The secret of eternal youth of Sofia Rotaru: no fried potatoes, desserts and meat dishes. The secret of eternal youth of Sofia Rotaru: no fried potatoes, desserts and meat dishes Beauty and health rules of Sofia Rotaru

She is irresistible!

This year, the incomparable singer and charming woman Sofia Rotaru anniversary - seventy years! But you instantly refuse to believe it, as soon as you see photos of this singer. She looks amazing despite her age. Today, absolutely everyone knows her, and her compositions are still sung in many countries.

Despite her age, Sofia Rotaru is not shy about unusual outfits. For example, her appearance at the “Heat” festival in Baku recently made a splash. Sofia Mikhailovna amazed everyone! According to the artist, the preparation for this concert took her more than three months. Concert costumes were created for this show, arrangements were made, new songs were recorded.

On the eve of the anniversary, the singer decided to leave for Italy with her relatives. She celebrated her birthday in a narrow family circle. It is worth noting that some of them had a hand in its current popularity. The singer's son helps his star mother not only at home, but also at work. He acts as its concert director.

And the creative director and at the same time the stylist of the artist is her daughter-in-law Svetlana. But the grandchildren of the artist in the footsteps famous grandmother did not go, although this does not negate the fact that they also made their choice in favor of creative professions. The granddaughter, for example, is engaged in the modeling business, and Sofia's grandson is a fashion photographer.

If geographically and politically Soviet Union has long been dead, then in pop culture it continues to exist as if nothing had happened - in the person of such figures as, who recently celebrated her 80th birthday, or Sophia, who turns 70 on August 7.

In only one biographical information about Rotaru, it seems, the whole history of the country - she was born in the village of Marchantsy in the Chernivtsi region of Ukraine in a Moldovan family; in the early 1990s, there was a joke that at the talks in Belovezhskaya Pushcha, the leaders of Russia and Ukraine asked themselves “how we will divide Rotaru”.

Her career began to develop at a time when Soviet ideologists finally allowed the flowers of national cultures to bloom.

Seventies

It is believed by many that Rotaru's fame began with the musical film "Chervona Ruta" in 1971, in which Rotaru played leading role and whose name was then taken by her for her ensemble. In fact, the Festival of Youth and Students, which took place in Bulgaria three years earlier, can also compete for the title of the take-off site of her career - she won there gold medal performing songs in Ukrainian and Romanian.

And the first success came ten years before and consisted of many stages - regional, then republican competitions amateur performances, conductor-choir department of the Chernivtsi Music College, for lack of a vocal department.

Photo report: Sofia Rotaru was in intensive care

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The key to the success of Rotaru was a clear and even in best sense words a calculated mixture of national and cosmopolitan repertoires: so, from the very beginning she creative activity continued cooperation with the composer Volodymyr Ivasyuk from Lviv, but at the same time she sang songs by Arno Babadzhanyan, Volodymyr Matetsky; texts for them were written by other poets who do not need to be introduced. And it's not just that cooperation with high caste Soviet pop composers and poetic workshop served as a pass to the big stage.

Such omnivorousness allowed her to organically interweave the songs of the Soviet outskirts on different languages into your program and skillfully use - at least declarative - course Soviet authorities to support national cultures.

And in this way everyone likes it: both the officials of the Mosconcert and the residents Russian capitals, and to their countrymen on both sides of the Ukrainian-Moldovan border.

Interestingly, at the same time, the singer, who seemed to be treated kindly by the authorities, was not without disgrace. More precisely, it worked out - in 1975 she had a conflict with the local Chernivtsi regional committee of the Communist Party of Ukraine, in connection with which she and her ensemble moved to Yalta. Nothing definite is known about its causes so far - Rotaru herself said that she moved to the Crimea in connection with the opened asthma. Possible cause there was an increased share of the repertoire in the Ukrainian language and cooperation with authors from Western Ukraine. Interestingly, the shake-up and stress gave a new impetus to her career: the singer's records (first - longplays) began to be released by the Melodiya company, and she herself was invited to Munich to record a disc at the Ariola company. Then she had a large-scale tour of Western and Eastern Europe.

Eighties

The decade of transition from stagnation to perestroika was the peak of her career - it was at that moment that she, with the help of radio and television, became a permanent presence in country life, coming to almost every house and sounding from every window. And the trigger for this popularity again, as in the case of Chervona Ruta, was cinema - more precisely, two films with her songs and participation. In 1980, “Where are you, love?” was released, a kind of transcription of the plot of “Come Tomorrow” to more modern realities. The picture was quite autobiographical - in it a young girl came to an amateur song contest with a composition by Raymond Pauls, the same name as the name of the film, and left his main triumph.

The picture turned out to be mega-popular - Melodiya released a record with songs from the film, and the whole country sang songs based on verses by the best Soviet poets.

