pakhmutova picks up the viewer, lifting him above the ordinary, like a fresh gust of wind, but thisng tenderness, tatyana lioznova was amazed, this song should become the story of her future film, suddenly it’s livid to the eyes. no, she had only one dream: to dance. very soon, valya left for 3 months to film in a village in medov, moscow region, that summer became a fairy tale for valentina. on the day when we were filming an interview with valentina ilyenishna, we accidentally learned that there would be an open-air screening of lioznova’s film in the bauman garden. we couldn’t miss this opportunity and came to plunge into a brilliant film together with space, as i remember now, then i received for the first time in my life, a huge, huge bouquet of flowers, a premiere and a buffet reception, mikhailovna came up to me, hugged me. she pressed me so hard, a tear started to flow from her, she says, why are you so close to my heart, something is happening to me to make me cry, how many times have i parted there after filming, there were no such situations, she must say: listen, if it w

pakhmutova and nikolai dobronrav are heard on the all-union stage , it is in the songs of the unionnderful classics, igor luchenok became on a par with them, thanks to luchenok the rise took place, he created not just an ensemble, he created a whole wave, on this whole wave the silver, bright, dewy nations swept along... the soviet union and russia, as it were, a country it wasn’t called, pesnyary, sebra, this is generally pride, glory is just our flag, i can sing kostilyast, kastilyaiska, that’s it, i can’t think of it anymore. a completely different song, a simple belarusian song, that’s all, if, you know, such brilliant things, they’re all simple, i clearly dreamed about you. kolis, which is then combined into chords , hangs, and i felt that, you know, as if something was moving in the air, you know, it was such a very powerful moment, you know, that’s why it was such a really, really powerful breakthrough, thanks he also gave birth to a new direction in belarusian pop art; it would seem that the repertoire of each ensemble was based on a belarusian song. but for everyone it soun

pakhmutova, this new square has become part of... now the tsarina’s floodplains have been radicallycted, as for the volga itself, including a watermelon festival on the banks of the volga in kamyshin the festival, although of course there is a decorous part, a competition for the best costume on a watermelon theme, is even more decorous, there is a new hotel and air base complex located here, because you can also live in planes specially brought here, converted into comfortable rooms, don’t forget , that volgograd... this is uryupinsk, it is called the capital of the russian province, by the way, it is closer to the khaper river, by the way, the don also flows through the region, but of course, the axis is the volga, the shock volgograd, this is the festival 34 for advanced youth, 34, as in the volgograd license plate, which took place just... these days, the next festival 3.4 for advanced youth is taking place on the new volga embankment, where it is exhibited raised from the bottom of the volga. varnikater bk-31 from the time of the battle of stalingrad, but where new life is in f

pakhmutova writes song "tenderness".a comes up with an idea, or at least that’s how it is later told, that something needs to be done around this, and only then does she come across alexander borchugo’s script. she wants three poplars on a shabolovka again, she thinks that she should cast nonna murdyakov in this role, it’s difficult to find an actress, but when they asked her, why didn’t you cast murdyakov? she thought that i would now record nonna singing the song tenderness, this scene came to her mind, yes, the heroine sings this song, sings like this according to the folk, so according to the woman, and she said, i ’ll write down nonna, i’ll find some actress who can sing to nonna, when they asked her, why couldn’t you call mordyakov, she answered, well, what kind of guy does she want? you can take a couple, here, here’s the weight, yes, the personality, the weight of the actress, who could play in partnership with her? tikhonov, perhaps , by the way, but it didn’t work out, so they searched and searched and found do

pakhmutova writes a song tenderness, liozny comes up with an idea, at least that’s how it is later tolden she comes across a script by alexander borshchugovsky, three poplars on a shabolovka, she wants, again, she thinks that she should direct... nonna murdyakova in this role, it’s difficult to find an actress, but when they asked her, why didn’t you murdyakov was removed? she thought that i would now record how nonna sings the song tenderness, this scene came to her mind, yes, the heroine sings this song, she sings like this in a folk way, like a woman’s, and she said, i ’ll record it and i’ll find nonna some actress who can sing to nonna when she they asked, why couldn’t you call mordyukova, she answered, well, what would it be like for her to take a man as a partner, that’s the weight and personality, the weight of an actress, who could be with her? play in partnership. tikhonov. perhaps, by the way, but it didn’t work out. and so they searched and searched and found daronina, who was extremely strict in her approach to the selection of scripts. just as it was difficult to find liozn

