The Quatro soloists met at the ends of the earth. "Group Quatro"
The group "KVATRO" is one of the most promising musical groups Russian stage. Composed of: Anton Sergeev, Leonid Ovrutsky, Anton Boglevsky and Denis Vertunov.
The KVATRO group was created in 2003 by graduates of the Academy of Choral Art A.V. Sveshnikova. The group's vocalists have excellent vocal abilities and sophisticated musical taste, studied in Italy for several years. The genre in which the young singers work can be called “pop-opera”; their repertoire includes works of a very different stylistic orientation - from classics in modern adaptation and romances to golden hits of the Soviet and foreign pop music. "QUATRO" - frequent guests at the events of the high level, they performed on the same stage with Placido Domingo and Dmitry Hvorostovsky.
The group "Quattro" gained national fame after it became a worthy representative from Russia in the competition "Five Stars. Intervision", according to the results of which it took first place. And the team won national recognition in the qualifying round of Eurovision 2009, entering the top three leaders in the national selection.
Anton Sergeev born in 1983 in the city of Norilsk. Graduated with honors from the Moscow Academy of Choral Arts in choral conducting and classical vocals (tenor). Anton began to get involved in music back in early childhood. The parents noticed their son's extraordinary abilities, which later turned out to be perfect pitch. The end of Anton's adolescence coincided with his passion for ensemble singing. Anton auditioned as a symphony conductor for Vladimir Spivakov and really wanted to be opera singer- tenor.
Leonid Ovrutsky born in 1982 in Moscow. Graduated with honors from the Moscow Academy of Choral Arts in choral conducting and classical vocals (baritone). Leader of the KVATRO group. Leonid grew up in musical family, parents graduated from the conservatory in piano, and Leonid himself received vocal and conducting education. Before creating the group, he worked as an assistant to director Kirill Serebrennikov, sang in opera house"Helikon Opera", trained as a conductor in the orchestra of Vladimir Spivakov, participated in the production Mariinsky Theater"Faster, Giuseppe and Verdi."
Anton Boglevsky born in 1983 in Moscow. Graduated with honors from the Moscow Academy of Choral Arts in choral conducting and classical vocals (tenor). He grew up in a family of musicians. Despite the fact that all my adult life I studied exclusively classical music, V ordinary life I listened to everything except the classics. Anton writes songs himself and feels the rhythm of music better than anyone in the group and has absolute pitch.
Denis Vertunov born in 1977 in Moscow. Graduated with honors from the Moscow Academy of Choral Arts in choral conducting and classical vocals (bass). Denis is the oldest and most experienced in the group. Managed to participate in five jazz acapella groups, including the vocal group "COOL & JAZZY".
How many Russian pop performers can boast of a large vocal range? And these four singers managed to combine three male timbres on one stage. And they are so organically intertwined with each other that during the performance of these guys it is impossible to understand who is singing in what voice! I'm talking now about an unusual classical quartet - group "Kvatro".
The composition included four graduates of the Academy of Choral Arts named after A.V. Sveshnikova: high and sonorous tenor Anton Sergeev, gentle baritone Leonid Ovrutsky, magnificent bass Danila Karzanov and velvety tenor Anton Boglevsky. Previously, Denis Vertunov was also a member of the group, but last year he left it. Each of the participants makes their contribution to the performance of good old hits and songs of their own composition.
The quartet began its creative activity in 2003. But only in 2008 did the group gain real popularity. This happened thanks to their victory in Sochi at the “Five Stars” competition. Intervision." And Quatro received recognition from millions of Russians in 2009, when they entered the top three national selections for Eurovision 2009.
The team of professionals is already winning the hearts of the public for a long time. They give concerts not only in the world's megacities and cultural centers, but also in small cities of Russia, which, of course, does them credit.
The group performed on the same stage with such legendary performers, like Placido Domingo, Alessandro Safina and Dmitry Hvorostovsky. And in London, in the prestigious Royal Albert Hall of Arts and Sciences, they sang with Joseph Kobzon.
Many fans from all over the world appreciate the skill of the singers, their unique interpretation of songs based on the works of famous Russian composers such as Rachmaninov, Tchaikovsky, Borodin. The members of the team were wonderfully chosen by their voices. Their timbres and unique performance surprise connoisseurs of the classics. The quartet's repertoire is completely different styles- these are classics in modern adaptation, and romances, and hits of past years, and, of course, original songs.
I would like to especially mention one of them - “Chamomile Fields”. Everything about it is great - the combination of four “golden” voices of the performers, very kind and lively lyrics and a melody that sinks into the soul. These are the ones folk songs The Russian stage is so lacking today!
The quartet has a wonderful album “Songs of Victory”, which includes songs from the war years “Katyusha”, “ Dark night", "Cranes", "Song of War Correspondents", etc. These compositions will certainly be remembered by listeners, because with them the quartet expresses feelings that cannot be expressed in words. Their performance excites and touches to the core.
I would also like to mention the album “ Soviet hits" It contains songs that our parents and grandparents love. In the new performance you can hear such hits of past years as: “Moscow Windows”, “And love is like a dream”, “Give me back the music” and “There is only a moment”. Older generation definitely will not remain indifferent to such a gift from young people.
The quartet gained incredible popularity for this format thanks to new performances of old hits and their own works. Although flawless appearance- formal suits, bow ties, shoes polished to a shine – the public is also very impressed! In addition, at each performance the group gives “gifts” to their fans: lyrical compositions are played on the piano or other interesting instruments, Italian arias that are known to many. All this makes the group not only special, but also quite popular among the current pop stars.
Our guests were members of the vocal group "Kvatro" Anton Sergeev and Anton Boglevsky.
We talked with our guests about their creativity, about combining different musical styles and about the performance of church musical works.
V. Emelyanov
Hello, you are listening to the program “Bright Evening”, in the studio of Vladimir Emelyanov and Alla Mitrofanova.
A. Mitrofanova
Good “Bright evening”.
