Tatyana Shmyga biography and personal life. Troupe

] (December 31, 1928 [Moscow] - February 3, 2011 [Moscow])

“I don’t have any biography,” Tatyana Ivanovna once told an annoying journalist. “I was born, I studied, now I work.” And, after thinking, she added: “The cast includes my entire biography...”.
People's Artist of the USSR, State Prize laureate Tatyana Ivanovna Shmyga was born on December 31, 1928 in Moscow.
As a child, she began taking private singing lessons, and first appeared on stage as a soloist in the choir at the Ministry of Cinematography.
In 1947, Tatyana Shmyga entered the Glazunov Musical Theater School, where she studied for four years. Then she studied at GITIS named after A.V. Lunacharsky, where she successfully studied vocals in the class of D.B. Belyavskaya and mastered the secrets of acting from teachers I. Tumanov and S. Stein. In 1953, T. Shmyga graduated from the Faculty of Musical Comedy of GITIS and received the specialty "Musical Theater Actress". Immediately after graduating from university, she was accepted into the troupe of the Moscow Operetta Theater and was noticed from her very first role - Violetta in "The Violet of Montmartre"

Very soon Tatyana Shmyga became the leading soloist of the theater. Her name alone on the poster of the next performance was enough to fill the hall. After the role of Violetta, roles followed in the plays “The Bat” (Adele), “The Merry Widow” (Valentina), and “The Count of Luxembourg” (Angel).
In 1969, Shmyga performed in a new production of “Violets...”, but in the role of the “star of Montmartre,” the prima donna Ninon. The success was amazing, and the famous “Carambolina” became the calling card of the actress for many years.

Operetta was her territory, where she reigned supreme: in this genre there were always many beautiful, talented and brilliant actresses, but only Shmyga had such an absolute ear for it, only she was so obedient to her.
Her fate included all the paradoxes and transformations of the genre, which, by misunderstanding, was called “light”. She united within herself the traditions of such operetta legends as Yaron or Volodin, and managed to convey them without loss to the most fatal times for the genre, when the musical invaded the stages of operetta theaters. She was not at a loss here either, and with the same passion she plunged into this new musical world, becoming the first in the USSR to perform the role of Eliza Dolittle in “My Fair Lady.”

In 1962, Tatyana Shmyga starred in films for the first time. In "The Hussar Ballad" by Eldar Ryazanov, she played an episodic but memorable role of the French actress Germont, who came to Russia.
Shmyga became an unsurpassed performer of the roles of heroines in Soviet musical comedies - such as "White Acacia" (1955), "Chanita's Kiss" (1956), "The Circus Lights the Lights" (1960), "Sevastopol Waltz" (1961), "Beauty Contest" (1967).
Tatyana Shmyga's creative path includes more than 60 roles on stage and screen. Among them are Desi ("A Ball in the Savoy" by Paul Abraham, 1957), Lidochka ("Moscow - Cheryomushki" by Dmitry Shostakovich, 1958), Olya ("A Simple Girl" by Karen Khachaturian, 1959), Delia ("Cuba - My Love" by Rauf Gadzhieva, 1963), Maria (West Side Story by Leonard Bernstein, 1965), Galya (A Real Man by Mikhail Ziv, 1966), Mary Eve (The Girl with Blue Eyes by Vano Muradeli, 1967), Daria Lanskaya (White Night " Tikhon Khrennikova, 1968), Vera ("There is no happier me" by Andrei Eshpai, 1970), Marfa ("Girl Trouble" by Yuri Milyutin, 1971), Zoya-Zyuka ("Let the Guitar Play" by Oscar Feltsman, 1976), Sashenka (" Gentlemen Artists" by Mikhail Ziv, 1981), as well as leading roles in operettas: "The Grand Duchess of Gerolstein" by Jacques Offenbach (1988), "Julia Lambert" by Anatoly Kremer (1993), etc.

