a hoarse voice. In the best-case scenario, it is nothing more than phlegm and reflux, something that feels like a lump in your throat, and you are at a loss for what to do about it. In most cases, we make use of a variety of treatments. At the theater, we always have a phoniatrist on duty, and in addition, every vocalist has his or her own phoniatrist.

My high voice requires continual surveillance by a phoniatrist as well as a consistent diet. Both of these aspects of my existence are essential to my survival. While there aren't many restrictions, the items that pose the greatest risk are low-quality sweets. This category encompasses foods that contain dairy, alcohol, seeds, and nuts. This category includes hot, fatty, and heavy foods. Any stomach-hurting substance may also harm the voice. Generally, vocalists find mildly salted red salmon particularly beneficial for their vocal cords. Consuming a piece of fish with butter in the morning can be beneficial to a certain extent. This significantly benefits the vocal apparatus.

When it comes to plays, concerts, and other performances, it is imperative that you consume anything between three and four hours before the performance begins. On the day of the performance, my day typically goes like this: I wake up, have breakfast, get ready, arrive at the theater, eat at four o'clock, which takes 15 minutes, then go to make-up and, of course, drink a large quantity of water. This is because you require something to sustain the sound. In other words, we can be likened to athletes. One cannot sing without consuming food. The majority of the time, this is a piece of beef for me.

KASAA LIFE: Why singing and acting? Why did you choose this profession and how did it all begin?

DMITRY: My mother, who has devoted her entire life to teaching, is the person who has been the most influential teacher and mentor, and she has allowed me to make my own decisions and mistakes throughout my life. I can say this with a high degree of certainty now. Perhaps it is because of her that I find myself in the position I am in right now. She is a really wise lady. I am now in possession of what I have accomplished. Not only did it begin with my early steps, but it continued to permeate my entire existence and development, and it continues to do so today. Moreover, it is still taking place. And now, to a different degree, a mentor, a person to whom I can open up, express absolutely everything that I think, and, let's say, breathe freely about it all. In addition, this is a really valuable item, and it is most likely the most important thing that I possess at the moment. As a result, my mother never coerced me into going anywhere and always gave me the option to choose no matter what age I was.

It is quite clear to me that at the very end, I said to my mother, "Let's go; will we go again to where my brother Maxim sings?" I remember this very clearly. When we went together to say goodbye to him, I told him that I wanted to go as well. In addition, she sent me along with him, and ever since then, I have been studying. Furthermore, I delivered my first performance at the age of three.

When I was three years old, I gave my very first performance. "Helpers" was the song that appeared. We sang this song together, my brother and I at the government school, where mom used to work. The music instructor spent a significant amount of time assisting us in preparing this song. This is how it sounds:

I wondered day and night,

How I could help my mother:

So as not to raise dust,

I won't sweep.

I thought day and night,

How I could help my mother.

After all, cooking soup, roast -

This is not a man's job.

I thought day and night,

How I could help my mother.

I'm ready to water the flowers,

But we don't have flowers.

I thought day and night,

How I could help my mother.

I washed the pants myself -

no nitpicking,

But where did the holes

appear on the pants!

I thought day and night,

How I could help my mother.

My mother washed the floor in the house,

I went to play football.

This was my very first performance, which was recorded on videotape using old cameras. I even recall the day I spent preparing for this performance. Everyone understood that I have a talent for singing, just like my brother has a wonderful voice, plays a wide variety of instruments, and is a highly talented individual. Regrettably, despite possessing all the necessary skills, he chose not to pursue a musical career. But me, the stage has always attracted me, that after this performance life began to spiral out of control, filled with constant concerts and vocal competitions. (Smiling).

My frequent performances at local and regional concerts earned me the title of "the city's star" in the Tver region, where I was born. All my teachers assert that it was well-deserved. In other words, no one has ever simply bestowed medals upon me. Everything that happened in my life was the result of a tremendous amount of work. Being a singer is not an effortless profession. My mother sometimes likes to tell me these stories: when I could have up to two or three concerts a day, and despite the temperature and some ailments, I still went and said, "No, I'll go". She often enquired, "Dmitry, are you sure you'll go?" She always gave me a choice.

