American Journal Of Social Sciences And Humanity Research
105
https://theusajournals.com/index.php/ajsshr
VOLUME
Vol.05 Issue04 2025
PAGE NO.
105-107
10.37547/ajsshr/Volume05Issue04-23
Creative Portrait of Ismail Jalilov
Farzalieva Sevinch Emirovna
Uzbek State Conservatory, Teacher of the Department of “Concertmaster’s master”, Uzbekistan
Received:
17 February 2025;
Accepted:
15 March 2025;
Published:
17 April 2025
Abstract:
This article analyzes the creative activity of the People's Artist of Uzbekistan, a well-known artist Ismail
Jalilov, his contribution to the development of Uzbek national musical art. Also, the specific artistic and aesthetic
principles of Jalilov's work, his assessment by his contemporaries and students, and his place in today's musical
culture are analyzed.
Keywords:
Creative portrait, maqom art, musician, composer, pedagogical heritage, People's Artist of Uzbekistan,
national music, artistic and aesthetic principles.
Introduction:
Ismail Jalilov was born on January 29,
1948 in Tashkent into a working-class family. As a child,
he studied Russian language and literature at a
boarding school with in-depth study. He loved books,
at the age of 16 he became interested in music,
accidentally saw a film in which Mario Lanza sang. He
studied in the singing circle at the Kirov Club, began to
sing, and soon became a soloist.
After graduating from the 8th grade, Ismail went to
work at a factory. At one of the evenings of “Joyful
Tashkent” as pa
rt of the competition of young
performers, he sang Muslim Magomayev’s song “The
Sun is Walking Along the Alley”. After the performance,
Ismail was invited to the “Synthesis” ensemble, and
then to the “Yalla” ensemble, where he became a
soloist.
In 1976, Ismail entered the vocal department of the
Moscow Conservatory (People’s Artist of the USSR,
Professor Z. Sotkilava). At a reception at the Russian
State Academic Bolshoi Theater, Ismail performed the
aria Rudolf from Puccini’s “La Bohème”. In 1979
-1981
he worked at the Bolshoi Theater of the USSR
(Moscow).
Participated in the international vocal competition in
Rio de Janeiro (Brazil), won 1st place and was awarded
the Villa Lobos gold medal (1979). He was awarded the
title of laureate at the All-Union Vocal Competition.
Glinka in Tashkent in 1977 (2nd prize).
He toured the USA, France, Germany, Finland, Italy,
Turkey, Russia, Thailand.
Soloist of the Uzbek Opera and Ballet Theater. Since
1998, he has been the artistic director of the National
Symphony Orchestra of Uzbekistan. Since 1981, he has
worked at the Alisher Navoi State Conservatory of
Music. In 2003, he graduated from the master's degree
program at the Uzbek State Conservatory and is
currently teaching there as a professor of the
department of "Academic Singing and Opera
Preparation".
In 2002, he was appointed director of the Palace of
Music, located in the Palace of Culture of the former
Tashselmash production association.
Four of Ismail Jalilov's students are laureates of the
Nihol State Prize established by the President of
Uzbekistan, three are soloists of the Bolshoi Theater. A.
Navoi, Angelina Ahmedova - Atkins scholarship holder
of the Mariinsky Theater, Barno Ismatullayeva, finalist
of the BBC Cardiff Singer of the World competition,
soloist of the musical theater in 2016. Stanislavsky and
Nemirovich-Danchenko in Moscow.
Leading tenor and People's Artist of Uzbekistan,
Honorary Professor of the Italian Academy of Music
Cancordi-Roma, Honorary Professor of the State
Conservatory of Uzbekistan, leader of the National
Symphony Orchestra, demanding teacher and opera
enthusiast Ismail Jalilov has performed on many world
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
stages. Her voice shakes everything around, no matter
what language the work is performed in, no matter the
age of the listener. But it all started by chance.
If we dwell a little on the opera itself, you know that the
genre was originally positioned as an elite art form.
Everyone was given the opportunity to perform high-
pitched arias. Soloists differ in their voices. Baritone - a
medium voice, bass - a low voice. Soprano - a high
female voice, conditionally divided into lyrical and
dramatic. A very high and mobile soprano voice type is
called a coloratura soprano. Mezzo-soprano - a
medium-low voice, contralto - a very low voice, tenor -
a high male voice. Tenors are also lyrical and dramatic.
There is also a countertenor - a unique, very high voice
in which a woman sings in the contralto register. Now
only those who can sing very high notes even after
breaking their voice can sing countertenors, which is
why in our time it is rare.
Ismail Tulyaganovich recalls: there were no difficulties
in my opera performance, there was only inspiration.
From the very beginning I focused on complex arias. I
remember that it was in my second year at the
conservatory, when, before going to Moscow, I
performed Rudolf's aria from Puccini's "La Bohème" for
the first time. This is one of the most difficult.
Anyone who wants to seriously and for a long time
engage in opera starts with it. Although at first I really
liked Mario Lanza, Mario Delmonico, Enrico Caruso. I
was literally crazy about their performance.
The fact is that I began my professional career as a pop
singer in the "Synthesis" ensemble, I was seventeen
years old then. Then there was Yalla. If you take the
total length of service, it is already 40 years.