V. Emelyanov
Today we are meeting with a Moscow vocal group called “Kvatro”, or rather with part of it, today we have a duet “Kvatro”. Two members of this team.
A. Mitrofanova
Two tenors, concert of two tenors on radio "Vera".
V. Emelyanov
Anton Sergeev and Anton Boglevsky, let’s get acquainted, because there are two Antons, and how to understand which of you is which, and we don’t know each other personally, is still impossible for me.
A. Sergeev
Good evening, I am Anton Sergeev, if you can recognize me by my voice.
A. Mitrofanova
Of course we can.
A. Boglevsky
Good evening, I’m Anton Boglevsky, well, actually, it’s nothing complicated, because if you look at our posters, then, as a rule, the first two are on the left.
A. Sergeev
Our arrangement, since we started talking about it right away, started a long time ago, when we were just formed. We were formed as an a cappella group, so we have a bass, a baritone, a dramatic tenor, and a lyrical tenor, so according to Chesnokov, we always stood in this order: bass, baritone, tenor, tenor. It remains that way.
V. Emelyanov
The team is 13 years old, it should be noted.
A. Mitrofanova
They were founded in 2003, which is already a serious age, by the way.
A. Sergeev
We ourselves are surprised, you know, when we used to walk the streets and see posters of other groups where it was written “We are 10 years old,” we thought: “Well, this is impossible!!!”, but now we ourselves have passed this milestone and realized that time flies quickly. But, in fact, the team is 13 years old, maybe you will be even more surprised now, we have known each other since we were 6 years old.
V. Emelyanov
This is where we will start, because it all began, as I understand it, in Sveshnikov’s children’s choir. There were three main choirs in Moscow, maybe I'm confusing, but nevertheless: children's choir television and radio under the direction of Popov, Sveshnikov’s choir, and the Moscow boys’ choir were still there. Maybe you can name some other educational institutions, but I know these three, I don’t want to say that they were competitors, but, perhaps, they were the most famous. It’s incredibly difficult to get into the boys’ chapel, into the Sveshnikov choir, and even more so into the Popov choir, which was so overexposed, we know so many soloists, we know several dozen of these soloists. It seems to me that Sveshnikov’s choir was a little less, not just popular, but a little less promoted.
A. Sergeev
It seems to me that you are a little confused.
V. Emelyanov
All the porridge, right?
A. Sergeev
Yes. Big children's choir...yes, really, artistic director Oleg Sergeevich Popov was there, but at the Sveshnikov School, Oleg Sergeevich Popov was also the artistic director, that is, these are two large choirs, which were directed by Popov. It’s just that girls also participated in the large children’s choir, but only boys were accepted into the choir school, and, by the way, when I entered, when Anton and I entered, there was a very big competition. I think I had almost 25 people per seat.
A. Mitrofanova
You were 6 years old and you entered?
A. Sergeev
No, I entered a little later, Anton was in the first grade, and I was in the third. And my mother just amazing person, I myself was born in the city of Norilsk, which is very far away, and she decided that I still needed to enroll, and we arrived, the selection time had already passed, and still my mother reached out: “Listen, listen” (and I sang since childhood ). And they listened to me and hired me out of class, despite the fact that there were no more places on staff, but they hired me. And so my personal life began creative life, because I stayed to study at the boarding school at the academy, that is, I don’t know, at that time it was such a step on my mother’s part, quite serious... leaving the child...
A. Mitrofanova
Selfless, I would say, when a mother leaves her son like that in this crazy city.
A. Sergeev
I was 8 years old.
A. Mitrofanova
And you are here alone, at school. Didn't you want to go home?
A. Sergeev
I have a brother here, thank God, he was an older brother...
V. Emelyanov
At first, I probably wanted to, but then after about 10 years, not so much...
A. Sergeev
And then, you know, you get so involved when you find yourself in this atmosphere, this creativity, these tours abroad. In the 90s, this was simply something unprecedented, it was addictive. Our training was structured in such a way that you competed constantly, you wanted to be the best, they set you up there, if you were the worst, you were expelled and that’s it, and they forgot about it. And everyone was determined to become a soloist, to go on tour, to study, it seems to me that when such a message is sent in childhood, it is very good.
V. Emelyanov
But competition also causes a feeling of envy, which is not good.
A. Mitrofanova
And jealousy, a whole bunch of side effects.
V. Emelyanov
The girls are like ballet girls, they practically put broken glass in their competitors’ shoes. But what about vocalists? What can be annoying? Some kind of purgen or laxative, I don’t know. What do you have?
A. Boglevsky
Yes, no, whether in vocals or in any other matter: the one who works harder, the one who is more attentive and critical of himself, achieves success.
V. Emelyanov
No, well, this is a perfect boring picture...
A. Boglevsky
It's boring, but it's the only thing that can save you if you don't know how to look for some moves, clever moments.
A. Sergeev
But the children still didn’t realize this so much, they, of course, were drawn to be soloists, but more children were united, as usual, in any childhood - these are games. In our country, for example, all the games took place not on the football field, but on the stage of the conservatory hall: spinning pegs, swinging on machines...
A. Mitrofanova
It's you, excuse me, in this sacred place, in the hall of the Moscow Conservatory, they created such...
A. Sergeev
I'm revealing secrets to you.
A. Mitrofanova
You are revealing secrets, in which case, I would like to find out some more details.
V. Emelyanov
That is, can you imagine, there’s some kind of luxurious piano there that costs a lot of money, in general, it’s from the last century, they use adjustable keys for it...
A. Mitrofanova
Just bandits.
A. Boglevsky
That is why Oleg Sergeevich dealt with us quite harshly and beat us.
V. Emelyanov
What did he hit?
A. Boglevsky
Of course of course.
A. Mitrofanova
So you were actually flogged?
A. Sergeev
No, it was on the head, slaps on the head.
V. Emelyanov
Children should not be hit on the head.
A. Boglevsky
Well, when my father, my dad, studied there at a leading institution, in general, I followed in his footsteps, in his time it was worse, behind the ear and against the piano - this was absolutely the norm when Oleg Sergeevich was younger. When he was a little older, he, of course, behaved more gently, but this is completely...