When I first took the stage, the most important thing I demonstrated to myself was that I am ultimately responsible for all that I'm doing. In my opinion, there seems to be a significant lack of personal, professional, and human responsibility in our current era. People most often cannot take responsibility for their actions. The most significant issue is that they lack the knowledge and skills to take responsibility for their actions effectively.

KL: How long are rehearsals before solo concerts? How do you recover from them?

DN: I am among those in the theater who consistently advocate for the proper allocation of rest and rehearsal time. This is very important. It is crucial to pay close attention to every detail. Therefore, general rehearsals typically last for three hours, while production and premiere rehearsals require a full day's commitment. You come to the theater at 11 a.m. and leave at 11 p.m.

The nature of the production determines whether there is a long hour break or not. If the event is a production, rehearsal typically spans an entire day. If it is rehearsals or ongoing performances, then it is 3 hours, 4 hours, 5 hours, or 6 hours, depending on that. Introductions to large parts typically take place over a period of 4 to 5 days, sometimes without orchestral rehearsals and sometimes with orchestral rehearsals. For me, the fastest turnaround time was either 4 or 5 rehearsals.

This is quite a little because the performances are huge, the performances are full, requiring full acting dedication, musical knowledge and knowledge, and content, and this is always difficult, but this is always pleasant because it is fast, and you prepare yourself as much as you need. There are also lessons. My teacher's name is Svetlana. Typically, a lesson at the theater lasts an hour, involving just the two of us, a singer and a pianist. You don't realize how quickly time passes, as you diligently search, study, and sing. Lessons with Svetlana can extend over several hours. This is standard practice.

Rehearsals are different. I loathe lengthy rehearsals in front of an orchestra because they limit the use of your voice and can be nerve-racking, resulting in a variety of circumstances. I have practiced for an hour and a half, but when I go to a concert, everything changes. And the instrument is positioned somewhat differently, the auditorium is already sounding different, and you are in a different state. I don't like big rehearsals before concerts; instead, I try to focus on the voice and the music. You have a clear grasp of your performance before you even step onto the stage. Indeed, even before performances, the tuning procedure is extremely customized. Everything depends on your voice, including its status, function, and tone.

Actually, even before the shows, tuning is quite personal. Your voice really makes all the difference—it's all about how it feels, how it functions, and how it sounds at this moment. Sometimes, all you really need to do is tweak those head resonators and focus on your breathing, and that's it. Sometimes, you really feel that the voice device is clamped. It’s all about adjusting your breathing and just letting the sound flow out freely. There are times when the night before a performance gets really intense. We end up practicing right up until the last minute, sometimes until 11 PM, going over our parts, working on our voices and singing for three or even four hours.

The next day, with our voices already warmed up from the previous night, all you really need to do is eat, take a few deep breaths, and check the resonators. There's always a bit of space, and you really need to figure out how much to give before the rehearsal. I’m not really into singing much before rehearsal. You really need to focus on moving up, and that means you’ve got to go through the transition notes. Every singer has their own unique transition notes. For me, it's ```F, Fis, and G```. I really need to focus on this line, getting in sync with the main register and the upper register. For me, it’s all about building everything from the top, since that upper range is what really matters for a tenor—it's like my bread and butter.

I usually find it pretty tough to mingle after a performance or concert. Absolutely, I get that this is just part of the job, especially when it comes to banquets. Banquets these days aren't just about kicking back and enjoying good food; they're really more focused on tackling problems, addressing issues, and looking ahead to future opportunities. What are some good ways to unwind after a performance? You know, most of the time I just get home and lie down. It’s pretty much my go-to move. Sometimes I feel like grabbing a bite, especially if I’m in a good mood—I might order something. But honestly, I usually just like to chill at home, and yeah, loneliness is just part of my vibe.

It feels like about half of my life is just filled with loneliness. Loneliness can actually have its perks. It's important to spend some time just with yourself, especially since when you're on stage, you really pour everything you have into it. You just peel off your skin. It's really crucial to take care of yourself after that, and you might feel the need to protect yourself a bit because it can leave you feeling exposed. So, after some performances, I find that I either like to be by myself or head out of the city for a bit. Out in the open, away from the hustle and bustle of the city.

KL: You take on some amazing parties like Lensky, Count Almaviva, Nemorino, and Lindoro, plus a bunch of other fantastic pieces. What kind of roles do you find yourself dreaming about?