A year later, another picture came out - "Soul", an autobiographical melodrama about the loss of a singer's voice and a reassessment of values. The participants of the Time Machine starred in it as musicians, they wrote songs and, and Rotaru, who was then at the peak of popularity, became a partner. The second picture completed the formation of a personal mythology around her, and a triumphant tour in Canada - the status of a real export star, in the language of trade, suitable for both domestic consumption and export.

However, it seems that it was this stardom and this status that caused the actual second disgrace - she was forbidden foreign tours(Requests for which became more and more).

It got ridiculous - the representatives of the German concert agency once, in response to an invitation, they sent a paper: “This does not work here.”

Nevertheless, Rotaru actively participated in " Songs of the Year”, continued cooperation with both top Russian-speaking authors and Moldovan poets - for example, George Vieru, who wrote the songs “Romantica” and “Melancolie” for her. However, it ended - unsuccessful, it must be admitted - fell into disgrace only with the beginning of perestroika.

The turning point in this sense can be recognized as the beginning of cooperation with Vladimir Matetsky, which led (or, conversely, was the reason) for a change in image - instead of a chansonnier with folk roots, Rotaru turned into a disco and rock vocalist. More precisely, she was still an ideal opponent for the rock musicians of the Leningrad Rock Club and the Moscow Rock Laboratory, however, starting with the quite romantic "Lavender", she eventually began to perform fast things - the very ones for which she is still remembered since: “Moon, moon”, “It was, but it has passed”, “Only this is not enough”. The latter was a very bold experiment - a poem full of nostalgic sadness was turned by Matetsky into a real rock action movie. They worked together for a long 15 years - until the end of those very 90s, which the honored artists were resolutely scrapped, and new ones were put forward in their place.

Nineties - today

Moreover, it is worth noting that Rotaru never became an archival star - like a generation of pop stars a generation older, quietly and worthily retired, into teaching and "Old songs about the main thing."

She, who began her career with the help of her mother, a merchant on the collective farm market, had some amazing, as they say today, marketing flair: in some surprising way, at the right time, she guessed the market situation and the time when it would be necessary to change the image or do something new.

So, for example, it was she who at one time - back in the early 90s - noticed a trend in new pop stars to perform with backup dancers and invited the not-so-famous Todes troupe to perform with her.

The head of the dance theater, Alla Dukhova, said that it was these concerts that became the first step towards the future fame of the dance troupe.

At the same time, she is not at all characterized by a passion for continuous renewal and oblivion of the old repertoire - she did not shy away from anniversaries, nostalgic reissues, etc. at all. In 2012-2013, she rolled a big anniversary tour dedicated to the 40th anniversary of creative activity. Rather, on the contrary - carefully and densely mixing old hits with new ones, she presented her songs as part of one, never interrupted (and by and large - not affected by time) process. Moreover, it seems that in her case this is not a concept, but a philosophy - because both her biography and her statements indicate that for her this is a way of life.

Another feature of her philosophy is her political position. Although it would be more correct to say humanitarian - a resident of Kiev and a resident of Yalta at her actual place of residence, in 2004 she distributed food to representatives of both opposing camps on the Maidan.

And later, in the wake of the great coming of Ukrainian musicians into politics, she even tried to run for the Rada from the Lytvyn bloc. At the same time, at the present time, she strongly refrains from any involvement in the foul-smelling Russian-Ukrainian propaganda wars that cause suffering to both peoples: after the annexation of Crimea, she did not take Russian citizenship (according to her, due to registration in Kiev) and specifically noted that is a citizen of Ukraine.

At the same time, in fact, she and her songs remain part of the life of the divided citizens of the once united country.

The informals of the 80s considered her songs an example of Soviet pop officialdom - now they sound like last memory about that utopia of the unity of the country and the friendship of peoples, to which the Soviet Union at least tried to approach and the final collapse of which we are witnessing now. And that is why there is a risk that many leaders of countries that share this singer among themselves will remain petty political figures of the era of Sofia Rotaru.

Singer Sofia Rotaru is celebrating her 70th birthday today. People's Artist USSR Sofia Mikhailovna Rotaru was born on August 7, 1947 in the village of Marshintsy, Novoselytsky district, Chernivtsi region of Ukraine.

Sofia Rotaru has had a love for music since childhood: the singer's father Mikhail Fedorovich loved to sing with his wife at home. A elder sister Sophia Zina, after an illness, lost her ability to see, but the illness sharpened the girl's hearing. It was Zina who taught everyone to sing younger brothers and sisters. Therefore, subsequently, not only Sofia, but also Aurika and Lydia Rotaru became singers and actively performed, sang both a duet and a trio. And the brothers Anatoly and Evgeny worked in VIA "Orizont".

