Business woman: personal experience of leaders. Maksimchuk Maria Vladimirovna Natalya Kasperskaya, CEO of InfoWatch

“We 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 have to trust if you hire talented people on your team. In fact, you just need not to interfere with people to work. In Russia, this is difficult, because we have an Asian country, and we famously succeed in all pyramidal structures, when the leader climbs into everything. I'm trying to build a flat company, my task is to inspire and push people to feats. Especially boys. Our vulnerable boys, who have been made like this by the country - our system has been exterminating the male 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 to give the right to make mistakes - let him learn. What is happening in our company is a well-organized chaos. I am a brand caretaker, that is, one who observes the values \u200b\u200band spirit of the company.

The leader should be a moderator, someone who understands and sees what is good, what is bad and where is the level of quality. The main thing is when any employee, faced with a problem, can approach you as the "conscience of the brand" for advice. It costs a lot. I am primarily a team member. In general, I have a lot of personal relationships with employees. We do not have an aunt who is in charge of the deadline - you are responsible for it, you look into the eyes of the client. Therefore, there is no question of forcing someone. You can't lock everything on yourself.

Everything in our company is built on anti-taboo. Right now, we desperately miss gays. We need such a human texture, because a gay could come up with something for a pantyhose brand - who else but him? We only have a taboo on scoundrels, scoundrels and gossips. "

Natalya Kasperskaya, CEO of InfoWatch

“For some reason, many believe that vertical growth is good and want to manage someone. I am especially surprised when immediately after school they go to study for management. Since childhood I have been an activist and have always tried to manage someone. I got my MBA a few years ago, but I am skeptical about the idea of \u200b\u200bbusiness education. It is impossible to teach business - it must be in the blood. If everything were that simple, everyone would become Rothschilds.

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

• What pisses us off at work: employee revelations

When I hire someone, I don't rely on intuition. Unfortunately, my experience shows that the higher the position, the more difficult it is to identify aptitude. If you hire a marketing director, he is already so prepared for the interview and knows all the questions ahead of time, that you cannot understand what he will be like at work. I am managing developers. On the one hand, it is easier - they understand everything themselves, and on the other, it is more difficult, because many of them are much smarter than me. Ordering, banging on the table with your fist is not my story, although there have been cases. But in general, top managers do not need petty instructions. "

Tatiana Rogachenko, owner of Jean Louis David salons

“In my business, working with people is the hardest part. Because everyone is a key figure. His emotions can both positively and negatively affect the client. Even the best craftsman is not immune from 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. Some 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 raise personnel and share my experience with them.

I'm lucky to get paid for what I enjoy. My principle in life is not to reinvent the wheel. Therefore, when I decided to open beauty salons in Russia, I chose the path of a franchise.

Our clients are more finicky than in the West. And men stop being shy. They not only cut their hair, but also do a manicure - this is already a must. Pedicure and cosmetologist are on their way. "

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Tatiana Berkovich, restaurateur

“In the restaurant business, as in any other business, the main thing for a manager is justice. 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: "And if you yourself ..." I try to create an atmosphere in the restaurant. I always say to the employees: “Bring everything that you have good here. All problems should stay at home. " I teach them by my example. They are young, but not fools, and they understand that I will not advise you badly. I worked as a barmaid in a nightclub in Dusseldorf, and as good as it was, everything will come in handy. Purely everyday and managerial skills can only be obtained from life - no gymnasiums teach this.

Our people have become better versed in food. With France, everything is clear - there are hereditary cooks, in the fifth generation. And here what? It is clear that if you eat potatoes with pasta for 70 years, then taste buds degenerate at the level of genetics. We have talents, but there are very few of them - we do not yet have a mass character of cooking. I don't have a single foreign chef in my restaurant. All Russian, young guys. The less he knows, the better. Better from the bench of the 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 get through it! There must be military discipline in the kitchen. I have a favorite - Jamie Oliver (Jamie Oliver). It's brilliant! In everything. He is not afraid of food and treats himself with humor. After all, as soon as a person begins to take himself seriously, everything is over. Whatever specialist he is, he is a fool. "

Maria Maksimchuk, conductor of the Moscow Musical Theater. 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 woman conductor has to prove something all the time. This is a very ambitious profession and the competition is fierce. As in an aviary. Artists require extremely tight control. My dad was in charge of the army, and it's big - you can't show emotions there. And in music it is the other way around. When you get into a rage, the artists understand better.

Although the conductor is also a commander. Because he risks himself, goes ahead first, and people follow him. He is in charge of everything. As soon as the conductor starts playing 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 what you don't love? An orchestra is a one-time presence in one mood, thought. As soon as you think about a stranger, everything falls apart. Much depends on the degree of concentration and involvement of the conductor.

I can 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 female conducting. Swinging, waving your arms - it doesn't have to be that way. You have to do everything like a man. They are arranged in such a way that they have an organic pattern of gesture - it is more correct, stingy and strong. "

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

Elena Yatsura, producer

“Problems of gender in the profession are still an open topic for me. Despite their impressive track record, men pretend to be in command. I am a stubborn person. But everything must be resolved through negotiations. Including with the creative staff, which has its own cunning and stubbornness and with which it is most difficult to work, although it is the smallest. My employees are not afraid of me, because I don’t take cowards to work. I love to teach if I see that there are abilities.

