A perspective on Ilham Nazarov's pedagogical aspects in opera art

Abstract

This article aims to provide a perspective on the pedagogical activities of Ilham Nazarov, Azerbaijan's first and only countertenor opera artist. The research was conducted as a case study within the framework of qualitative research methods. The pedagogical approach of I. Nazarov in opera art is the subject of the study. As data collection tools, interviews with I. Nazarov and his students, as well as his concerts, were examined. The content analysis of the interview with I. Nazarov identified codes under the theme of Effective Opera Education, within the subtheme of instructional approaches: listening to the piece through the interpretations of different performers, joint listening, discussing performances, focusing on pronunciation of words, pronunciation exercises in rhythm, physical posture, memorization of the piece, and musical harmony in word memorization. Under the subtheme of Vocal Characteristics of I. Nazarov, the identified codes include using different vocal tones, the ability to sing as soprano, mezzo-soprano, baritone, bass, and countertenor, and the need for preparation when using different vocal tones. Under the subtheme of Differentiation According to the Student, codes such as using books tailored to the student's characteristics (e.g., tenor) and obtaining information from experts were determined. It was found that I. Nazarov supported his students' artistic development through concerts such as "Unity of Generations" and "Baroque Music Evening." In the analysis of four YouTube videos of I. Nazarov's concerts, it was determined that as a teacher, he took an individualized approach to his students, using differentiation according to their developmental stages. For example, his pedagogical approach to Subhan Rustemov as a tenor can be cited as an example. I. Nazarov’s approach to teaching folk songs involves carefully addressing all the nuances and details of folk songs and teaching students to use melismatic ornaments with pleasure, starting from the early years of their education. In his teaching style at the conservatory, it was determined that he conducted one-on-one lessons (individualization), especially with students preparing for competitions or concerts, and considered individual differences during pre-concert preparations. In interviews with I. Nazarov’s students, they mentioned his influence on Tofik Zeynalov in learning how to use his voice in the best way, as well as his continuous assistance, and his impact on Kenan Rehmanzade in mastering various subjects such as correct performance techniques, understanding the content of a piece, and reflecting acting skills in performances. In his approach to his student Subhan Rustemov, I. Nazarov’s pedagogical approach of treating the student as valuable as a child was observed. In future research, I. Nazarov’s approach to opera education can be analyzed in more depth, and studies on educational curricula in higher education can be conducted in light of his views.