V. Emelyanov
Is this justified despotism?
A. Boglevsky
You see, in fact, it was extremely difficult for us to calm down a horde of a hundred boys who could not be calmed down. He was an amazing person.
A. Mitrofanova
I actually can’t imagine how it is.
A. Boglevsky
So the choir starts at 9.15. At 9 - 9.10 there is an incredible hubbub, just noise, din, and, suddenly, in one second, it all stopped, there was complete silence.
A. Mitrofanova
A. Boglevsky
This only means one thing...
A. Mitrofanova
He came in..
A. Boglevsky
He just opened the door, just opened the door and stood there. Everything, complete silence, everything stands still. No matter what he did, he froze in any position.
A. Mitrofanova
Silent scene. And what they found you wearing is what they began to judge you with. But what is the result? Your team “Kvatro” is all excellent students, it is emphasized on your website that everyone graduated with honors from the Sveshnikov School
V. Emelyanov
Well, on the site they always embellish everything.
A. Sergeev
I want to tell you that not only...we are very lucky in our business, because we are such pioneers. When we started doing what we are doing now, we were treated, how to say, with skepticism or something, because our school where we studied was pure classics, opera vocals, piano, conducting, and we went down such a slippery path , as our teachers told us. When we started appearing on TV shows, when we started saying that we were from the academy, we, on the contrary, were told that we were disgracing the educational institution, that is, we, one might say, went against everyone. But, after some time, when we won the “Five Stars” competition in 2008, this opinion immediately changed, because the teachers said that there is no definite division in art, that if you are in the classics, you should follow the classics – the main thing is that it is talented. Maybe I’m speaking immodestly now, but we were very pleased when, after winning this competition, in the choir, as it happened, on the first of September, everyone was already clapping, stood up and, on the contrary, greeted us for what happened.
A. Mitrofanova
It seems to me that this is generally a trend now - the popularization of classics, probably the first to burst into our space like a whirlwind was Vanessa Mae with his crazy violin, then Boris Berezovsky, Denis Matsuev, in fact, probably, and what you are doing is also popularizing the classics, and you are not alone in this field. There are musical groups from other countries with which, as far as I understand, you are often compared. By the way, how do you perceive these comparisons?
A. Sergeev
If this is some kind of simple comparison, we always treat it in such a way that this is good, this healthy competition, no one was against it. And if this is criticism, then we also take it well, but only constructive, when it’s to the point. For our part, when we are stewing in our own cauldron, we may not see something when someone tells us, we are even glad that someone from the outside can tell the truth, help us, guide us, and not only as they often say, we are only too glad to flatter. But still, I would not say that comparison can come from everything, that is, in one team there are 4 people and in another - 4, these are, in general, completely different things. We have a certain genre in which we exist, in which we sing. It is difficult to define it specifically, but we define it as pop-classical. We bring a little simplicity to the classics to make it easier to convey to the listener.
A. Mitrofanova
- Let us now listen to how you do it. You came to us with your records.
A. Sergeev
A. Mitrofanova
And one of them is dedicated to classical music. You are performing Adagio, tell us a little literally about this composition, and we will put it on air.
A. Sergeev
Well, “Adagio Albinoni”, it seems to me, is such an eternal classic hit, performed by us with 4 voices, we made our own orchestration, our own arrangement. And, oddly enough, no matter what concerts we perform at, no matter what direction the concert is, we are always asked to perform the Adagio at the end, because this is one of the business cards our group.
A. Mitrofanova
Let's listen.
A song performed by the group "Quattro" - Adagio Albinoni
V. Emelyanov
So, the Quatro group is visiting the “Bright Evening” program. In the studio Vladimir Emelyanov and Alla Mitrofanova.
A. Mitrofanova
Let us remind you that we have two tenors in the studio today - Anton Sergeev and Anton Boglevsky, this is exactly half of the Quatro musical group, whose performance we just listened to Adagio. You know, but your repertoire is very diverse, you don’t only have classics, you also have, for example, romances. It has always been such a mystery to me how in the rhythm of our modern life, in general, to tune in to this rhythm of romance, what should it be, can you explain? When you perform a romance, how do you feel? What do you need to turn off in your head at this moment, what do you need to tune in to?
V. Emelyanov
When romances are performed at the Ramen Theater, this is understandable, it is understandable when romances are performed at a concert venue or stadium... for me it’s big question. Because a novel is, in general, such a chamber thing, as it seems to me.
A. Sergeev
What you say is correct. It is precisely in connection with this that we decided to move away from some such usual view of romance that it is a guitar, a piano. We decided to make our own vision of a romance with a large symphony orchestra. We have an album “Masterpieces of Russian Romance”, and for each work we have written our own exclusive original orchestration and arrangement.
A. Mitrofanova
Do you write your own arrangements?
A. Sergeev
No, we have a very good pool of talented orchestrators, from the category who still wrote for Yuri Gulyaev, that is, in the Soviet Union, an orchestrator was a person whom artists simply could not do without. Now, unfortunately, this is fading into the background...
V. Emelyanov
Because now there are computers.
A. Sergeev
That’s right, they clean up the entire orchestra, write any “self-playing game” on the computer and off they go...
V. Emelyanov
But the Adagio that you sang, was it on the computer or do you have your own musicians?
A. Sergeev
I can’t say... that if we had our own symphony orchestra, it would be wonderful...
V. Emelyanov
No, well, you’re not going to sing a cappella with four of us, are you? Is someone from a music group traveling with you?
A. Sergeev
Let me now answer your first question about romances.
A. Mitrofanova
Yes, let's talk about romances.
A. Sergeev
A. Mitrofanova
We'll listen now, but I'd like you to talk a little more about this. Still, as for the content of romances, not in form, but in essence - it’s still a different rhythm of life, and in a metropolis it can be difficult to listen to a romance while standing in traffic jams - it can be difficult to listen to a romance, in the morning, when people go to work - it can be difficult listen to romance.