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. At the time of default, it was such that for the cinema I borrowed ... two thousand from my aunt, two from friends and four for the first time in my life I borrowed on credit. Cinema is not a goldmine, as many think. Loans, investors, business plans, market analysis every three months. The story about the fact that "guys, give us money, and everything will return in six months" does not work - you have to answer for everything.

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

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. Sinaisky; at the same time she studied composition and instrumentation in the class of Professor K.S. Khachaturian.

In 2005, she completed her postgraduate studies with honors in the specialty "Opera and Symphony Conducting" of the Moscow State Conservatory (class of Professor G. N. Rozhdestvensky).

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

Winner of Diplomas in the specialty "Conductor of the Opera Theater" from the Federal Agency for Culture and Cinematography: for 2003 (Moscow Academic Musical Theater named after KS Stanislavsky and Nemirovich-Danchenko); 2005 (State Academic Bolshoi Theater of Russia); 2006 (State Academic Bolshoi Theater of Russia)

Since 2004 - Conductor of the Moscow Academic Musical Theater. KS 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 activity:

In the period 2000-2003. - Lecturer at the Moscow College of Music and Education. 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 he has been a conducting teacher 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 of the festivals of contemporary music "Moscow Autumn" (1998-2000), participant of concerts held as part of the festival "Parade of Young Conductors" (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 Early Music of the Moscow Conservatory.

Since 2003 - Assistant Conductor, since 2004 - Conductor of the Moscow Academic Musical Theater. KS Stanislavsky and Vl. I. Nemirovich-Danchenko. She has taken part in the productions of the operas Tosca by G. Puccini (2003), Fidelio by L. Beethoven (concert performance, 2004), Everybody does this 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 D. Shostakovich's 100th birthday, staged at the theater D. Shostakovich's operetta "Moscow. Cheryomushki" orchestrated by the Irish composer Gerard McBurney (2006).

Conductor of the international festival. S.V. Rachmaninova (Montevideo, 2005).

Since 2005 - Guest Conductor of the SODRE State TV and Radio Symphony Orchestra (Montevideo, Uruguay).

In the period 2005-2008 - trainee conductor, assistant musical 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" Tchaikovsky (2007), "The Legend of the Invisible City of Kitezh and the Maiden Fevroniya" by N. Rimsky-Korsakov (2008). She took part in the preparation of all subscription concert programs of the Bolshoi Theater Symphony Orchestra and Chorus held by the Moscow Philharmonic in the Great Hall of the Conservatory, conducted preparatory rehearsals for such conductors as Y. Temirkanov, G. Rozhdestvensky, V. Ashkenazi, A. Vedernikov, G. Herbig (Germany ), E. Klaas (Estonia), L. Hager (Germany), I. Beloglavek (Czech Republic), V. Jurowski, E. Mazzola (Italy). Collaborated with directors D. Chernyakov, V. Fokin, E. Nyakroshus.

Season 2007-2008 and 2008-2009. - Conductor of the 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 Philharmonic of Russia. Tours in Russia and abroad.

Conducts composing activity. The main direction: choral music, vocal and instrumental arrangements, concert transcriptions. Member of RAO since 2009.

Scientific activity:

Author of the article "African American Music: Spiritual and Gospel", included in the tutorial of the Moscow State Tchaikovsky Conservatory "Musical Culture of the United States of the 20th Century" (Moscow, 2007);

Author of the article "From the New World, or Notes on the Spiritual", included in the collection "Music of the USA: Questions of History and Theory" from the series Musical Landscapes of America (Scientific Publishing Center "Moscow Conservatory", Moscow 2008).

She is the recipient of an honorary diploma from Gardner-Webb University and diplomas from the Federal Agency for Culture and Cinematography.

Biography

She was born in Moscow. In 2000 she graduated from the conductor-choral department of the Moscow State Conservatory named after PI 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. Khachaturian). In 2005 she completed her postgraduate studies at the Moscow Conservatory (class of Professor G. Rozhdestvensky).

In 1999, she trained at Gardner Webb University (North Carolina, USA).
She took part in master classes of professors H. Rilling (Germany), S. Plait (USA), T. Fern (USA), V. Chaypek (Austria).

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

Since 2003 - Conductor of the Moscow Academic Musical Theater. KS Stanislavsky and Vl. I. Nemirovich-Danchenko).

Since 2005 he has been a trainee conductor at the Bolshoi Theater.

As an assistant conductor, she took part in productions of operas: “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 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: "Hernani", "Traviata", "Falstaff" by G. Verdi, "Love Potion" by G. Donizetti, "Bohemia", "Tosca" by G. Puccini, "Carmen" by J. Bizet, "Fidelio" by L. van Beethoven, “All women act like that” by W. A. \u200b\u200bMozart, “The Bat” 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 SODRE State TV and Radio Symphony Orchestra (Montevideo, Uruguay).
Collaborates with various symphony orchestras of the Russian Philharmonic.

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

Tour

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

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