Tatyana Shmyga was in love with the stage, and did not leave it until the very end. Despite her advanced age, music lovers and connoisseurs of beauty could see her in specially staged operetta “Katrin” by Anton Kremer and his musical “Jane”, based on the works of Maugham.
The uniqueness of this actress received the highest praise from the people and the state. Tatyana Shmyga is the only operetta actress in Russia who received the title "People's Artist of the USSR" and was awarded the State Prize of Russia. M.I.Glinka. She was awarded the Order of the Badge of Honor, the Red Banner of Labor and the Order of Merit for the Fatherland, IV degree.
Singer and actress Tatyana Ivanovna, as a person, had amazing modesty, despite all her regalia and titles. The actress did not consider herself a prima donna and was embarrassed on the street when she was recognized. When asked how such a beautiful, successful actress and singer did not get star fever, Tatyana Ivanovna explained that she “just worked hard all her life.” But she never regretted the effort spent. After all, operetta, as she put it, is “champagne that warms the blood, excites hearts, heals the soul, making young people daring and older people young.”
She had a very beautiful voice, and she herself was a beauty, maintaining her beauty until her last day

Tatyana Ivanovna had long been troubled by various ailments, she held on courageously, tried to keep in shape and even sometimes went on stage, as, for example, at the celebration of her 80th birthday. However, the years took their toll, and at the end of last year Tatyana Shmyga’s condition worsened sharply. She developed serious problems with the blood vessels in her legs, and she was hospitalized in one of the capital’s clinics. Unfortunately, drug therapy was powerless. It came to amputation.
At the end of January, the actress was admitted to the intensive care unit of the Botkin Hospital in the vascular surgery department.
The death of the famous artist was reported on February 3 at the Union of Theater Workers.

sources - website - .kino-teatr.ru

Shmyga served one single theater for more than half a century - the Moscow Operetta Theater. Her name alone on the play poster was enough to fill the hall. Violetta from “The Violets of Montmartre”, Adele from “Die Fledermaus”, Diana from “Hispaniola” by Lope de Vega...

And Tatyana Ivanovna was young - both in soul and body. It is the privilege of old age to talk about age. But Shmyga was completely lacking in medical and pharmaceutical details. And at her 80th birthday, it seemed to everyone that only yesterday she was celebrating her 40th birthday in the same way. She sang and danced without being at all out of breath.

On the eve of her birthday, Shmyga’s husband, composer Anatoly Kremer, shared his memories with KP.

- Did Tatyana Ivanovna like to celebrate her birthday?

No, the New Year mixed up all her personal plans. We congratulated both on his birthday and on the New Year holiday. On December 31, she tightly closed the doors in our house and did not answer the phone. But the calls kept coming through and that’s why we always wanted to go somewhere for the New Year. But she loved home very much: it was the best refuge for her. I sometimes joked with her: “Okay, Tanya, you sat on the broom.” This meant that she began to rush around the apartment with such speed - she knocked around any corner. Pass normally, but no - she flies. And bang! - bruise.

- Are the conversations about the death of operetta greatly exaggerated?

No, she will never die, although such a Shmyga, with her unique voice and plasticity, will not exist for another hundred years. After all, what is the stage today? This is a subculture, the corruption of people, when illiterate singers go on stage and organize competitions among themselves. If there is such an establishment called “Star Factory,” then art should be closed altogether. Tatyana Ivanovna thought exactly the same about the modern stage. I watched the program “The Phantom of the Opera” on TV, where the color of our show business appears. In operetta, even any beginner sings much better than these super popular singers. And I was shocked by the magnificent singer and man of taste Zurab Sotkilava, who was showered with compliments in front of Ani Lorak, who sang Shmygov’s “Carambolina”. “Ani, this is wonderful!” And Roman Viktyuk pulled him back: “Zurab Lavrentievich, remember Tanya Shmyga...”

After watching “The Sevastopol Waltz” with the participation of Shmyga, the audience in the hall cried. Her voice was not intended for opera, it was rather chamber voice - for a small audience.

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But the peculiarity of her timbre and penetration were admired. From an ensemble of ten people, I personally instantly distinguished Shmyga by his high vocal technique. The outstanding singer Ivan Semenovich Kozlovsky had a tiny voice, but what he sang could be heard in every corner. This is called the flight sound - it flies. Tatyana Ivanovna also had the same unique feature of her voice.

- What did she strive to convey to her students?

She had no students. She always said about teaching: “I can’t teach, it’s not my business.” All of Tatyana Ivanovna’s talent went into her acting craft. In her entire life, she acquired only two students, one of whom now lives in Australia, and the other, Tatyana Konstantinova, works as a theater director.

- Did you argue when discussing creative moments? You wrote five plays for Shmyga.

Yes, friction arose, but I suppressed it with an iron fist. He said: “You will not perform my work only if you prove that it is impossible from a professional point of view.”