The first success came to Sofia Rotaru in 1962. victory in district competition amateur performances opened the way for her to the regional review, which was held in the city of Chernivtsi, and there she was also the first. In 1964, she took part already in the republican festival of folk talents and won again! In the same year, Sofia Rotaru first appeared on stage Kremlin Palace congresses.

Sofia entered the conductor-choral department of the Chernivtsi Musical College.

In 1968, Sofia Rotaru married Anatoly Evdokimenko, Honeymoon the young spent in the dormitory of the 105th military plant in Novosibirsk, where her husband was undergoing university practice.

Rotaru was delegated to Bulgaria for IX world festival youth and students, where she won a gold medal and first prize in the competition of folk song performers.

In 1971, Evdokimenko, who became not only a husband, but also a producer of Rotaru, organized Music band"Chervona Ruta" at the Chernivtsi Philharmonic, whose soloist was Rotaru. For more than 30 years, Anatoly Evdokimenko was the executor of any of her desires, producer, director of programs, director, director, bodyguard ... His tragic death in 2002 after a serious long illness was a big blow to Rotaru in her personal life.

In 1974, Rotaru was diagnosed with an almost fatal diagnosis - pulmonary tuberculosis. Then she was diagnosed with asthma, and later nodules appeared on her vocal cords - occupational disease singers. But this did not break the singer.

The disease was defeated. True, the singer had to move to the Crimea - only the local healing sea air saved her lungs. Then an operation was performed on the ligaments, and later another one. After her, the singer was forced to speak in a whisper for a year.

Rotaru is still performing. Last time she took the stage on July 28 as part of the "Heat" festival in Baku.

For my singing career Rotaru performed more than 400 songs, many of which have become classics of the Soviet and Ukrainian stage. The singer has released over 30 albums, among her discs recent years- "And my soul flies ..." (2011), "I'm sorry" (2013), "Let's have a summer!" (2014), "Winter" (2016).

icon Soviet stage, which has retained its status at the present time almost unchanged. "Gazeta.Ru" - about the reasons for its success.

If geographically and politically the Soviet Union has long been dead,

then in pop culture it continues to exist as if nothing

happened - in the face of such figures as Edita Piekha, who recently noted

80th anniversary

In the biographical information about Rotaru alone, it seems

the whole history of the country - was born in the village of Marchantsi in the Chernivtsi region of Ukraine in a Moldovan family; There was a joke in the early 90s

that at the talks in Belovezhskaya Pushcha the leaders of Russia and Ukraine

asked the question, "how we will divide Rotaru."

Her career began to develop at a time when Soviet ideologists finally allowed the flowers of national cultures to bloom.

Seventies

It is believed by many that Rotaru's fame began with the 1971 musical film "Chervona Ruta", in which Rotaru played the main role and the name of which was then taken by her.

for your ensemble.

In fact, for the title of the take-off site of her career,

to argue and the Festival of Youth and Students, held in Bulgaria

three years before that, she won a gold medal there, singing songs in Ukrainian and Romanian.

And the first success came about ten years before and consisted of

many stages - regional, then republican amateur art competitions, the conductor-choir department of the Chernivtsi Music College, in the absence of a vocal one.

Is source: Ekaterina Chesnokova/RIA Novosti

2017 Sofia Rotaru performs at the international music festival ZHARA in Baku

The key to Rotaru's success was a clear and even in the best sense of the word prudent mixture of national and cosmopolitan

repertoire: so, from the very beginning of her creative activity, she continued to cooperate with the composer Vladimir Ivasyuk

from Lviv, but at the same time she sang songs by Arno Babadzhanyan, David Tukhmanov, Yuri Saulsky, Raymond Pauls, Vladimir

Matetsky; texts for them were written by Robert Rozhdestvensky, Andrei Voznesensky and other poets who need no introduction.

And it's not just that cooperation with the upper caste

Soviet pop composers and poetic workshop served

admission to the big stage.

Such omnivorousness allowed her to organically weave the songs of the Soviet outskirts in different languages ​​into her program and skillfully use -

at least declarative - the course of the Soviet authorities to support national cultures.

And in this way everyone likes it: both the officials of the Mosconcert and

residents of Russian capitals, and their countrymen on both sides

Ukrainian-Moldovan border.

Interestingly, at the same time, the singer, who seemed to be treated kindly by the authorities, was not without disgrace.

More precisely, it worked out - in 1975 she had a conflict with the local Chernivtsi regional committee of the Communist Party of Ukraine, in connection with which she and her

The ensemble moved to Yalta.

Nothing definite is known about its causes so far -

Rotaru herself said that she moved to the Crimea in connection with

open asthma. A possible reason was the increased

share of repertoire in Ukrainian and cooperation with authors

from Western Ukraine.

