Business women: personal experience of managers. Maksimchuk Maria Vladimirovna Maria Maksimchuk conductor

I have extensive experience in preparing graduates to successfully pass the geography exam in the form of the OGE and the Unified State Exam. Together with the student, we will analyze all the questions, paying special attention to the most difficult tasks. I will show and teach you how to avoid the pitfalls of the exam. I’ll tell you how to make the most of the permitted additional materials, how to find the answer to a question in the atlas, how to read assignments correctly, and how to correctly formulate the answer. Together we will again go through the school geography course, but this time focusing on the main thing. The result of our work will be successful passing of the exam and awakened interest in the most wonderful subject of the school curriculum! P.S. I work with the most difficult cases.

In 2002 she graduated from the Moscow City Pedagogical University, Faculty of Geography, majoring in geography with an additional major in ecology.
Completed advanced training courses in the direction of “Implementation of the requirements of the Federal State Educational Standard in the teaching of geography.”
Since 2011, she has been teaching geography at school, working with grades 5-11.
Experience in private tutoring since 2002.

In 2000, she graduated with honors from the Moscow State Conservatory with a degree in Choral Conducting in the class of Professor V.V. Sukhanov.

In 2002, she graduated with honors from the Moscow State Conservatory with a degree in Opera and Symphony Conducting in the class of Professor V. S. Sinaisky; At the same time, she studied composition and instrumentation in the class of Professor K. S. Khachaturyan.

In 2005, she graduated with honors from graduate school in Opera and Symphony Conducting at the Moscow State Conservatory (class of Professor G. N. Rozhdestvensky).

In 1999, she completed an internship at Gardner-Webb University (North Carolina, USA). Winner of the honorary diploma “Certificate of Achievement in fine arts/Music” (Gardner-Webb University, USA).

Recipient of Diplomas in the specialty “Opera Theater Conductor” from the Federal Agency for Culture and Cinematography: for 2003 (Moscow Academic Musical Theater named after K. S. Stanislavsky and Nemirovich-Danchenko); for 2005 (State Academic Bolshoi Theater of Russia); for 2006 (State Academic Bolshoi Theater of Russia)

Since 2004 - conductor of the Moscow Academic Musical Theater named after. K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko

Since 2008 - guest conductor of the State Academic Bolshoi Theater of Russia.

Since 2011 - guest conductor of the State Academic Symphony Orchestra of the Republic of Belarus.

Conductor of the international festival “Duetissimo-2011” (Minsk, Belarus).

Pedagogical activities:

In the period 2000-2003. - teacher at the Moscow Music and Pedagogical College. Member of the jury of the festivals “The World at the Turn of the Century” (2000-2003) and “Young Talents of Muscovy” (2004).

Since 2009 - teacher of the conducting class at the Department of Choral Conducting of the Moscow State Conservatory.

Since 2011 - musical director and conductor of the Opera Workshop of the Moscow Conservatory.

Participant in the Moscow Autumn festivals of contemporary music (1998-2000), participant in concerts held as part of the Parade of Young Conductors festival (2001-2002)

During her studies at the Conservatory, she took an active part in the creation and concert activities of the Baroque Chapel “Golden Age”, organized with the support of the College of Ancient Music of the Moscow Conservatory.

Since 2003 - assistant conductor, since 2004 - conductor of the Moscow Academic Musical Theater. K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko. She took part in productions of the operas “Tosca” by G. Puccini (2003), “Fidelio” by L. Beethoven (concert performance, 2004), “That’s what everyone does” by W. Mozart (2006), “Lucia di Lammermoor” by G. Donizetti (2009). Participated in the preparation of the Festival of German choreography “Counterparts” (ballets “The Rite of Spring” by I. Stravinsky, “Erda” by P. Vasks, 2008)

On the occasion of the 100th anniversary of D. Shostakovich, she staged at the theater D. Shostakovich’s operetta “Moscow. Cheryomushki” in an orchestral version by Irish composer Gerard McBurney (2006).

Conductor of the international festival named after. S. V. Rachmaninov (Montevideo, 2005).