V. Emelyanov
And in the evening there is no time for romance.
A. Sergeev
You're right, that's what concerts are for. In my opinion, people miss this, people already miss it a little...
V. Emelyanov
I am always touched by these phrases: “People miss this.” How do you know what people miss?
A. Sergeev
And I'm on own experience I know that. When you go on stage and see that people are sitting with rapture, in complete silence, they break away from this terrible, unstoppable rhythm of life, which is accelerating somewhere else more and more, and you generally forget not only about ... sorry, I Don't know…
V. Emelyanov
Wife's birthday.
A. Sergeev
Yes, but you just forget about everything when you have traffic jams here, things to do here, and when does your soul even have some place for this? It is clear that we have a temple, thank God, for this service. More often for ordinary person, maybe not completely church-going, he has nothing like that at all, and therefore, when he comes to a concert, he rests.
V. Emelyanov
You mean, look, residents of megalopolises, but go to your website to look, you travel a lot around the province, you were in the city of Lebedyan, a mysterious place for me. I don't even know where it is.
A. Sergeev
This is the Lipetsk region.
V. Emelyanov
Lipetsk region, well, somewhere there, in central Russia.
A. Mitrofanova
Volodya, after the broadcast, let's go study the map, I'm ashamed, you need to know such things.
V. Emelyanov
Yes now! We'll go to dinner after the broadcast, I'll tell you what. So, Lipetsk is not a metropolis, people live there more peacefully, and in Voronezh and Tambov too. When they come to a concert and listen to romances, are they different from a resident of the capital? Do they have a different perception of romance? The rhythm of life is completely different.
A. Boglevsky
The audience, of course, is different everywhere, in some places people are more tired, factory workers, for example, it is very difficult to warm them up, but towards the end, of course, thank God, we often succeed. But in fact, romance is such a thing, as you said, really, very intimate..
V. Emelyanov
Chamber - I said.
A. Boglevsky
- ...and it applies directly to each person, and how many of these people are sitting in the hall or in the stadium is completely unimportant. What is important is the essence of these amazing texts, this real poetry, which delights the soul, which allows it to think about the most important thing, and it does not matter at all how many people will listen to it at a given moment. It `s Magic.
V. Emelyanov
Well, do you manage to reach everyone while standing on stage?
A. Boglevsky
We try to do everything for this.
V. Emelyanov
I understand, but do you have any sensations?
A. Boglevsky
First of all, when you sing yourself, these words pass through you, infect you with a feeling, and if you have it, then, of course, it is shared no matter how many people.
A. Mitrofanova
Can I ask a personal question? Anton, you talked about the temple, mentioned worship, but this path in your soul also somehow began through music, in connection with romances, some kind of spiritual chants, or how did it happen?
A. Sergeev
You know, when I first came to our educational institution...
A. Mitrofanova V. Emelyanov
A. Sergeev
At 8, yes. I joined the choir and Oleg Sergeevich began to sing. And he started singing, you can’t imagine at what piece. On "Kherubimskaya" Bortnyansky.
V. Emelyanov
For some reason I thought it would be Bortnyansky.
A. Sergeev
And, oddly enough, even though there was a fairly ungodly time... I don’t know, since we have been performing sacred music since childhood, it stuck very deep in our hearts, but not only that. Apparently, in Anton’s life, too, he met people who guided him, who took him to church, and the same thing happened with me. I had a piano teacher who told me, who brought me to the church where I confessed for the first time and took communion. Moreover, this all happened in childhood, at a time when it was not yet so open. Everyone has their own path, I wouldn’t say that music influenced it very much, in part, of course.
A. Boglevsky
Music very often, mostly appeals to the senses. Unfortunately, as the Holy Scripture says: living according to feelings is not always the right path, because a person’s feelings sometimes lead him away from what he needs, but without music, without this warming of inner warmth, it is probably impossible to live and be saved . Especially in our world.
V. Emelyanov
Well, I propose to return to sacred music and, in general, to this topic a little later, but now let’s get to the romance, and listen to one of the romances performed by the Moscow vocal group “Kvatro”.
A. Mitrofanova
- “About the country of birch chintz” - a romance to the poems of Sergei Yesenin performed for us Music band“Quatro”, which today has half of its members in our studio, I represent tenor Anton Baglevsky, tenor Anton Sergeev. Vladimir Emelyanov is also here, I’m Alla Mitrofanova, and we’ll get back to talking with our guests about music and spiritual path, which within this music is possible, literally, in a minute.
V. Emelyanov
We continue “Bright Evening” on radio “Vera”, in the studio of Vladimir Emelyanov, Alla Mitrofanova. Our guest today is part of the Moscow vocal group “Kvatro” - Anton Sergeev and Anton Boglevsky. Today we are talking about music, and it is no coincidence that we heard a romance based on the poems of Sergei Yesenin, a Russian poet beloved by many, because very soon we will celebrate the next anniversary of his birth. We are also talking about sacred music, but I would like to touch on another layer of your creativity, guys - Soviet song. Actually, we all come from Soviet Union, including the years of birth 82nd, 83rd, 83rd, and for Denis Ivanovich Vertunov - 77th year. I just mean that you can talk about Soviet songs for a very long time, absolutely. Not knowing what to do with myself while waiting for a meeting, say, which I was supposed to have, relatively speaking, in an hour and a half with a person, for example, at half past five, and now it’s three, and it’s 10 minutes to walk to him, I’m on TV, on One of the channels saw an old film, the music for which was written by Isaac Dunaevsky. I sat and enjoyed it simply, really, because, on the one hand, it is so simple, on the other hand, it is so light, easy and wonderfully done, so I say that a conversation about a Soviet song can be very long...
A. Mitrofanova
She is very different.
V. Emelyanov
Undoubtedly.
A. Mitrofanova
V. Emelyanov
I'm talking about samples, of course, and among Soviet song There was a lot of garbage, what to hide, that's it. You also touched on Soviet pensions, you have two records with Soviet songs, it seems?
