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Saturday, March 17, 2018

“Collapse “Aria” was a tragedy”: revelation Dubinin and Ulf

Witnesses of the birth of the now legendary team that in the mid-80s, going to underground concerts in the cultural centers on the outskirts of the city and always risked being detained by militia and Komsomol vigilantes, hardly could have imagined that 30 years later their favorite musicians will be performing on the big stage with a Symphony orchestra.

However, the program “Aria” showed on her birthday at the end of last year and continues to run together with orchestra “Globalis”, became a proof that everything — even the fusion of the classical sound with hard rock in this world possible. Besides the name — “Aria” — matches the similar classic form. Everything came together at one point.

Photo: Vladimir Astapkovich/RIA Novosti

The band recalls the truth that such an experience is not the first in their history: “Aria” was first performed with an orchestra back in 2001, but returning to the idea decided just now making the two-hour show of popular songs in symphonic arrangements, which is responsible for Kirill Umansky. The company’s success has provided not only the talent of the artists and great courage, but also familiarity with the Ulf Vandenbranden, which is not just a conductor and on top of a rock drummer, but have worked with many musicians in different genres — from classical to pop, rock music, and is open for bold experiments.

“ZD” met with Ulf and Vitaly Dubinin is the author of most songs of “Aria”, by the composer, bass guitarist and backing vocalist from 1987 to ask them about a joint project but also think of the metamorphosis that took place with the team for 30 years.

Vitaly Dubinin: “Aria” is a fist”

— Vitaly, it so happened that you and Vladimir Holstinin — most “ancient” members of the group. How it feels to be in that status and what thoughts you met anniversary?

— Maybe I will disappoint you, but I don’t even have the realization that “Aria” for 30 years. The worldview has remained the same, the years passed very quickly, quietly. Starting from the moment the team was 15, every five years, passed a major anniversary concerts. With each of them we was getting older, but the feeling that we have dinosaurs and monsters of the metal scene, did not come. To me at least. Of course, there is a great sense of responsibility: I am entirely devoted his life to the group, as grandiloquent as it may sound.

— There were also difficult periods, break with Valery Kipelov, a change of composition. The real “geopolitical catastrophe” for the history of the band!

– Most of all, of course, I was Vladimir Holstinin. Break up is hard. When laying off people from the team, which went side by side for a long time, it seems as if you tore off a piece.

I have always said that I believe that the collapse of the group in 2002, when he broke away half of the team, a mistake and a tragedy. However, life does not stand still. Thank God that all things are good, nobody lost myself as a person, as a musician, all quite successfully developing which is good.

But the story could have ended. That helped not to give up?

— Our tandem Holstinina. We supported each other, believed in their own strength. Of course, when everything just happened, it seemed that this is the end. And then we thought that not forgotten how to play the guitar, write songs, decided I needed to continue to move forward and succeed. And so it happened. Helped us then the support of close friends and above all loyal fans.

— Were the fans, who then turned away from the “Aria”? And in General, how have changed over the years is the audience?

— It is always changing, but at the moment, of course, the audience is sharply divided into two camps — those who do not accept the “Aria” without Kipelov, and those who went for the group on. Probably the majority of listeners are then left with Kipelov, but then for thirteen years was interesting perturbations: I saw a lot of old fans then back to the “Aryans”, and this process is still going on. People continue to rediscover our music.

— 30 years for you — a milestone or just a number?

To me it is just a number. I have not sought to ensure that, for example, specifically to release that album for the thirtieth anniversary. It is the albums probably represent certain boundaries and they should be born, when musicians have this inner need. “Aria” is moving exactly in this way. Records for the group as children. We have them 12. With the work on each is associated with a lot of events, stories. Anniversary is more of a treat for fans. A concert dedicated to the thirtieth anniversary, was particularly interesting: imagine has grown a whole generation of people who have not seen the “Aria with Kipelov, and here they had the opportunity. That evening we were joined by former members of the team, and we’re glad we can sometimes play together, a bit of nostalgia.

— And now there are any disputes, disagreements?