Since 2005 - guest conductor of the symphony orchestra of the State Television and Radio Company "SODRE" (Montevideo, Uruguay).

In the period 2005-2008 - trainee conductor, assistant to the music director and chief conductor of the State Academic Bolshoi Theater of Russia. She took part in the following productions of the Bolshoi Theater: “Children of Rosenthal” by L. Desyatnikov (2005), “Eugene Onegin” by P. Tchaikovsky (2006), “Boris Godunov” by M. Mussorgsky (2007), “The Queen of Spades” by P. . Tchaikovsky (2007), “The Tale of the Invisible City of Kitezh and the Maiden Fevronia” by N. Rimsky-Korsakov (2008). She participated in the preparation of all subscription concert programs of the Bolshoi Theater Symphony Orchestra and Choir, conducted by the Moscow Philharmonic in the Great Hall of the Conservatory, and conducted preparatory rehearsals for such conductors as Yu. Temirkanov, G. Rozhdestvensky, V. Ashkenazi, A. Vedernikov, G. Herbig (Germany) ), E. Klaas (Estonia), L. Hager (Germany), I. Beloglavek (Czech Republic), V. Yurovsky, E. Mazzola (Italy). She collaborated with directors D. Chernyakov, V. Fokin, E. Nyakroshus.

Season 2007-2008 and 2008-2009 - conductor of performances of the current repertoire of the State Academic Bolshoi Theater of Russia: “The Nutcracker” by P. Tchaikovsky and “The Golden Cockerel” by N. Rimsky-Korsakov.

Since 2010 - musical director of the independent creative community “Bell of Chernobyl”.

Collaborates with various symphony orchestras of the Russian Philharmonic. Tours in Russia and abroad.

Conducts composing activities. Main direction: choral music, vocal and instrumental arrangements, concert transcriptions. Since 2009, member of RAO.

Scientific activity:

Author of the article “African American Music: Spiritual and Gospel”, included in the textbook of the Moscow State Conservatory named after P. I. Tchaikovsky “Musical Culture of the USA of the 20th Century” (Moscow, 2007);

Author of the article “From the New World, or Notes on Spirituals”, included in the collection “US Music: Issues of History and Theory” from the series Musical Landscapes of America (Moscow Conservatory Scientific Publishing Center, Moscow 2008).

“You need to hire intelligent people. Because they think not only about themselves, but also about the space around them. Such a person will not make you hostage to the trust you place in him. And you need to trust if you hire talented people into your team. Basically, you just need to not interfere with people's work. In Russia this is difficult, because we are an Asian country, and we are famously successful in all the pyramidal structures when the leader gets involved in everything. I’m trying to build a flat company, my task is to inspire and push people to perform great deeds. Especially boys. Our vulnerable boys, whom the country made this way, our system has been destroying men’s will for more than five hundred years.

A person needs to be allowed to express himself and cultivate the chemistry of success in him. And also give the right to make mistakes - let him learn. What is happening in our company is well-organized chaos. I am a brand custodian, that is, someone who upholds the values and spirit of the company.

The leader must be a moderator, someone who understands and sees what is good, what is bad and where the quality level is. The main thing is that any employee, faced with a problem, can approach you as the “conscience of the brand” for advice. It costs a lot. I am first and foremost a team member. In general, I have a lot of personal relationships with my employees. We don’t have an aunt who is responsible for the deadline - you are responsible for it, you look the client in the eye. Therefore, there is no question of forcing someone. You can't keep everything to yourself.

In our company, everything is built on anti-taboos. Right now we desperately need gays. We need such a human texture, because a gay man could come up with something for a brand of tights - who else but him? We only have taboos against scoundrels, scoundrels and gossips.”

Natalya Kasperskaya, General Director of InfoWatch

“For some reason, many people think that vertical growth is good and want to manage someone. I am especially surprised when people immediately after school go to study to become managers. Since childhood, I have been an activist and always tried to control someone. Several years ago I received my MBA, but I am skeptical about the idea of a business education. It is impossible to teach business - it must be in the blood. If it were that simple, everyone would become a Rothschild.