- All her life Tatyana Ivanovna believed: “Age walks along one street, and I walk along another”...

Her youth was given to her by God - she did not have any operations, but looked amazing. She also had incredible performance. Even though she was not entirely healthy, she continued to play 3-4 performances a month. And every time before going on stage I trembled like a little girl. In general, she never philosophized or immersed herself in any thoughts or problems. When I asked her opinion: “Tanya, listen to what I wrote. Here to do this or that...”, she answered: “This is your skill - you write. My job is to play..."

- Is it true that Tatyana Ivanovna could not imagine herself without a powerful female weapon - heels?

Yes, she wore them all the time, even her house shoes had heels. Until now, the premises of the Moscow Operetta Theater are catacombs; there have been no major renovations in it for 30 years. And there are steep stairs everywhere. And Shmyga ran along them like a girl - tsk, tsk. If only the clicking of heels was clearly heard in the building, everyone knew: “Oh, it’s Tan-Wan (as Shmyga’s colleagues jokingly called him) has appeared!”

But seriously, she died because she was in heels all the time. At the anniversary party dedicated to her eightieth birthday, her leg was already hurting. But she spent almost three hours on stage, and no one noticed the pain she was in. She sang “Carambolina, Caramboletta” in the same stage costume in which she first performed the role of Violetta. Exact size. Tatyana Ivanovna lived a rather long life - 82 years, and could have lived even longer if not for the actions of the doctors. More precisely, their inaction. They killed her. “What are you treating for?” - I painfully asked them. I don't think they knew it themselves...

Tatyana Ivanovna Shmyga (1928 – 2011) - Soviet and Russian singer (lyric soprano), operetta, theater and film actress. Tatyana Shmyga is the only operetta actress in Russia who received the title of People's Artist of the USSR.

Born on December 31, 1928 in Moscow.
In 1962, the singer starred in films for the first time - in Eldar Ryazanov’s film “The Hussar Ballad”. On stage and screen, Tatyana Ivanovna played more than 60 roles. Among them are Chanita in the operetta “Chanita’s Kiss” and Gloria Rosetti in the play “The Circus Lights the Lights”, Lyubasha in “The Sevastopol Waltz” and Violetta in “The Violet of Montmartre.

Family. early years

Father - Shmyga Ivan Artemyevich (1899–1982). Mother - Zinaida Grigorievna Shmyga (1908–1975). Tanya's childhood was prosperous. Her parents were educated and well-mannered people, although they had no direct connection to art. The father is a metalworker engineer, he worked for many years as the deputy director of a large plant, and the mother was just a mother to her daughter, beautiful and smart. The parents loved each other very much. They also loved the theater, listened to Leshchenko and Utesov, danced real ballroom dances and even won prizes for them.

At first she wanted to be a lawyer, but her passion for singing and dancing at school grew into a serious attachment to music, and Tanya began taking private singing lessons. “As a child, I was very serious and silent,” recalled T. Shmyga. “I wanted to become a chamber singer and even became an intern at the school at the Moscow Conservatory.” Then she was invited to be a soloist in the choir at the Ministry of Cinematography. Her first performance, essentially a “baptism of fire,” took place in the cinema before the start of the show.

In 1947, Tatyana entered the Glazunov Musical Theater School, where she studied for 4 years. Then he studied at GITIS named after A.V. Lunacharsky, where she successfully studied vocals in the class of D.B. Belyavskaya and mastered the secrets of acting from teacher I.M. Tumanov and S. Stein.

Operetta Theater

In 1953, Tatyana Shmyga graduated from the musical comedy department of GITIS and received the specialty “musical theater artist”. Immediately after graduating from university, she was accepted into the troupe of the Moscow Operetta Theater and was noticed from her very first role - Violetta in “The Violet of Montmartre” directed by G.M. Yarona. Nowadays the name of Tatyana Shmyga is known not only in our country, but also far beyond its borders. But at that time, at the beginning of my artistic career, there was a lot of hard work ahead. And only he could pave the way for her to glory.