DMITRY: I have quite a few roles in my repertoire. My first major role was that of Lensky. It was a brilliant debut, and I will cherish these feelings and memories for the rest of my life. This is the music that lives inside you. After Lensky's death, I vividly recall this moment of silence. This indescribable amazing feeling inside. I remember walking out to take bows, remembering the hall, the orchestra, and everyone who stood on stage. I vividly recall my initial performance in this role; it remains etched in my heart and will always be a part of me.

Music is boundless; Tchaikovsky's genius is boundless. Every bar reminds me of how Svetlana and I prepared the part; each note is a discovery; each note is an event. Tchaikovsky wrote Evgeny Onegin absolutely brilliantly. In this simplicity, it would seem, there are so many secrets to perception and familiarity, and probably the main important aspect in the profession of an opera singer is to be able to see, hear, and read music, and in addition to performing, everything is in music, from the image to the character, from why exactly the tonal plan is what instruments are playing in the orchestra at this moment.

The composer always has a purpose in mind when writing anything. There is never a random tonality; there is never a random instrument; there is never a random interval; a random move; or a change of keys. The composer infused everything he desired for the hero into the music. It is important to be able to read musical notation. Of course, I have someone by my side, who assists me and walks this journey with me. And yes, my first part was Lensky, then the most significant part was the part of Count Almaviva from Rossini's The Barber of Seville.

Indeed, this could be considered the inception of my career. After The Barber of Seville, I secured roles such as Robinson Crusoe in Jacques Offenbach's comedic opera. I was able to sing the part of Lindoro in Gioachino Rossini's opera "L'Italiana in Algeri" seven days after the opening. I quickly wrapped up my season by singing Nemorino in Gaetano Donizetti's opera "L'elisir d'amore." In a broad sense, this serves as the foundation. That being said, I haven't had the chance to sing Don Giovanni, the opera by Mozart, and many others I would like to perform. I still have a long way to go. Additionally, I must perform all the minor roles in ensemble theater. I'm always willing to take on small parts because you never know how life will turn out.

You need to be ready at all times. You should take advantage of this chance, which could come up at any time. That's why I'm willing to play any part. Without a doubt, I really want to sing in one of the most beautiful musicals. Bizet's "Les Pêcheurs de Perles ". I want to sing those parts because the music in this opera is lovely and difficult. The next part is "Tonio" from "La fille du régiment ," an opera by Gaetano Donizetti. The cavatina that says, “Ah, mes Amis” in this part is one of the hardest. It requires a high level of mastery. Not many people can sing this aria because it is so hard.

Puccini Bohème, part of Rodolfo, is still one of my favorite works, probably because it was one of the first I heard. The music is breathtakingly beautiful. It is also considered a calling card.

The other one is Cinderella of Rossini, and the part of Lykov in "The Tsar's Bride." This is indeed an experiment, and only a select few have agreed to participate. That season marked my debut. Because I possess the voice of a tenor leggero, or, as some say, a lyric tenor, they call me an ultra-lyric tenor. The voice possesses an extreme top and softness.

Regrettably, in the realm of opera, there appears to be a deficiency in sound culture, performance culture, quality, and the cherished elements that were once simply praised. Each note, whether it's the attitude toward sound, the beginning of the sound, how you fill it, how you work with the phrase, or how you work with breathing, holds significance. Regrettably, this situation has changed. Now, the world has become so universal that many people no longer value individuality. Regrettably, the opera, like many other aspects of life, is currently enduring extremely challenging times.

KL: Tell us about the times when you were young. What did Dmitry dream about when he was five, ten, and fifteen? Could you describe a normal day and weekend for you?

DMITRY: It all started when I was just a kid. Whenever my mom tucked me in at night, she would read me some intriguing books. I was a really curious kid, so I always paid close attention, asked her to read something again, and laughed a lot. My mom took some time to figure out the best way to get me to bed, but she eventually got the hang of it. She began reading geometry and algebra textbooks to me, and I fell asleep much faster.

Music has always been a big part of my life. I've always dreamed of singing and performing on stage. The house was filled with a variety of music. I recall requesting a player with headphones for my birthday, which I could use to connect to my computer and download music. I vividly remember my first tape player and music center, where I could insert CDs.