A. Boglevsky
A. Mitrofanova V. Emelyanov
A. Boglevsky
We have many favorite authors from the Soviet era, but one of our favorites is, of course, Arno Babajanyan, who, in my opinion, is the best melodist, especially his tandem with such poets as Voznesensky and Rozhdestvensky is simply fantastic. But, you know, I would like to say right away about the Soviet song. We once talked with Vladyka Tikhon Shevkunov, and he told us such words that sank into our souls even before we made the second album with the orchestra, we realized that this was the absolute truth. He said that in the Soviet era, song replaced prayer for people, because they took away this opportunity from people, took away churches from people, took away some spiritual component from people, and the only thing they had left was song. That’s why the songs turned out so beautiful, so bright and, of course, I also wanted to say that...
V. Emelyanov
In fact, people still had theater, cinema, and books.
A. Boglevsky
Well, you see, it still doesn’t come out, books are in you, and song is a common property and not forbidden by anyone, that’s why, I don’t know, everyone sang “May Moscow” with such ecstasy. I absolutely agree with the Bishop’s opinion.
A. Mitrofanova
There is an expression: “The soul sings,” there is no expression: the soul watches a movie or the soul reads.
A. Boglevsky
A Mitrofanova
I think in this sense this remark is interesting, curious
A. Boglevsky
And the most important thing is that in Soviet era There were no such authors who wrote, as they say, both music and text, and sang and produced themselves. This has now become an idea where the author does everything himself, in the Soviet era there were composers, separate poets, orchestrators, a masterpiece was created in a cathedral.
V. Emelyanov
There were also tube radios that were picked up by many foreign countries, and the grandson of one of famous composers, who wrote the evening anthem for one city, said that the grandfather was very grateful to this receiver, because he received a lot of inspiration from this receiver, listening to Swiss radio stations and so on, and so on. And sometimes you listen to European pop music from the 40s and 50s, but now thanks to the Internet you can easily do this, there are a lot of familiar Soviet motifs performed strange people from Belgium, Switzerland, from France.
A. Boglevsky
Somehow you are in the mood...
A. Mitrofanova
He shrugs his shoulders skeptically.
V. Emelyanov
No, my friends, what do you mean, me too soviet child, I also sang this “Moscow in May”, and forgive me, I don’t want to brag, but I am a graduate of the boys’ choir.
A. Sergeev
Well, thank God, we found a common language.
A. Boglevsky
There are not two of us today.
A. Mitrofanova
I feel like the fourth wheel in this wonderful company, because I didn’t receive music education, and I didn’t sing “Moscow in May.” Never.
V. Emelyanov
No, well, everything is fine, firstly, I didn’t finish my studies, I was expelled from there for “exemplary” behavior, and, secondly, I’m also a Soviet child, I also love all these Soviet songs, I love all that too. And, suppose, the feast on May 9, when several families gathered at my grandparents’ place, these Soviet songs were simply sung at the table, and, indeed, they were sung, Alla said correctly: “the soul sings.” And not because people drank and ate, but because it was good, because it was warm, because they gathered, because it was a holiday. Unfortunately, my grandparents are long gone, and by the way, not only I noticed this, but also in company with a friend and I said that this is something cementing, exactly what glued several families together - this cement mortar is running out, and this doesn't become. And, it seems, May 9, and, it seems, we can get together, but this is no longer the case.
A. Sergeev
Well, yes. I would like to add that our war took place in the Soviet era, regarding war songs, I don’t know if we will have time to play some war song from our album...
A. Mitrofanova
Well, next time we can deliver.
A. Sergeev
- ...but I would also like to say that the era of war songs are songs written, probably in the literal sense, with sorrow and blood. This is all so felt that we treat it with such great trepidation military themes, for the military song, we also have an album dedicated to the Great Victory, it was also recorded with a large symphony orchestra. And I think that we will decide on some kind of war album 2, because there are so many of these songs, these songs are so strong that, it seems to me, we should not forget about it, we felt some kind of duty to record it.
V. Emelyanov
Do you have concerts with veterans of the Great Patriotic War, do you do them especially for them?
A. Sergeev
So, I just wanted to approach this, in addition to our vocal creativity, as a collective, we have long since started working on various projects as producers. We have a project dedicated to the Great Patriotic War, it’s called “Grandchildren to Veterans”, every year we hold it in one place or another, we’ve already had it in the theater Russian army, and on Poklonnaya Hill. And last year, I would like to separately emphasize this, we carried out a fairly large project, and carried it out near the walls of the Cathedral of Christ the Savior.
V. Emelyanov
In the hall of Church Councils?
A. Sergeev
No. On the street, right on the street. We even did two projects because the dates were close. This was May 8th and 9th. On May 8, we did a project for the blessing of His Holiness the Patriarch - this is Red Hill, Sunday after Easter (this is also a separate topic, I can also say about it in a few words now), and May 9 was our solo concert with military songs with a large symphony orchestra at the walls of the Cathedral of Christ the Savior. They blocked Volkhonka Street, and it was all very beautiful under the fireworks. We are very glad, in fact, that everything happened this way. And I would like to separately thank Vladyka Anthony of Bogorodsky, who, so to speak, helped with all his being in this matter, and, of course, His Holiness the Patriarch, because without his blessing nothing could have been done, it would have been impossible. Since this territory belongs to the Orthodox Church, and everything is very strict there, in order to hold concerts there, in an open space near the temple, this is also such a sensitive topic.
V. Emelyanov
We need to work through all of this.
A. Sergeev
Yes, but, thank God, all this has passed, and I hope that this will become such a tradition for us, and that this year we will also do all this. And the first concert dedicated to Krasnaya Gorka...the idea here was...to attract our young talented, popular artists in order to attract young people.
A. Mitrofanova
We'll talk about this a little later, but for now I suggest listening to the next one. musical composition, what's next for us?
A. Sergeev
Let's probably listen to something from a Soviet song.
V. Emelyanov
Yes, more Soviet, because we were talking about it, it would be logical.