Opera is becoming more and more popular. The
"culprits" for this, of course, were the trio: Luciano
Pavarotti, Placido Domingo and Jose Carreras. After its
first appearances on television, opera immediately
became a mass art. People listened, recorded, sang,
and began to appreciate.
In 1939, the A. Navoi Grand Opera and Ballet Theater
was opened in Uzbekistan. The first Uzbek opera,
Ashrafi's "The Tempest," was born during the same
period. Another thing is that at that time it was
experimental. Then came the opera "Dilorom" by the
same Ashrafi. But for me, "Maysara's Tricks" by
Sulaymon Yudakov is an amazing opera phenomenon
in Uzbekistan, the arias from this opera have sunk into
the hearts of almost everyone. At first glance, this is a
satirical work, but what is the duet itself worth! There
is a flower in each aria and duet. Unfortunately, we are
now writing very few opera works, more ballet works.
This is because it is much easier to write a work for
ballet than to write an opera.
The fact is that opera, like sports, requires constant and
intense training. When I first started singing opera, I
was very thin and performed only lyrical parts. For
comparison: if I didn’t have div weight, I would never
have been able to play a role in the opera “Othello”.
Every day I start by doing the measure -
it’s like training.
As a result, the chest expands, a strong hunger appears
- we become so big. (laughs) As a rule, thin baritones -
for example, Muslim Magamaev. Among the tenors,
those who perform lyrical parts - lyric tenors - are thin.
Moreover, I know singers who broke two ribs during
the performance, so dramatic tenors wear a special
belt. Once, when I performed “Othello”, I also wore not
one, but two belts. This is one of the secrets of vocal
technique. Especially when it comes to vocal lessons. I
do not forgive laziness, evasion, I immediately stop
studying with such a student. The result will be only if
there is a desire on my part and on the part of the
students. This is true. I do not waste my nerves in vain,
and everyone knows this. So, four of my students are
laureates of the "Nihol" State Prize, established by the
head of our state, and three are soloists of the Bolshoi
Theater. A. Navoiy - these are just some of our recent
achievements.
Some time ago, I had another student - from near
Andijan. I heard her soprano at a singing competition
held among secondary specialized educational
institutions in the city of Karshi. I immediately realized
that she would become an opera singer, she is also a
fan of "opera". She is 19 years old, I call her little Maria
Callas. This is the future pride of Uzbekistan!
I went to evening school and went to work at a factory
as an intern, a locksmith apprentice. The work was
boring and monotonous. I remember buying a radio
receiver for my first salary. She listened to Muslim
Magamaev, Lanz, but the latter rarely played at that
time and immediately memorized everything she
heard. Once, during the winter holidays, they organized
a "Blue Light" in our store. The ensemble "Kuvonchli
Tashkent" performed, the competition was announced,
and I was nominated from our table. They asked me
what to sing, I answered, “The Sun is Walking Along the
Alley” by Muslim Magamaev. They asked me wh
at
melody it was, I asked again: “What is this?” (laughs). I
sang and was amazed at how my voice sounded. After
that, I was immediately invited to the “Synthesis”
ensemble, and then to “Yalla”. Many years later, she
took part in the competition for leading soloists of the
Bolshoi Theater in Moscow. For the performance, she
chose Turrida Mascanini’s “Farewell to Mother” and
Rudolf’s aria. I went on stage, 24 People’s Artists of
Russia were sitting in the hall, I was shaking, The
acoustics of the Bolshoi Theater are amazing, it only
helps the singer and does not drown him out, my voice
American Journal Of Social Sciences And Humanity Research
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
“flowed”. They chose me unanimously. Zurab Satkilava,
Vladimir Atlantov, Vladislav Piyavko became my
partners, colleagues. I still remember Irina Arkhipova
coming up to me and s
aying: “Ismail, you are the first
from Uzbekistan to sing this part during the 250th
anniversary of the Bolshoi Theater.”
Many tenors lost their voices after performing this part.
You have to sing for four acts, the voice should be like
a baritone, but at the same time the singer takes tenor
notes. After the second act, I personally felt so hungry
that when my wife brought me a chicken, I ate it whole!
There was a tour in Leipzig, Germany, where I
performed the Faust aria. The performance stops, and
I hear applause, a roar. I was scared. I look at the front
rows and see how everyone is stamping their feet on
the floor! It was like this in the whole hall... Later they
explained to me that this is a manifestation of the
highest pleasure and joy. The best are perceived like
this. In Brazil, as soon as the high notes are hit at the
end of the performance, everyone gets up from their
seats and runs to the stage shouting “bravo!” Very
emotional people!
We have talented artists with excellent pop and
academic vocals. But there are also those who
deliberately shoot clips at weddings and corporate
parties in order to increase their prices, and ratify them
on television.
It is very gratifying that, among many talents, there are
such devotees of their profession as Ismoil Jalilov, who
continues to study at the opera school of our country
and is currently a professor of the Department of
“Academic Singing and Opera Preparation” of the State
Conservatory of Uzbekistan, People's Artist of
Uzbekistan.
REFERENCES
Dino
ra Azimova. Вольшебный голос Исмоила.
Bishkek, 2018.
Interview with Anna Zhelikhovskaya, correspondent of
the newspaper “Tasvir”. Tashkent, 2019.