When I was five, I eventually learned how to use my home music player. At such a young age, I also discovered fairy tales, various types of music, and songs on records. Robertino Loretti, an Italian singer who gained worldwide fame as a teenager in the early 1960s, likely composed some of the earliest classical music pieces I encountered. As a child, Robertino Loretti sang in a high voice, but as he grew into adulthood, he transitioned to a baritone tenor voice. Then came the tapes, which required constant rewinding, first with a pencil and later with an old record player. I've listened to all of Oleg Gazmanov and Yuri Antonov's works. I explored tapes, discs, records, and any other audio formats available in my home.

In the past, I would often attempt to mimic the vocal performances of the singers on stage. I was always belting out tunes and vibing to music. I used to record my voice frequently. I was checking out all the musical shows on TV. Doing housework was way more enjoyable when you've got some music playing in the background. I used to sing along with Gazmanov, Kirkorov, Antonov, Pugacheva, and Leontiev while washing the floors.

As I got older, I stumbled upon songs by vocal-musical bands like Flowers and Samotsvety. I was always searching for the right music to play at events, competitions, or city song programs. I was browsing through a multitude of amazing foreign, pop-classical, dance, jazz, and rock music available online. I noted all the genres that I could potentially be interested in. My discovery of music captivated me, as I absorbed every detail and transformed it into a song that was uniquely my own. I felt as though I was the expert on stage.

I remember going to bed with my music player, just popping in a tape and drifting off to some tunes. Music really became a part of me back then.

Later, when I got older I earned an award at the Inter-regional Youth Festival of Author's Songs on Seliger in memory of Y. I. Vizbor "Open Winds" . It was very meaningful to me.

When I was in my tenth year at school, I discovered my second passion: basketball. It's one of my favorite games, and I've spent some of my happiest years playing it.

Competitive sports like basketball helped shape my personality. They also helped me gain strength and determination. Similar to my singing, I realized that I was making significant progress. I knew I could do better, so I pushed myself higher and beyond. I desired more, experienced significant fatigue, and ultimately felt wonderful.

I put my all into singing and basketball when I was a youngster.

Throughout the week, I dashed home from school, grabbed some lunch, tackled as much homework as I could, and then sprinted off to music school. In the evening, I dashed home from music school, switched up my clothes, and sprinted over to basketball. I used to come back home around 10 p.m. and wrapped up the last bit of my homework. On a regular day, I didn't have any competitions, events, trips, or shows happening at school or around the city. I went to school for music and sports; I also sang at the community center, both solo and with others. Weekends, you know, like Saturday or Sunday, were the only times I had some free time. My mom and I would hit up the market on those days. It was wonderful to just stroll about and chill out. Honestly, looking back, I had the best childhood anyone could ask for.

Though there were no cell phones or gadgets, parents could still call us from windows. As kids we were playing with a ball that cost 100 rubles that we bought at the sports store, we were enjoying simple things.

Back in my younger days, I really felt inspired when I could chase my own interests and dreams instead of just going along with what everyone else was doing.

KL: In The Barber of Seville's second act, your character plays the piano well. What kinds of instruments do you play?

DMITRY: (Smiles). Yes, I play the piano. I recall the first time we attended music school, when we had to select an instrument. We visited all the classes, where they demonstrated the instruments, and I decided to play the piano. I vividly recall my mother asking, "Dmitry, are you sure you want to play the piano?" Maybe a balalaika? My older brother plays the balalaika, so we have one in our family. I said, no, mom. She said, M

Maybe a guitar? The family also owned a guitar. I said, "No, mom, I want the piano." As you might have guessed, we didn’t have a piano in the family. Since I’m a child of the 90s, I remember my mother borrowed money from my godfather, and she went and bought a synthesizer.

Sincerely, I attended school for three years after completing my comprehensive education, during which I studied the piano. After school, I used to go to the music room and play the piano to prepare for music school. I constantly play for myself because the piano is the basis for opera singing. You warm up, learn the part, and know all the piano keys and subtleties. In general, every opera singer needs to know how to play the piano.

Another instrument I play is the guitar. I once participated in the inter-regional youth festival of authors' songs on Seliger, a celebration of Y.I. Vizbor's "Open Winds". (Yuri Vizbor was a Soviet bard and poet, as well as a theater and film actor—edit).

My musical group had no guitarist, so I had to learn quickly on my own. I challenged myself to learn, perform, and defend myself on this instrument. I can currently play two instruments. This is the piano and the guitar.