Her first steps in the theater became like graduate school for her after her student years. Tatyana was lucky in that she found herself in a team of people devoted to the art of operetta and in love with it. The main director of the theater was then I. Tumanov, the conductor was G. Stolyarov, the choreographer was G. Shakhovskaya, the main designer was G. L. Kigel, and the costume designer was R. Weinsberg. The magnificent masters of the operetta genre T. Bach, K. Novikova, R. Lazareva, T. Sanina, V. Volskaya, V. Volodin, S. Anikeev, M. Kachalov, N. Ruban, V. Shishkin, G. Yaron gave a very warm welcome a young graduate of GITIS, and she, in turn, met a great mentor, artist V.A. Kandelaki, who a year later became the chief director of the Operetta Theater. He was Tatyana Ivanovna's second husband. They lived together for 20 years.

K.S. Stanislavsky said that operetta and vaudeville are a good school for artists. They can be used to learn dramatic art and develop artistic technique. During the VI Moscow International Festival of Youth and Students, the operetta theater accepted Y. Milyutin’s new operetta “Chanita’s Kiss” for production. The main role was assigned to the young actress Tatyana Shmyga. After “Chanita’s Kiss,” Shmyga’s roles ran parallel along several lines and merged together in the work that was considered her best for a long time - the role of Gloria Rosetti in Y. Milyutin’s operetta “The Circus Lights the Lights.”

Very soon T. Shmyga became the leading soloist of the theater. Her name alone on the poster of the next performance was enough to fill the hall. After Violetta - her first role - operetta fans met her Adele in “Die Fledermaus”, Valentina in “The Merry Widow”, and Angela in “The Count of Luxembourg”. In 1969, Shmyga performed in a new production of “Violets...”, but in the role of the “star of Montmartre,” the prima donna Ninon. The success was amazing, and the famous “Carambolina” became the calling card of the actress for many years.

In 1961, Tatyana Shmyga became an Honored Artist of the RSFSR. Soon, with the participation of the new chief director of the theater G.L. Ansimov, T.I. Shmyga finds himself in a new direction. Her repertoire includes the musical genre. In February 1965, the theater hosted the first premiere of the musical “My Fair Lady” by F. Lowe based on B. Shaw’s play “Pygmalion”, where she played the role of E. Dolittle.

Her theatrical fate as a whole was happy, although, perhaps, she did not play everything she wanted to play. In Shmyga's repertoire, unfortunately, there were few roles by classical authors - J. Offenbach, C. Lecoq, I. Strauss, F. Legare, I. Kalman, F. Hervé. At that time they were considered “bourgeois” and were out of favor with cultural officials. Along with the classics, the actress played heroines of Soviet operettas for many years. But even in them she created a whole gallery of memorable images of her contemporaries, demonstrating her inherent natural talent and at the same time revealing the already formed handwriting of a great master. Shmyga became an unsurpassed performer of a whole galaxy of heroines in Soviet musical comedies - such as “White Acacia”, “The Circus Lights Up”, “Beauty Contest”, “Sevastopol Waltz”, “Chanita’s Kiss”. Her roles, so different in character, are united in an impeccable sense of truth, in the ability to be herself and at the same time completely different, new.

In recent years, she could be seen and heard in two performances specially staged for her - the operetta “Catherine” (A. Kremer) and his own musical “Jane Lambert,” created based on the works of S. Maugham. The play “Operetta, Operetta” was also staged at the Moscow Operetta Theater.

Film career

In 1962, Tatyana Shmyga starred in films for the first time. She, a person devoted to the theater, was attracted by the opportunity to creatively communicate with talented actors and with the interesting director Eldar Ryazanov in the film “The Hussar Ballad.” Shmyga played the cameo role of the French actress Germont, who came to Russia on tour and got stuck in the snow at the height of the war.

The combination of an amazing, unique voice, like a transparent, flowing stream, unearthly charm, amazing plasticity and danceability created the creative phenomenon of Tatyana Shmyga, and the excellent gift of not only a comedic, but also a dramatic actress allowed her to perform roles and vocal parts that were opposite in nature. And her manner of performance - grace, femininity and slight coquetry - made her inimitable.