In fact, you have to rely on your intuition, knowledge of the market and understanding of people. When I hire a person and the person has an MBA degree, this is not a good sign for me. After interviewing two candidates, with and without this diploma, I will choose the second. MBA graduates have more ambitions, they inflate their salaries and believe that they already know everything.

What pisses us off at work: employee revelations

When I hire a person, I don't rely on intuition. My experience, unfortunately, shows that the higher the position, the more difficult it is to determine professional suitability. If you hire a marketing director, he is already so prepared for the interview and knows all the questions in advance that it is not clear what he will be like in the job. I manage developers. On the one hand, it’s easier - they understand everything themselves, but on the other hand, it’s more difficult, because many of them are much smarter than me. Ordering, banging your fist on the table is not my story, although there have been cases. But in general, top managers do not need minute instructions.”

Tatyana Rogachenko, owner of Jean Louis David salons

“In my business, working with people is the most difficult thing. Because everyone is a key figure. His emotions can have both a positive and negative impact on the client. Even the best master is not immune to this. I consider myself a flexible and diplomatic person, I always try to remain calm. I allow myself emotions only in my personal life.

Many people think I'm tough. One of my former employees wrote that I was a bitch. Perhaps because I am a demanding leader. But at the same time, I really like to train staff and pass on my experience to them.

I'm lucky, I get paid to do what makes me happy. My principle in life is not to reinvent the wheel. Therefore, when I decided to open beauty salons in Russia, I chose the franchise path.

Our clients are more picky than in the West. And men stop being shy. They not only get their hair cut, but also get their nails done – this is already a must. Pedicure and cosmetologist are on the way.”

Tatyana Berkovich, restaurateur

“In the restaurant business, as in any other, the main thing for a manager is fairness. That is, do not allow yourself to act under the influence of emotions and personal sympathies. I always try to explain and put them in my place: “What if you yourself...” I try to create an atmosphere in the restaurant. I always tell my employees: “Bring everything good you have here. All problems should stay at home.” I teach them by example. They are young, but not stupid, and they understand that I will not give bad advice. I worked as a bartender in a nightclub in Dusseldorf, and it was good that it was - everything would come in handy. Purely everyday and management skills can only be acquired from life - no gymnasiums teach this.

Our people have become more knowledgeable about food. With France, everything is clear - the cooks there are hereditary, in the fifth generation. What's here? It is clear that if you eat potatoes and pasta for 70 years, then at the genetic level your taste buds degenerate. We have talents, but there are only a few of them - we don’t yet have mass cooking. I don’t have a single foreign chef in my restaurant. All Russians, young guys. The less he knows, the better. Better from the bench of a culinary college. The only thing he should be able to do is peel potatoes. After all, retraining is much harder than teaching from scratch.

I always ask if I served in the army. It means a lot to me - a man has to go through this! There must be military discipline in the kitchen. I have a favorite - Jamie Oliver. He's brilliant! In everything. He is not afraid of food and treats himself with humor. After all, as soon as a person starts taking himself seriously, it’s all over. No matter how expert he is, he is a fool.”

Maria Maksimchuk, conductor of the Moscow Musical Theater named after. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko

“As a child, I was afraid to be alone on stage, so I decided to become a conductor - he is always in the company. A female conductor always has to prove something. This is a very ambitious profession and the competition is fierce. Like in an enclosure. Artists require extremely tight management. My dad led the army, and a big one - you can’t show emotions there. But in music it’s the other way around. When you get into a rage, it’s clearer to the artists.

Although the conductor is also a commander. Because he risks himself, is the first to go ahead, and people follow him. He is responsible for everything. As soon as the conductor begins to play to the audience, the orchestra begins to do the same. You need to love and trust the orchestra, because how can you take responsibility for something you don’t love? An orchestra is a one-time presence in one mood, one thought. As soon as you think about something else, everything falls apart. A lot depends on the degree of concentration and involvement of the conductor.

I see the eyes of everyone in the orchestra, and it is important that they look at me. Otherwise, the artist will sit and read “Soviet Sport”. There is no such thing as female conducting. Rocking, waving your arms – this shouldn’t happen. We must do everything like a man. They are structured in such a way that their gesture pattern organically develops - it is more correct, stingy and strong.”