It is interesting that the shake-up and stress gave a new impetus to her career: the singer's records (long plays at first) began to be released by the Melodiya company, and she herself was invited to Munich to record a disc

at Ariola. Then she had a large-scale tour of Western and Eastern Europe.

Eighties

The decade of transition from stagnation to perestroika was for her

the peak of her career - it was at that moment that she, with the help of radio and television, began to be constantly present in the life of the country,

coming to almost every house and sounding from every window.

And the trigger of this popularity is again, as in the case of

"Chervona Ruta" became cinema - more precisely, two films with her songs

and participation. In 1980, "Where are you, love?", A kind of

adaptation of the plot "Come tomorrow" to more modern

realities.

The picture was quite autobiographical - in it a young girl came to an amateur song contest with the composition

Raymond Pauls, of the same name as the name of the film, and left his main triumph.

The picture turned out to be megapopular - "Melody" released

a record with songs from the film, and songs based on verses by the best Soviet

the whole country sang poets.

A year later, another picture came out - "Soul", an autobiographical melodrama about the loss of a singer's voice and a reassessment of values.

In the role of musicians, the participants of the "Time Machine" starred in it,

songs were written by Andrey Makarevich and Alexander Zatsepin, and

Rotaru's partner was then at the peak of popularity

Mikhail Boyarsky.

The second picture completed the formation of personal mythology

around her, and a triumphant tour in Canada - the status

a real export star, in the language of trade, suitable for both domestic consumption and export.

However, it seems that this stardom and this status have become

cause of the actual second disgrace - she was forbidden by foreign

tours (requests for which became more and more).

It got ridiculous - once, in response to an invitation, representatives of a German concert agency were sent a paper:

"That one doesn't work here."

Nevertheless, Rotaru actively participated in the "Songs of the Year",

continued cooperation both with top Russian-speaking

However, it ended - unsuccessful, it must be admitted - fell into disgrace only with the beginning of perestroika.

The turning point in this sense can be recognized as the beginning of cooperation with Vladimir Matetsky, which led (or, conversely, was the reason) for a change in image - instead of a chansonnier with folk roots, Rotaru turned into a disco and

rock vocalist. In fact, she's still been the perfect opponent.

for rock musicians of the Leningrad Rock Club and the Moscow Rock Laboratory, however, starting with the quite romantic Lavender,

she eventually began to perform fast things - the very ones

for which she is still remembered: “Moon, moon”, “It was, but it has passed”,

"Only this is not enough."

The latter was a very bold experiment - a complete

nostalgic sadness, the poem of Arseny Tarkovsky was turned by Matetsky into a real rock action movie.

They worked together for a long 15 years - until the end of those same 90s,

which honored artists were decisively scrapped, and new ones were put forward in their place.

Nineties - today

Moreover, it is worth noting that Rotaru never became an archival

a star - like a generation of pop stars a generation older,

quietly and with dignity retired, into teaching and

"Old songs about the main thing."

She, who began her career with the help of her mother, a merchant on the collective farm market, had some amazing, as they say

these days, marketing flair: in some surprising way

at the right moments of time, she guessed the market situation and the time when it would be necessary to change the image or do something new.

So, for example, it was she who at one time - back in the early 90s -

noticed a trend in new pop stars to perform with backup dancers

and invited the not-so-famous Todes troupe to perform

together with her.

The head of the dance theater, Alla Dukhova, said that it was these concerts that became the first step towards the future fame of the dance troupe.

At the same time, she is not at all characterized by a passion for continuous

renewal and oblivion of the old repertoire - she did not shy away from anniversaries, nostalgic reissues, etc. at all. In 2012-2013, she rolled a big anniversary tour dedicated to the 40th anniversary of her creative activity.

Rather, on the contrary - carefully and densely mixing old hits with new ones, she presented her songs as part of one, never interrupted (and by and large - not affected by time) process.

Moreover, it seems that in her case this is not a concept, but a philosophy - because both her biography and her statements indicate that for her this is a way of life.

Another feature of her philosophy is her political position. Although it would be more correct to say humanitarian - a resident of Kiev and a resident of Yalta at her actual place of residence, in 2004 she distributed food to representatives of both opposing camps on the Maidan.

And later, in the wake of the big coming of Ukrainian musicians into politics, she even tried to run for the Rada from the Lytvyn bloc: after the annexation of Crimea, she did not take Russian citizenship (according to her, due to registration in Kiev) and emphasized that she was a citizen of Ukraine.

At the same time, in fact, she and her songs remain part of the life of the divided citizens of the once united country.

The informals of the 80s considered her songs an example of Soviet pop officialdom - now they sound like the last memory of that utopia of the unity of the country and the friendship of peoples, to which the Soviet Union at least tried to approach and the final collapse of which we are witnessing now.

And that is why there is a risk that many leaders of countries that share this singer among themselves will remain petty political figures of the era of Sofia Rotaru.