Internationally recognised art and literary critic, writer and cultural producer. Published in ELLE, Glamour, Esquire and Cosmopolitan; member of the Union of Writers.
In this interview, I had the pleasure of speaking with Nikon Zhila, one of Russia’s most esteemed conductors, whose work has left an indelible mark on both Russian and global music. Nikon’s journey from a childhood immersed in church music to leading internationally acclaimed choirs offers fascinating insights into how sacred music can resonate beyond religious boundaries. Throughout our conversation, he shared the pivotal moments that shaped his career and discussed his commitment to bridging traditional choral music with the contemporary world. This dialogue delves into his motivations for expanding the reach of church choirs, the challenges of performing on international stages, and his vision for the role of choral art as a form of cultural diplomacy.
Maria Bregman: Dear Nikon! You are a distinguished artist of Russia, an outstanding conductor whose contributions to national and global musical culture are hard to overestimate. Your work has long extended beyond church walls, gaining international recognition. How did your journey into the world of music begin, and what led you to conducting?
Nikon Zhila: My pleasure! My path as a conductor and church choir director began in my childhood within a priest’s family, where church music was an integral part of life. My parents were deeply involved in church service, which shaped my perception of music as a spiritual experience. A particularly significant milestone was my participation in the choirs of the Moscow Theological Academy and the Trinity-Sergius Lavra during my youth, which eventually led me to the Sretensky Monastery and choral conducting.
Expanding the Reach of Church Choirs
Maria Bregman: Today, the Sretensky Monastery Choir, with which you’ve worked extensively, is known far beyond Russia. You were among the first to bring a church choir to concert stages around the world. What inspired you to broaden the scope of church singing and make it accessible to a wider audience?
Nikon Zhila: Our choral work is, above all, a calling and a mission. Music is an inseparable part of human life, and both song culture and sacred music have the power to unite people, reveal inner beauty, and touch deep chords of the soul. We wanted to share this beauty with as many listeners as possible. In this context, expanding our choir’s activity beyond only church music felt like a natural step. In the early 2000s, song culture was experiencing a revival, becoming popular and appealing once again. We began performing concerts in Russia, which soon led to invitations abroad – a venture that proved to be very successful. Many church choirs now follow this path, but back then, it was something new and unexpected.
Selecting a Diverse Repertoire
Maria Bregman: Your repertoire combines sacred and secular works. How did you select musical pieces for performances, and what do you see as the role of sacred music in the modern world?
Nikon Zhila: Choosing the repertoire is a complex and serious task. I always tried to consider the cultural context and the mood of the audience. Historically, song music is a continuation of the spiritual and often resonates with it by influencing emotions and feelings. I believe sacred music remains relevant and important as it reminds us of eternal values and the existence of a spiritual world. Sacred music has the power to move the soul and inspire profound reflection, which has been a cornerstone of our work.
Bringing Russian Song to the World Stage
Maria Bregman: Your concerts have filled halls around the world, including the US, where audiences enthusiastically embraced pieces like “Go Down Moses.” The New York Times highly praised your performances, noting their profound emotional impact. How did you manage to connect with such diverse audiences across continents?
Nikon Zhila: We communicated with our audiences through the universal language of music. We aimed to use music to convey emotions, values, and feelings that transcend time and place. We may be different from each other, but we all share a longing for beauty and the eternal. This is what we tried to convey through our music to all people, regardless of nationality or faith. Choosing compositions like “Go Down Moses” or local folk songs in the country where we performed only shortened the path to people’s hearts.
Performing at Global Events
Maria Bregman: Your choir was the first church ensemble to perform at major international events such as the Sochi Olympics and the Milan World Expo. What did it mean to you to take part in these events?
Nikon Zhila: Performing the Russian national anthem at the Sochi 2014 Olympics opening with the Sretensky Monastery Choir under my direction is a memory we will cherish forever and was certainly a pivotal moment in our careers. The Sochi Olympics was a global event, and it was an honour to perform at the opening before thousands of spectators in the stadium and millions worldwide. We felt engaged in our nation’s history… Another significant event was the 2015 Milan World Expo, where we represented Russia and performed for distinguished guests. Both events allowed us to showcase the richness and diversity of our musical culture to the world.
Innovating the Role of Church Choirs
Maria Bregman: Your influence on the music industry is hard to overstate. Beyond expanding church choir activities, you developed a methodology for repertoire selection, incorporating non-sacred music. Today, many choirs have adopted this practice. What do you believe is your primary mission as a conductor?
Nikon Zhila: National music is the cultural code of any people. As a conductor, I hear a vast range of feelings and emotions in our sacred and folk music – from deep sorrow and perhaps melancholy to lively spirit. Folk songs reflect the moods and spirit of different eras… And our mission, of course, is to preserve and pass on this spiritual, intangible heritage, while adapting it to contemporary conditions. It was important for us not only to preserve traditions but also to develop them, making them accessible and understandable to a broad audience. My goal has always been to create a bridge between past and present, between different cultures and peoples.
Future Prospects for Choir Conducting
Maria Bregman: Where do you think choir conductors can find opportunities in today’s world? What prospects do you see for young specialists in this field?
Nikon Zhila: Today, as I see it, choral art can serve as cultural diplomacy. Choral groups can be in demand on various cultural and educational platforms – festivals, concert programmes, and participation in major international projects. Young specialists need to understand that the role of a conductor goes beyond the traditional understanding of conducting, as it includes preserving spiritual traditions and engaging in educational work.
The Art of Maintaining Passion and Inspiration
Maria Bregman: How did you manage to maintain your personal engagement and inspiration through multiple performances of the same programme? Audiences can always sense an artist’s sincerity.
Nikon Zhila: I would say that a conductor and a choir “paint” a picture of the events unfolding in a song. They “paint” with the colours of the human voice, capturing the emotions of characters or landscapes. In this context, the empathy and emotional tone of the music performed flow from performer to listener and, crucially, return from listener to performer. It was important for me to approach each performance with renewed inspiration, even if it was the same programme, because music is what gives this inspiration. I saw my role as a conductor as a moderator, maintaining the emotional connection between performers and audience. This required constant self-improvement because our sincerity and genuine emotions create the magic of a concert.
Maria Bregman: Nikon, thank you for this profound and inspiring conversation. Your ideas and achievements set an example for many, and we eagerly await your future projects.