for the words of nikolai dobronravov and the music of alexandra pakhmutova, the nadezhda ensemble sanggolden junction, about which robert rozhdestvensky will write: “do you hear, time is humming,” bam. do you hear, time is humming, in the steep vastness, the big taiga is bye, twenty-third, twenty-fifth, eighty second year. three concerts, three concerts, three concerts. viktor anikeenko still keeps his bamov diary, in which he kept records of all veaplam concerts at that construction site; that remains in the memory of the soloist irina shashchneva. an unexpected meeting on bama with my old friend, suddenly she was flying, she was hugging me, and i was just taken aback, i said, how are you here? she says: yes, my husband and i left here, and i was even stunned, i say, like from moscow? and she told me: irka, we are so happy here, but how happy we were ourselves the soloists of the flame ensemble, when they performed one of the main anthems of the all-union construction project, the rails stubbornly cut the taiga, guys. american singer dean reed, superstar of the baikal amur constructio

pakhmutova writes a song “tenderness”, lioznova has an idea, at least that’s how it is then told, thate this in a folk way, like a woman’s, and she said, i’ll record it here nunnu i’ll find some actress who can sing to nonna, when they asked her, why couldn’t you call mordyakov, she answered, well, which one? and you can take a guy as a couple, here, here’s the weight, yes, the personality, the weight of the actress, who could play in partnership with her? tikhonov, perhaps by the way, but it didn’t work out, so they searched and searched. they found doronina, who was extremely strict in her approach to the selection of scripts, just as it was difficult to find lioznova, and maybe even more difficult it was daronin, and just as always they said that working with leoznova is incredibly difficult, that if you were able to work with lioznova, you can work with anyone, they also said about doronina that it’s impossible to work with her, well, she’s an incredibly complex person, these two personalities collided on the set , yes, sometimes they even say that doronina beat lioznova in this on

and now a composition written by outstanding composers of our countries will be performed, alexandratova and igor mikhailovich luchenok, nikolai. it is called russia belarus on our stage, honored artist of the republic of belarus victoria oleshko and the samotsvety ensemble. i don’t dare say, our life is joy and sadness, if belarus is in my heart, then you are in my heart, russia, if in my heart... belarus, then you are in my heart, and suffer, laugh until you cry, we love our polesie forests, we belong among these birches. i don’t presume to predict fate, our life is joy and sadness, if in my heart, belarus, that means you are in my heart, russia. that means you are in my heart, russia, that means in my heart, belarus, the new century, it will happen at our doors, more fun, my comrade brother, they say. we are not free yews, not for us, not a border, not a barrier, if belarus is in my heart, then you are in my heart, russia, russia, if you are mine. my heart is russia, which means belarus is in my heart. let's preserve the crane and the willow and the flaxen sky, not to break our co

pakhmutova.pineapples grow based on the texts of kazimir liska, directed by georgy surkov, starring igor gordin, artyom dubra and marina lebedeva. at the house of culture rassvet, the world premiere of boris filonovsky's vocal cycle quiet move based on poems by igor bolotovsky, performed by anastasia bondareva and yuri favorin. in the museum of ancient russian culture and art named after andrey rublev painting with thread. the theme of the exhibition was facial sewing. performed by soloists, choir and orchestra of the northern symphony of the chaliapin musical theater conducted by fabio mastrangelo. valentin malinin opens the program of the summer pianist festival in nizhny novgorod. philipp harivege is conducting. the berlin state opera presents the world premiere of contemporary french composer marc andre dalbavy's opera, melancholy of resistance, based on the novel by hungarian writer lászl krasznoharkay. staging. good morning, dr. myasnyakov says, shows, we are starting a program about the mo