A. Sergeev
By the way, I’ll add two more words: in the Soviet era there were not only excellent composers, poets and orchestrators, but also performers. So we consider ourselves more of performers. Performing Arts just as important as everything else, you need to be able to do this too. And the next song you will hear is from the repertoire of Rashid Behbudov, such a wonderful singer. It's called: "Beloved Eyes."
The song performed by the group “Kvatro” is “Beloved Eyes”
V. Emelyanov
You are listening to the program “Bright Evening”, our guest today is the group “Kvatro”, and we just listened to one of the wonderful Soviet songs, while I was listening to it, I remembered very well when I was little, probably 77, 76- oh, there was this magazine “Krugozor”, and there were such records of blue color, and I remember this song by Rashid Behbudov...Ah! and of course, a player called “Concert”, which had a lid that also served as a speaker, on which we listened great amount children's records and a huge number of Krugozor records, since my dad was a music lover and subscribed to this magazine, among other things. So thank you, I plunged straight into childhood.
A. Mitrofanova
We started talking about Red Hill. Anton, you started telling us what kind of project this is, it’s interesting, in fact, when you gather in an open area near the Cathedral of Christ the Savior and invite, as I understand it, famous people to participate pop singers, and what are you singing there on Krasnaya Gorka near the Cathedral of Christ the Savior with pop performers?
A. Sergeev
The idea, in general, of the project is the following, well, the global idea: to attract young people, so that young people do not treat the Easter holiday, and, in general, the church, as some kind of past stage where grandmothers go, that is, to rejuvenate this holiday. How can you attract young people? It is only by attracting their idols, who sing their usual songs from the stage, that it is clear that this good songs, there would be a certain selection, thereby attracting their entire audience. For example, Sergei Lazarev comes on stage and sings some good, beautiful, lyrical song. All his fans come, who, perhaps, have nothing to do with the church. Naturally, we take good pop performers, but at the same time believers who lead an absolutely normal secular lifestyle, they have their own work, but they are believers. There is no need to preach anything here, the fact that they just stand and sing near the temple on such a holiday and say at the end, I don’t know, “Christ is Risen,” this gives at least a chance that this young man It will be ingrained in your head that this is not some past stage, this is now, this is modern.
A. Mitrofanova
Now such a young man is listening to us and thinks: “So that’s what it was, but I thought what kind of eclecticism was this.”
V. Emelyanov
I was actually thinking about something completely different. A fan or, moreover, a fan of Sergei Lazarev, let’s assume, or even Dima Bilan, relatively speaking, they don’t care where to listen to him, they will come to Vasilievsky Spusk, they will come to the Cathedral of Christ the Savior, well, well they will be told: “Christ is Risen” , they will unanimously answer: “Truly He is Risen,” they will get on the trolleybus and go to their home and, in fact, since it is customary to say on this day “Christ is Risen” and answer “Truly He is Risen,” that’s good, so we answered.
A. Mitrofanova
Let's give the floor to another Anton.
A. Boglevsky
This is the whole point, I recently had the pleasure of listening to one of the Patriarch’s sermons, in general, all of his sermons are absolutely amazing, coming from the heart, Lately they amaze me with their sincerity to the depths of my soul. He said how important it is, when we now live in the age of the Internet, how many popular and famous people there are now who have the power to preach, because any famous person is already, in fact, a preacher, because a huge number of people listen to him on the Internet, with stage, on television, anywhere, and how important it is, as he put it, in direct words: “Do not corrupt your temple,” that is, what is inside you, your soul. And how much, how often now our famous people They corrupt both their temple and the temple of all the people around, figuratively speaking. And the essence of the project is that these people, just artists, convey to people the most important things, so that they appeal to those feelings among their admirers that are the most important and necessary in order to understand the meaning of life. Therefore, this is what the project was aimed at.
A. Mitrofanova
And you can ask, when you sing, what tasks do you set for yourself, why do you do it?
V. Emelyanov
Super task.
A. Mitrofanova
There is this question: “Why”, we all ask ourselves sooner or later, no matter what we do. We speak at microphones, you sing on stage, someone draws, paints, someone, I don’t know, draws projects, someone mines coal in a mine...
V. Emelyanov
I think you take this very seriously.
A. Mitrofanova
The question “why” periodically arises in each of us.
V. Emelyanov
I can tell you why I’m at the microphone: I like it. I don't have any other answer.
A. Mitrofanova
Me too.
V. Emelyanov
I just like it, I won’t like it, I won’t be at the microphone
A. Sergeev
At one time, producers offered us a long time ago, they said: “Guys, now sign a contract with us, and in 3 months you will famous people, but you need to sing these songs.” And they turned on songs for us to sing, to put it mildly, it was such very cheap pop, but “you will be popular with it,” this was suggested when we were nothing at all, that is, it’s like...
A. Mitrofanova
That is, you were offered a compromise with your conscience.
A. Sergeev
Yes, go for it, become famous, popular, successful.
A. Mitrofanova
Wake up famous.
A. Sergeev
Yes, but we didn’t do it, because now, firstly, I don’t know what would have happened now if we had done it.
A. Mitrofanova
It is not a fact that you would have remained in the same composition.
A. Sergeev
We couldn't tell you, this is not what we would like to do.
V. Emelyanov
Anton, you know, it’s unknown what would have happened. Because one day there were four guys, very young and very ambitious, who were, in general, punks in life and complete brats, including everything (we won’t specify what exactly) in this lifestyle. One day a dude came to them and said: “You know, I’ll make super popular people out of you,” and these guys then sang completely different songs than they originally planned to sing, playing on a washboard in a skiffle group, which was called differently then, and then these guys began to be called “ the Beatles", and washed the whole world in general. You see, but according to history, they wanted to do completely different things, especially John Lennon, for whom all these sweet things... and he did not immediately fall for what was offered to him as arrangements later, I forgot the name of this producer... George Martin.
A. Sergeev
You know, everyone has their own path, and we feel that our path, it seems to me, is the right one, because I directly feel that the Lord is leading us.