The creative path of T.I. Shmyga includes more than 60 roles on stage and screen.
The actress's concert repertoire includes Marietta ("Bayadera" by I. Kalman), Silva ("Silva" by I. Kalman), Ganna Glavari ("The Merry Widow" by F. Legara), Dolly Gallagher ("Hello, Dolly"), Maritza (" Maritsa” by I. Kalman), Nicole (“Quarters of Paris” by Minha), etc.
In November 1969 T.I. Shmyga was awarded the honorary title of People's Artist of the RSFSR. Inspired by success and recognition, she brilliantly played performance after performance. Having entered the period of creative maturity, T. Shmyga, an actress of a subtle psychological nature, has retained all the charm of her genre, which has both sparkle and pop extravagance. The combination of a gentle, unique voice timbre, amazing plasticity and danceability creates the creative phenomenon of Tatyana Shmyga, and the excellent gift of not only a comedic and lyrical, but also a dramatic actress allows her to perform roles and vocal parts that are opposite in nature. Much of the work of this amazing actress has been explained, but the mystery remains her feminine charm, the charm of shy grace.

Personal life

Tatyana Shmyga had amazing modesty: she was always embarrassed when she was recognized on the street, and did not consider herself a prima donna. And when asked how she managed not to get star fever, she answered that “she just worked hard all her life.”

Her touring activities also continued. T. Shmyga has traveled almost the entire country. Her art was known and loved not only in Russia, but also in Ukraine, Kazakhstan, Georgia, Uzbekistan, Bulgaria, the Czech Republic, Slovakia, Brazil, the USA and other countries.
In her free time, Tatyana Shmyga loved to read Russian classics, poetry, listen to symphonic and piano music, and romances. She loved painting and ballet.

First husband: Rudolf Boretsky (born 1930) - Professor of the Department of Television and Radio Broadcasting, Faculty of Journalism, Moscow State University; Doctor of Philology. One of the creators of popular science, information and youth television (“Telenews”, “Knowledge” programs, “On Air - Youth”, etc.).

Second husband: Vladimir Kandelaki (1908-1994) - famous Soviet singer (bass-baritone) and director, soloist of the Musical Theater. K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko (1929-1994). He also performed and staged plays at the Moscow Operetta Theater, later its chief director (1954-1964).

Last, third spouse: Anatoly Kremer (born 1933) - composer, worked as chief conductor at the Satire Theater. Author of music for numerous performances and films. The musical comedies “Espaniola, or Lope de Vega Prompted”, “Catherine”, “Julia Lambert” and “Jane” were written specifically for T. I. Shmyga, some are still successfully performed at the Moscow Operetta Theater. They lived together for more than 30 years.

Tatyana Ivanovna died after a long, prolonged illness. Shmyga was admitted to the intensive care unit of the Botkin Hospital in January 2011 due to serious problems with blood vessels. Earlier, for the same reason, Shmyga lost her leg.

Shmyga Tatyana Ivanovna (1928 - 2011)

The future star of Soviet operetta Tatyana Shmyga was born in Moscow. Her father, Ivan Artemyevich Shmyga, came from a family of Poles who evacuated during the First World War from the advancing German armies to the rear of the Russian Empire. His father’s real surname was Mitskevich, but when my grandmother remarried after the revolution, it was decided that instead of the well-known noble surname, it would be better for him to bear the surname of his stepfather Shmyga. Metalworker engineer Ivan Shmyga held a senior position at a large plant, and the family lived quite prosperously even in the difficult 1930s. Tanya's parents loved music, theater, listened to records by Leshchenko and Utesov, danced a lot and even won prizes at amateur ballroom dancing competitions... Tanya was also interested in music and dancing from childhood. She dreamed of a career as a singer, and while still a schoolgirl she took private singing lessons, then became an intern at the school at the Moscow Conservatory. Soon the talented girl was invited to join the choir at the Ministry of Cinematography, and Tatyana Shmyga became the soloist of this choir. Her first public performances took place in cinemas before the start of the screenings.


Then there was a music school named after. Glazunov, where Tatyana entered in 1947, then studied at the Faculty of Musical Comedy of GITIS. During her student years, Tatyana had her first great love. Her husband was Rudolf Boretsky, a future famous television figure and professor at the Department of Television and Radio Broadcasting, Faculty of Journalism, Moscow State University. But then the lovers were very young (Rudolph is two years younger than Tatiana, although she was just a girl), they treated marriage lightly and did not save the family.
In 1953, GITIS graduate Tatyana Shmyga was accepted into the troupe of the Moscow Operetta Theater. Her colleagues and comrades were such masters of musical theater as G. Yaron, V. Volskaya, N. Ruban, V. Shishkin, T. Sanina, V. Kandelaki. They warmly greeted the young artist. Tatyana Shmyga's first role - Violetta in "The Violet of Montmartre" - turned her into a rising operetta star.