In my youth, I also participated in a brass band and learned the basics of playing the tenor trumpet.

KL: There are two opposing views: the first holds that children should join various general education clubs as soon as possible, while the second holds that the later the better. Which do you support?

DN: I believe everyone has their own experience with it. I have a few observations to share. Lots of people have kicked off their careers later in life, even without any formal education. I believe in recognizing when a child is ready and understanding their needs. Listening to your child and having conversations with him is really important, and it's always beneficial to give him a choice.

Listen to your child and find out what he truly wants, what he leans towards, where he feels most comfortable, and where he thrives. It's important to help him learn to take responsibility for his own decisions right from a young age.

Don't be afraid to explore new options and avoid becoming stuck on one. Parents often create a multitude of narratives as they attempt to reenact their own past experiences through their children, sometimes without even realizing it. I feel like this isn't right.

If a kid really has a passion for something and starts to succeed and make progress, it’s vital to give them your full support. Similar to growth and development, breakdown can occur at different stages. I think it's vital for parents to be present during these times and to thoughtfully evaluate the situation to figure out the best next steps. It’s not uncommon for a child to feel like giving up. You may feel like quitting and doing nothing. I really believe that the key is to listen to your child and have open conversations. It's crucial to prioritize being their friends rather than merely enforcing the law and providing them with unwavering support. Shortly, the child will discover what he wants and can do.

Just feel free to be a friend and provide strong support for your child at the same time.

KL: As an opera soloist, what do you find to be the most challenging aspect of your job? In order to perform as a soloist in the most prestigious theater in the nation, what personal attributes are necessary?

DN: Nowadays, things change so quickly that it's difficult to determine what you truly need to be a soloist, whether at the top theater or a huge opera house. Unfortunately, many items are now stacked up on unsteady lamps. It appears that many artists lack personality. The singer simply gives up on trying to create a unique vibe for himself. They are simply not striving to get better. They do not aspire to experience the same emotions as the legendary singers of the past. These singers, hailing from the 1950s, 1960s, 1970s, and 1980s, embodied authenticity and played a pivotal role in shaping the society we inhabit today.

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DMITRY NIKANOROV. LE BARBIER DE SÉVILLE. PHOTO: SERGEY RODIONOV

KL: If there are any theater signs, tell us about them.

DN: There are many theatrical signs. Before the performance, you should sit on the falling notes and feel the energy of the stage. When you study at the institute, of course, you react to them, but you need to understand that all this is psychology, psychosomatics, and everything is in our heads. The importance is to strive to reject any belief in signs. TheThe only thing that matters is having the support of those you trust, both personally and professionally, before, during, and after your performance. of course, the right regime and the right hygiene of the voice and life before performances.

KL: What's your recipe for an ideal weekend?

DN: On the weekend, I love to unwind and soak up some peaceful moments outside the city with my family and friends. It's really about that calm, peaceful feeling that makes it unique. Whether you're walking, chatting, or just lounging around. For us, opera soloists, it's really important to save energy after performing for a big audience. When you’re lying down, it’s like you’re entering this energy-saving mode. It’s a time for thoughts, searching, analyzing—just a moment to really connect with yourself and see what’s happening inside. This is super important. Your brain is always busy doing its thing. So, you know how you start thinking about something, right? Your life flows like a never-ending stream, always pushing ahead. This is how my weekends look like.

KL: Support is crucial for achieving great success. Tell us about yours—who supports and inspires you?

DN: My family and my mother are my constant source of support. My mom - she is my friend and person who encourages me in all of my endeavors. I am very thankful for her and her amazing wisdom.

Moreover, throughout the past five years, Svetlana Efimova has been by my side, providing support and witnessing my ups and downs.
Unique individual and the finest opera pianist-coach! It is exceedingly uncommon to encounter an individual of this nature on one's journey.

All that I have is achieved thanks to her.

KL: If there are any theater signs, tell us about them.

KL: What's your recipe for an ideal weekend?

KL: Support is crucial for achieving great success. Tell us about yours—who supports and inspires you?

DN: My family and my mother are my constant source of support. My mom - she is my friend and person who encourages me in all of my endeavors. I am very thankful for her and her amazing wisdom.

All that I have is achieved thanks to her.

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