Imagine a world where music is not just heard but lives in every corner of the house, where the first words are not speech but melody. This was Giselle Ahmadi's reality from childhood. She was born into a family where talent was a gift passed down from generation to generation and love for art was the driving force. In this interview, Giselle shares the story of her journey in music: from her first performances at the age of two to international stages, from the invaluable support of her parents to the lessons learnt from triumphs and challenges.
Please tell us how your journey in music started and what inspired you to choose this particular career?
My musical journey began long before I took my first conscious steps. I was born into a family where music lived in every corner: my mother sang and danced, my father played the accordion, and my relatives on my father’s side wrote poetry. Although none of them had any formal musical education, their original talent and boundless love for art created the fertile soil in which my own vocation sprouted.
It all began when I was only two years old. I didn’t speak, I sang.
This moment was a turning point for my parents, they realised that my future was inextricably linked to music. So, from the age of two, my house turned into a real concert venue: we organised improvised shows for guests, my dad played the accordion and I sang. It was an amazing, fun and musical time.
So what inspired me to choose this particular career? First of all, it was talent – that God-given voice that came out so early. Added to that were my looks and, of course, a huge, all-consuming love for music. It’s not just a profession, it’s part of me, it’s what I live and breathe.
How exactly did your parents support your early passion for music?
My parents were not just supportive, but the real architects of my musical path. They saw my talent before I even realised it – I was singing at the age of two! Having inherited musicality from a whole family of self-taught musicians, my parents foresaw an artistic career for me from the very beginning, and from then on every step they took was directed towards my development.
From a very early age I was prepared for music school. In kindergarten I was a real activist, I was always performing and my parents encouraged me in every possible way. When it came time to choose an instrument, we started with the accordion, because we had this instrument at home and my dad played it beautifully. However, being small and fragile, I could hardly cope with the heavy accordion. Then my parents made a wise decision by giving me piano lessons. At the age of seven, when I joined my first piano teacher, my dad bought me a real piano – a huge, heavy instrument that cost a lot of money in those days, but for them it was an investment in my future. In the same year I started vocal lessons with Akhmedyanova Roza Irikovna, who is now teacher of the year in our town of Nurlat.
It was from the age of seven that my truly professional musical career began. My teacher actively prepared me for concerts and competitions, and I began to win prizes. At the age of nine I became a laureate of an international competition for the first time, and it was the first such achievement in our town of Nurlat. How exactly did your parents support
Throughout this time, my parents remained my constant support. My mother drove me daily to the music school on the other side of town, waited for me there, and then we hurried to the regular school. My childhood was filled with constant lessons, but in summer I had a little rest, although even then I returned to the instrument to repeat my homework. My dad provided tremendous moral support, always telling me that I was the best and strongest and to move forward no matter what. He also helped on the practical side, ordering and paying for costumes and dresses for performances.
Among other things, we had regular musical evenings at our house. Friends, relatives, everyone gathered for such mini-concerts with my participation. Dad played the accordion and I sang. These evenings not only strengthened my connection with music, but also accustomed me to the public. Of course, when I first stepped on the big stage, it was scary, but I was already much more relaxed than many of my peers who were used to not looking at the audience at all. My parents didn’t just support my passion, they created a world for me where music was the centre of everything, prepared me for every stage and were always there for me to reach my full potential.
Which of your achievements do you consider most significant and why?
Each of my achievements is the result of a lot of hard work, invested effort, love and diligence, so each diploma is very valuable to me. Of course, one can separate the awards received in childhood and those won at a more mature age. However, if we choose from all my diplomas, the diploma from Los Angeles for first place stands out. This victory was particularly meaningful for me, as it required maximum dedication and confirmed my abilities at an international level. In general, diplomas from any competitions where I take high and prize-winning places are very dear to me. Such results are not just pleasing, they strongly motivate me to move forward, develop and strive for new heights in music. Each such victory is a confirmation that my efforts are not in vain.
Please tell us more about your experience of participating in the Los Angeles competition. What made this victory so significant for you, and what criteria do you usually use to choose international competitions to participate in?