V.A. Kandelaki, who became the theater's chief director in 1954, soon became Tatyana's husband. The second husband was twenty years older than the actress, and many suspected her actions were calculated. But it was great love, and the fact that her chosen one was an adult, an established man with life experience, was precisely what attracted Tatyana, and did not repel her. They lived together for 20 years.

The operetta genre was more than popular in the 1950s. Tatyana Shmyga approached her roles responsibly, putting not only her whole soul into them, but also a lot of work. She performed leading roles in the operetta “Chanita’s Kiss”, the premiere of which was timed to coincide with the Moscow International Festival of Youth and Students, in “Die Fledermaus”, “The Merry Widow”, “The Count of Luxembourg”.
Shmyga was recognized as the best performer of the role of Gloria Rosetti in the musical novelty of the national theater - Y. Milyutin’s operetta “The Circus Lights the Lights”. In "The Violet of Montmartre" she is offered a new role - the prima donna Ninon. Shmyga’s brilliant performance of “Karambolina-Karamboletta” will remain an unsurpassed masterpiece for a long time. Musical talent, magnificent voice, brilliant choreographic skills, beauty and extravagance inherent in the actress merge on stage into an enchanting bouquet, making her performance unique. In 1961, Tatyana Shmyga became an Honored Artist of the RSFSR.

A year later, she acted in films for the first time. Eldar Ryazanov offers her a small but bright role of the French actress Louise Germont in the film “The Hussar Ballad”.
In the 1960s, a new direction, previously considered “bourgeois”, penetrated into Soviet musical theater - the musical. Shmyga is quite capable of this genre; her Eliza Doolittle in the musical “My Fair Lady” by F. Lowe based on the play “Pygmalion” by B. Shaw became one of the most notable roles on the theater stage in 1965 and strengthened the fame of the actress. In the same year, the premiere of L. Bernstein's West Side Story was prepared; Tatyana Shmyga again won huge success by playing the role of Maria.

In 1969 T.I. Shmyga was awarded the title of "People's Artist of the RSFSR". She brilliantly performed all new roles - both on the stage of her native Moscow Operetta Theater and in concert programs. The actress had over 60 roles, and each was a notable theatrical event. She also performed in classical productions of the musical genre, performing leading roles in operettas by J. Strauss, F. Lehár, J. Offenbach, I. Kalman, and in innovative performances to the music of D. Shostakovich (Moscow-Cheryomushki), K. Khachaturian (“Simple Girl”), R. Gadzhieva (“Cuba - My Love”), V. Muradeli (“Girl with Blue Eyes”), A. Dolukhanyan (“Beauty Contest”), T. Khrennikova (“White Night”) and etc.
Tatyana Shmyga was the only actress of the operetta theater awarded the title “People’s Artist of the USSR.” She became a laureate of the State Prize named after. Glinka, had a number of high awards, including the Order of the Badge of Honor, the Red Banner of Labor, and the Order of Merit for the Fatherland, IV degree. At the same time, Tatyana Shmyga was never a member of the CPSU and did not take a noticeable part in Soviet-style social activities.

Tatiana Shmyga's third husband, composer and conductor Anatoly Lvovich Kremer, held the post of chief conductor of the Satire Theater orchestra, but at the same time worked a lot in collaboration with his wife. He is the author of the operettas “Espaniola”, “Catherine”, “Jane” and the musical “Julia Lambert”, the main roles in which were written for Tatyana Ivanovna. The relationship between the spouses was colored not only by great love, but also by true devoted friendship and complete creative understanding.
Tatyana Shmyga herself believed that nothing unusual happened in her life, there was only intense study and a lot of work put into her roles. " I don't have any biography, she once said to a journalist interviewing her. - I was born, studied, and now work. Cast my entire biography»…

Until 2009, Shmyga appeared on stage, then her health began to fail and, worst of all, her legs began to fail due to diseased blood vessels. The actress suffered from pain and underwent a number of difficult operations... In the end, her leg was amputated. This broke Tatyana Ivanovna. Soon she died. This happened on February 3, 2011.

But in the memory of many generations of viewers, Tatyana Shmyga remained young and beautiful.

Tatyana Ivanovna Shmyga(December 31, 1928, Moscow) - an outstanding Soviet and Russian singer (lyric soprano), operetta, theater and film actress, People's Artist of the USSR (1978), laureate of the State Prize of the RSFSR. Glinka (1974).