A. Boglevsky
Forgive us, please, we were just often asked at fittings, there, they thanked us: “Guys, thank you very much, who is your producer?”, and we somehow hesitated, didn’t know what to answer...
A. Sergeev
Because we don't have a producer.
A. Boglevsky
And one day they said: “Our producer is the Lord God,” and so it is.
A. Mitrofanova
A strong statement.
A. Boglevsky
This is a strong statement, but there is no other way to say it.
A. Sergeev
There are just so many wonderful moments in our creative career What happened was that there was no doubt about it, that the Lord loved us and was leading us absolutely in His own way.
A. Mitrofanova
Here is the answer to the question “why”, indirect, and there are no direct ones.
A. Boglevsky
Well, it so happens that we answered.
A. Mitrofanova V. Emelyanov
And it turns out that sacred music in your work is not accidental?
A. Sergeev
Our spiritual album, which is called “We Sing to You,” is even a separate topic for conversation, because this album was born, one might say, from that very childhood that I was talking about, when we just started singing spiritual music, it sunk into our hearts. heart, and we did it in a completely different way, different from what choirs do. I'll explain why in a nutshell. Firstly, we have chosen the works that we like most, and most often these are works for a large mixed choir, where there are both women and men, with a division, with divisions, 12 voices each, we like this “Vespers” by Rachmaninov, Chesnokov. We understand that we would like to perform this, but without certain technical capabilities, there are four of us, four voices, this is impossible. So we did a whole serious great job, we did the layering of voices technically, in the studio, but in a certain way, so that it was all live, not just computer-generated. That is, at first the four of us sang, then each sang with one voice. All upper voices: sopranos, altos, I personally, Anton have a good falsetto, we sang this at the top for everything women's voices, and we sang in a certain way, we did not sing it with a female timbre, but sang with a boy’s timbre, as we did in childhood, with a disc there, an alto. And the result was such a canvas, in my opinion, some kind of, we wanted to achieve this, genderless.
A. Boglevsky
Angelic
A. Sergeev
Yes, something like that. Well, how else can you sing to God so that it is so... well, we put our whole soul into it, so that it is a real, live performance, so that we still sing it in the Temple Sretensky Monastery, since I sang a lot in the choir of the Sretensky Monastery, Anton and I also went on big trips, tours with this choir, this is very symbolic for us. And the acoustics of the temple were also preserved there.
A. Boglevsky
A. Sergeev
The echo we took was cut and pasted. That is, this is a very large, labor-intensive work, for the most part we did it for ourselves, because we do not sell it. The first edition that we published, we simply gave it away, today we will give it to you.
A. Mitrofanova
Thank you very much, we will now listen to one of the compositions with you. “Cherubimskaya” by Chesnokov, as I understand it, we will listen, right?
A. Sergeev
A. Mitrofanova
I would like you, before we move on to listening, to remind you when you have concerts, so that our listeners, maybe this will be relevant to someone, and you will be grateful for this reminder. Where, when, what do you sound like?
A. Sergeev
Well, our next big solo concert, which will be dedicated to Andrea Bocelli, we will perform a lot of his works from his repertoire, also with a large symphony orchestra. It will be in Moscow international house music on February 3, we invite you all, we will be waiting. In general, it was very pleasant to talk with you. And I would also like to add, if possible, I hope you will listen and you will like our spiritual album, so that it does not lie on the table, it is pleasant to turn on and listen to, this is one of those works that is pleasant to turn on yourself , what will remain after you is truly worthy. So, we invite everyone, you can come to the church where I am singing now - this is the Church of the Nativity of John the Baptist on Presnya, and there you can buy this album, and I think that in the near future we will come up with some kind of promotion, so that this music reaches its audience.
V. Emelyanov
Well, don’t forget, dear listeners, that there is such a wonderful thing as the Internet, and there you can dial very easily kvatromusic.ru and there is an audio player, and all the records are also laid out. Although, I think that, of course, you need to listen to music live, to be sure, but, you know, there are times when it is impossible to listen to a group live. This is, in general, separate conversation. Thank you very much for taking the time to come to us, we are probably already waiting for you with the whole team.
A. Boglevsky
A. Mitrofanova
Well, today, let me remind you, we had two tenors visiting Anton Sergeev and Anton Boglevsky, half of the Quatro group, performed by whom we will now listen to Chesnokov’s “Cherubic Song”.
V. Emelyanov
It was the “Bright Evening” program, conducted for you by Vladimir Emelyanov and Alla Mitrofanova. Goodbye.
A. Sergeev
Goodbye.
A. Boglevsky
Kvatro- Moscow vocal group, created in 2003 by graduates of the Academy of Choral Art A.V. Sveshnikov.
Compound
- Leonid Igorevich Ovrutsky - baritone tenor (b. 08/08/1982, Moscow) Received conducting and vocal education. Before creating the group, he worked as an assistant to director Kirill Serebrennikov, and sang at the Helikon Opera Opera House for several years. He trained as a conductor in Vladimir Spivakov's orchestra and participated in the Mariinsky Theater's production of Giuseppe Verdi's Falstaff. Was awarded in the categories “Student’s debut on the professional stage” and “ Best Role V musical theater. Vocal" at the Moscow Debuts festival (2001-2003 season).
- Anton Vladimirovich Sergeev - tenor (b. 11/02/1983, Norilsk) Previously auditioned as a symphony conductor with Vladimir Spivakov.
- Anton Nikolaevich Boglevsky - tenor (b. 10/08/1983, Moscow) Conducted a choir while studying at the Academy of Choral Art.
- Denis Ivanovich Vertunov - baritone (b. 07/05/1977, Moscow) Before creating the group, he took part in five jazz a cappella groups."