My experience of participating in the competition in Los Angeles was very meaningful. It was an international competition with more than 500 countries and cities participating, and I managed to win first place in the vocal category. I prepared long and hard for this competition and my efforts were justified.
As for choosing international competitions, I just go to the sites where I can participate. The main thing is to be age-appropriate. I also find it interesting when people from all over the world participate in such contests.
How do you find a balance between teaching, participating in international competitions and your personal life?
Music is not a hindrance for me, but rather a source of inspiration in all aspects of life.
In teaching, I give myself completely to the process because I love children and people in general. It is incredibly important for me to share my knowledge, especially with those who really need it.
As for my personal life, music does not interfere with it in any way. On the contrary, my relatives always give me full support in my musical endeavours. Participating in international competitions does not create any obstacles either; they only enrich my experience.
What values and beliefs do you try to pass on to your students? Do you have any special teaching methods as an educator? Do you have any interesting know-how that helps your students? Tell us about them
My approach to teaching is always individual, because each student has his or her own unique knowledge base.
I work very carefully with nuggets of talent who have no musical training, because the main thing here is not to spoil the natural timbre of the voice. We move gradually, developing their natural gift without forcing them.
For children who already have a musical base, I offer new methods and techniques that are the result of my personal experience and experience. Each teacher has their own unique techniques, and I am happy to share mine to help students grow and improve.
When it comes to performing, I always say one thing: you should never be afraid. All of our fears are only in our head.
It’s important to set goals for yourself and pursue them with determination no matter what.
The key to success on stage is to believe in yourself and achieve your successes.
Tell us about your experience of participating in the show ‘Slovenia ima talante’. What impressions did you get from this project?
My first experience of performing in Slovenia was truly unforgettable. Despite the fact that I hardly knew the language and had some difficulties in communication, I managed to win over the jury with my voice. The audience was incredibly warm and the applause was sincere and enthusiastic.
The audience’s reaction to the opera, especially to the aria from The Fifth Element, was incredibly unexpected and very pleasing to me. I can’t fully describe the state I experienced on stage: it was both exciting and at the same time a great pleasure to take part in such a large-scale project. I was very satisfied with the competition, as I think the jury and the audience were. Recently at my concert, when it was announced that Giselle Ahmadi from the talent show was performing, people were already applauding in advance. It turns out that I was on TV all over Slovenia and the audience knew who I was and what I looked like. It was very cool and fun! The main conclusion I took from this project was that I was too nervous. Next time I just need to let go of the situation and sing with full confidence. All fears are only in our head and the language barrier should not be a hindrance. If I was offered to participate in this project again, I would go on stage much more confident and stronger.
How do you support your professional development and strive for excellence in music? What new horizons and opportunities do you see for yourself in the future?
My professional development in music is an ongoing process that requires constant effort. I keep fit by rehearsing every day, and I also take regular lessons from leading teachers. In particular, I study with teachers in Italy and travel to Vienna twice a month to perfect my skills there. My goals are clearly defined: I am keen to work with opera houses and to participate actively in international concerts. I am now actively preparing a new programme for a recital, which I plan to begin in Slovenia. This is an important step in broadening my horizons and presenting my work to a wider audience.
How do you see classical music developing in the modern world? What innovations do you think could attract new audiences?
I am convinced that classical music, despite its deep historical roots, must continue to live and develop in the modern world. This requires innovation to help it attract new audiences and remain interesting.
Innovative approaches:
New arrangements: I think it’s very important to create new arrangements of classical works without changing the underlying motif. This allows us to show familiar masterpieces in a fresh light and make them more accessible to the modern listener.
Crossover projects: Projects that combine classical music with other genres such as pop, rock, or even film and video game music are gaining popularity. This is a fantastic way to push boundaries and reach people who might never have been interested in classical.
Internet distribution: the internet has opened up incredible opportunities for us. It is a powerful tool for distributing classical music, making it available literally all over the world.
Interactive concerts: I believe that concerts should become more spectacular. The use of modern technologies such as projections, lighting effects, dance elements or even virtual reality can completely transform the perception of classical music.