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I am not a tyrant at work, but I am a stubborn person. Let it be through misconceptions and mistakes, but it will still be in my opinion. Because I am responsible for the final success of the product.

Elena Yatsura, producer

“Gender issues in the profession are still an open topic for me. Despite their impressive track record, the men pretend that they are in charge. I'm a stubborn person. But everything must be resolved through negotiations. Including the creative staff, who have their own cunning and stubbornness and who are the most difficult to work with, even though they are the smallest. My employees are not afraid of me because I don’t hire cowards. I like to teach if I see that there is ability.

I have a peculiar relationship with money, which is probably why I still haven’t learned to ask for it. I say right away that this is not quick money. During the time of default, it was such that for the cinema I borrowed... two thousand from my aunt, two from friends, and for the first time in my life I took four on credit. Cinema is not a gold mine, as many people think. Loans, investors, business plans, market analysis every three months. The story about “guys, give us money, and everything will be back in six months” does not work - you have to answer for everything.

The peculiarity of Russian business, in particular cinema, is that the main one who does not understand who a producer is and how everything should be arranged is the state. It mindlessly interferes in everything, instead of engaging in the development of new technologies and promotion. We have an impeccable audience, and it’s a lie that they only watch pop music. You just need to be able to sell and build cinemas in the provinces. It’s terribly convenient to say that the public is an idiot.”

Recipient of an honorary degree from Gardner-Webb University and diplomas from the Federal Agency for Culture and Cinematography.

Biography

Born in Moscow. In 2000 she graduated from the conducting and choral department of the Moscow State Conservatory. P. I. Tchaikovsky (class of Professor V. Sukhanov), in 2002 - department of opera and symphony conducting (class of Professor V. Sinaisky). At the same time, she studied composition and instrumentation (class of Professor K. Khachaturyan). In 2005 she graduated from graduate school at the Moscow Conservatory (class of Professor G. Rozhdestvensky).

In 1999, she trained at Gardner-Webb University (North Carolina, USA).
Participated in master classes by professors H. Rilling (Germany), S. Plate (USA), T. Fern (USA), V. Chaipek (Austria).

During her studies at the Conservatory, she actively collaborated with the Baroque Chapel “Golden Age”.

Since 2003 - conductor of the Moscow Academic Musical Theater named after. K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko).

Since 2005 - trainee conductor of the Bolshoi Theater.

As an assistant conductor, she took part in productions of the following operas: “Rosenthal’s Children” by L. Desyatnikov (2005), “Eugene Onegin” by P. Tchaikovsky (2006), “Boris Godunov” by M. Mussorgsky (2007), “ Queen of Spades" by P. Tchaikovsky (2007), "The Legend of the Invisible City of Kitezh and the Maiden Fevronia" by N. Rimsky-Korsakov (2008).
At the Bolshoi Theater he conducts the opera “The Golden Cockerel” by N. Rimsky-Korsakov and the ballet “The Nutcracker” by P. Tchaikovsky.

Also in the repertoire: “Ernani”, “La Traviata”, “Falstaff” by G. Verdi, “Elisir of Love” by G. Donizetti, “La Bohème”, “Tosca” by G. Puccini, “Carmen” by G. Bizet, “Fidelio” by L. van Beethoven, “This is what all women do” by W. A. Mozart, “Die Fledermaus” by I. Strauss, “Eugene Onegin”, “The Queen of Spades” by P. Tchaikovsky, “Boris Godunov” by M. Mussorgsky, “The Tsar’s Bride” by N. Rimsky-Korsakov, “Moscow, Cheryomushki” by D. Shostakovich.

Since 2005 - guest conductor of the symphony orchestra of the State Television and Radio Company SODRE (Montevideo, Uruguay).
Collaborates with various symphony orchestras of Russian philharmonic societies.

Since 2000 he has been teaching at the Moscow Music and Pedagogical College.

Tour

She took part in tours of the Musical Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko in the USA and Russia, in the Moscow Autumn festivals (1998-2000), as well as in the concerts of the Parade of Young Conductors series (2001-2002).