History of the group
The group was created in 2003. All members of the group - Anton Sergeev, Anton Boglevsky, Leonid Ovrutsky and Denis Vertunov - graduated with honors from the Academy of Choral Art. A. V. Sveshnikova, studied vocals in Italy for several years and now continue to study at the Institute’s graduate school contemporary art. They have established themselves as a group that sings exclusively live. The vocal capabilities of the group members allow them to perform works of various styles - from classics with modern interpretation to jazz and soul. KVATRO’s repertoire often includes Russian and Soviet, Italian songs, songs from films, as well as remakes of world hits. In general, the genre in which the artists work can be called “pop-opera” - pop arrangements are harmoniously combined with vocals and accompaniment symphony orchestra. Leonid Ovrutsky, one of the four musicians, writes his own compositions for the group.
The team did not immediately hit the stage. For some time, young people sang in the church choir of the Sretensky Monastery, traveled a lot around the world with the mission of uniting Catholic and Orthodox churches, performed at such major concert venues as State Kremlin Palace, Cathedral of Christ the Savior, KZ named after. P.I. Tchaikovsky, Library of the Conservatory named after. P. I. Tchaikovsky, MMDM, State Central Concert Hall "Russia", Big Concert Hall "Oktyabrsky", Mikhailovsky Theater, Festival Hall, Lincoln Center (New York). And after a meeting with a representative of the management of Channel One, Yuri Aksyuta, the road to show business opened for the group.
On April 23, 2008, in Moscow, in the Hall of Church Councils of the Cathedral of Christ the Savior, a solemn ceremony delivery National Awards, established International Academy Social Sciences and the International Academy of Philanthropy under the common motto “Creating in the name of Great Russia...”, and all four soloists became recipients of the highest public awards in the “Flaming Heart” nomination.
"KVATRO" performs at leading concert venues in Moscow and other Russian cities. And the group’s first experience on the Russian professional stage was participation in the television competition “The Secret of Success,” where they received the support of Valery Meladze. Since then, the group has participated in many famous competitions and festivals. Among them are “Slavic Bazaar”, “STS lights up a superstar”, “ New wave" KVATRO is also the winner of the ZD Awards 2008 in the Breakthrough of the Year category. But their main achievement is winning the “Five Stars” competition. Intervision”, where a competent jury awarded the group first prize, after which the group’s soloists received an offer to become the first artists produced by the new national label RussiaRecords, headed by Elena Kiper. She also became a director debut video for the song “I Love You”, filming of which took place in Moscow on January 19, 2009.
The team won national recognition in the qualifying round of Eurovision 2009, entering the top three in the national selection and gaining 12% of the votes according to the results of the TV audience voting.
Young singers are frequent guests at events of the highest level; they have performed on the same stage with Placido Domingo, Dmitry Hvorostovsky, Alessandro Safina. The group is especially popular among the country's business elite and participates in presidential and gubernatorial balls.
The team is currently working on recording their first album, and they are also planning to hold their first solo concert.
“ RMA Business School gave me new knowledge, gave me self-confidence, and opened up new horizons. RMA introduced me closely to the world of show business, here I found a large number of friends in this field, I even managed to work with many of them. Now I periodically meet with some RMA students and teachers at events and concerts, and we always remember our time studying with warmth.”
On January 27, the “Element” concert of the vocal group “Kvatro” will take place at the House of Music. One of the soloists is a graduate of the faculty . On the eve of the concert, Danila answered several questions for our website.
Anton Boglevsky, Anton Sergeev, Leonid Ovrutsky, Danila Karzanov
Tell us about the “Element” program, does the announcement say that this is an absolute premiere?
Yes, this is truly an absolute premiere! To my memory, no one has yet Russian artists I didn’t do such a synthesis of songs and poems. I am sure that for the viewer it will be incredibly exciting and educational journey, and it will be of interest to both the older generation and young people. The “Element” program is filled with works of great poets: the program contains many lyrical compositions, romances and the most beloved Soviet songs, there will also be poems by Yevgeny Yevtushenko, Sergei Yesenin, Afanasy Fet, Alexander Blok and other great ones, which we will read for our viewers.
How are preparations going for the concert?
Not long ago we had a premiere New Year's program“Russian Winter”, which took place at Crocus City Hall. This is a big show staged by Victor Kramer with the participation of the best representatives rhythmic gymnastics- pupils of Irina Viner. We approached the preparation of this show with all seriousness, which, it should be noted, went off with a bang. Then there were new year holidays- also, as you know, a busy time for an artist. In parallel with all this, we began to prepare for the show “Element”, selecting songs and poems. After New Year's performances took a short time out, took a breath, and now resumed preparations with renewed vigor - daily multi-hour rehearsals. Everything is in the usual, favorite mode.
You started performing with the Quatro group in 2017, tell us how you started working together?
A year ago, I couldn’t even imagine that I would sing in the Quatro group; at that time I was the lead singer of another group. Happened to me creative crisis: I suddenly began to realize that I had stopped enjoying what I was doing, had lost the meaning... As a result, I had to leave the group and go free. I started writing songs and started thinking about a solo project.
After some time, the artistic director of the Quatro group, Leonid Ovrutsky, called me and offered to work with them; without thinking twice, I agreed. I knew the guys from Quattro for a long time, we studied in the same educational institution(Academy of Choral Art named after A.V. Sveshnikov - RMA note), perhaps that is why they “sang together” so quickly. From the first rehearsal I felt at ease. Now, looking back and looking forward, I realize what my soul required and what I was going to all this time.
Tours in Russia, Israel and America are scheduled until May, how do you like this schedule?
Touring is a familiar way of life for me; I have been touring since I was 10 years old. But traveling with Quatro is a special pleasure: new venues, an unforgettable welcome, and the atmosphere in the team itself is very pleasant, friendly, and creative.
I love my job, I love the stage, I love this process.
Taking this opportunity, I’ll ask about RMA - what are your impressions of the training?
Every educational point in my life has helped me get to where I am today. The faculty gave me new knowledge, gave me self-confidence, and opened up new horizons. RMA introduced me closely to the world of show business, here I made a lot of friends in this area, and I even managed to work with many of them. Now I periodically meet with some RMA students and teachers at events and concerts, and we always remember our time studying with warmth.