Born on December 31, 1928 in Moscow. Father - Shmyga Ivan Artemyevich (1899-1982). Mother - Shmyga Zinaida Grigorievna (1908-1995).

The artist's childhood was prosperous. Tatyana's parents were intelligent people, they loved the theater, listened to Leshchenko and Utesov, and in the evenings they organized home balls, where they danced real ballroom dances.

In 1947, Tatyana entered the Glazunov Musical Theater School, where she studied for four years. Then he studied at GITIS named after A.V. Lunacharsky, where she successfully studied vocals in the class of D.B. Belyavskaya and mastered the secrets of acting from teachers I. Tumanov and S. Stein. In 1953, Tatyana Shmyga graduated from the Faculty of Musical Comedy of GITIS and received a specialty in musical theater artist.

Immediately after graduating from university, she was accepted into the troupe of the Moscow Operetta Theater and was noticed from her very first role - Violetta in “The Violet of Montmartre” directed by G.M. Yarona. Nowadays the name of Tatyana Shmyga is known not only in our country, but also far beyond its borders.

After Violetta - her first role - operetta fans met her Adele in Die Fledermaus, Valentina in The Merry Widow and Angela in The Count of Luxembourg. In 1969, Shmyga performed in a new production of “Violets...”, but in the role of the “star of Montmartre,” the prima donna Ninon. The famous “Carambolina” became the calling card of the actress for many years.

In 1961 Tatyana Shmyga became an Honored Artist of the RSFSR. Soon, with the participation of the new chief director of the theater G.L. Ansimov, T.I. Shmyga finds himself in a new direction. Her repertoire includes the musical genre. In February 1965 The theater hosted the first premiere of the musical "My Fair Lady" by F. Lowe based on B. Shaw's play "Pygmalion", where she played the role of E. Dolittle.

In 1962, Tatyana Shmyga starred in films for the first time. She, a person devoted to the theater, was attracted by the opportunity to creatively communicate with talented actors and with the interesting director Eldar Ryazanov in the film “The Hussar Ballad.” Shmyga played the cameo role of the French actress Germont, who came to Russia on tour and got stuck in the snow at the height of the war.

The best roles at the Moscow Operetta Theater (often the first performer) were associated with the works of Soviet authors: Tonya (White Acacia by I. Dunaevsky), Chanita, Gloria and Marfa (Chanita's Kiss, The Circus Lights Up the Lights and Girl Trouble "Yu. Milyutin), Lyubasha ("Sevastopol Waltz" by K. Listov), ​​Galya ("Beauty Contest" by A. Dolukhanyan), Roxana ("The Furious Gascon" by K. Karaev), Zyuka ("Let the Guitar Play" by O. Feltsman) , Lyubov Yarovaya (“Comrade Love” by V. Ilyin), Samarina (“Gentlemen Artists” by M. Ziv), Diana, Julia Lambert, Catherine, Jane (“Espaniola”, “Julia Lambert”, “Catherine”, “Jane” - all by A. Kremer). She also performed some of the main roles in operettas by Western European composers: in addition to those mentioned, the Duchess of Gerolstein (“The Grand Duchess of Gerolstein” by J. Offenbach).

In November 1969, T. I. Shmyga was awarded the honorary title of People's Artist of the RSFSR. This actress has rightfully earned not only popular, but also state recognition. Tatyana Shmyga is the only operetta actress in Russia who received the title “People's Artist of the USSR” (1978). She was awarded the State Prize of the RSFSR. M.I. Glinka, awarded the Orders of “Badge of Honor”, ​​“Red Banner of Labor” and “For Services to the Fatherland”, III degree.

Personal life

First husband: Vladimir Kandelaki (1908-1994) - famous Soviet singer (bass-baritone) and director, soloist of the Musical Theater. K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko (1929-1994). He also performed and staged plays at the Moscow Operetta Theater, later its chief director (1954-1964).

Current husband: Anatoly Kremer (born 1933) - composer, worked as chief conductor at the Satire Theater. Author of music for numerous performances and films. The musical comedies “Espaniola, or Lope de Vega Prompted”, “Catherine”, “Julia Lambert” and “Jane” were written specifically for T. I. Shmyga, some are still successfully performed at the Moscow Operetta Theater. They have been together for over 30 years.