— Arise, but it’s working points, which do not relate to some key things. The lack of differences, on the contrary, is an alarming sign, and it is good that they are. In a dispute born truth. However, it is important to note that now the “Aria” is a very cohesive team. The idea of its existence is that we — the five fingers of one fist, even if the attention is on the concert glued to the frontman. This perception of the group does not change as our ambitions: the desire to record a good album, to go on stage continues unabated — and we are still nervous before each concert. We set ourselves a very high bar, this also applies to music and lyrics. Our main goal is to continue to meet her and not to stop.

— Heavy music is built on the rigid canons (in this sense it can be compared with the classics), and there is a perception that it does not have sufficient space for development, for the experiment. However, the interest fans of the metal continues unabated for many decades. What is the magic of the genre?

Is above all honest, energetic music, bright and alive. I am convinced that her energy is felt stronger in live performances than in Studio recordings, so people are actively going to concerts. Despite the technicality, speed of execution and the possible variety of the score, heavy music is quite simple, but the students like about her honesty and not deceive them. As in any other genre in metal music has its challenges, for example, a shortage of good singers, although in recent years the school of metal vocals began to develop. In addition, if we talk about the Russian scene, we still still oriented to the West — and not a single team in our country has not reached the level of foreign mastodons, we have to have to grow and grow.

— How did the idea to make a program with the Symphony orchestra and how did you know Ulf?

— We played their first concerts with an orchestra back in 2001: first performance was at a major rock festival, then a big speech at the open area in Moscow. It was very powerful, but then the story did not develop, because we had just broken up with Kipelov and the team had other, more important tasks — to record the first album in an altered composition, show a new singer to establish themselves in any other status. Recently, the time was right to revive the project with a Symphony orchestra, and all the cards came together. We were told about a great guy from Sweden, which turned out to be Ulf. He is a talented conductor, looks like a rock star, besides more and the drummer — a great combination. He enthusiastically responded to our proposal for cooperation, and we worked well together.

Sympho-rock — laboratory of Vandenbrande

— Ulf, how did you meet the band “Aria”?

— I had already enough experience of working with artists in Russia — Dmitry Malikov, orchestra “Russian Philharmonic and other musicians. Offer to work with Aria and the orchestra “Globalis” I accepted with great joy: I was familiar with their music, I love many of the songs, and I see, what resonance cause their creativity, what it is filled with energy. It’s great that the band decided to make arrangements of my compositions for Symphony orchestra, it reveals the potential of the new material, enriching it with a new sound, so it is to be part of such a project is a great honor for me. Also, when I met with the team members realized that they’re great guys, we quickly found a common language, established a dialogue on the site. It’s worth it.

— What attracts you to work with Russian musicians?

— Their professionalism, openness, willingness to experiment, to try something new, to interact in the creative process and, of course, their level of culture, the relationship with the tradition. Russian musical culture is rich with names, and it’s not just artists from other eras: today in your country there are a lot of great performers and composers. In addition, it amazes me how widely can think of instrumentalists who play in the Russian classical orchestras: they are interested not only academic music, they play rock, pop, and works that have become the soundtracks to various films. I am convinced that a professional musician must be able to work in different styles and get pleasure from it.

— What is special about the cooperation with Aria?

— I met with a new audience, which, on the one hand, loves hard rock, and on the other — ready to take a classic shape, enjoy orchestral treatments already known her songs. It’s very emotional, but quite an intelligent audience. Although I am in this project are engaged exclusively part of music, conducts the orchestra, I was interested to dive into the theme songs of “Aria”, to understand the overall concept of their creativity in Russian music because the semantic content is no less important than the sound. I understand this and I think that needs to be fully included in the process.

— In appearance you can easily imagine in the role of frontman some cool rock band. Why did you decide to become a conductor?

— It all started with rhythm. I come from a family of drummers, and he began very early to play this instrument. First was a rock drummer, then began to learn classical percussion, he worked in Symphony orchestras… the control: the drummer controls the band with rhythm, too, in a sense, orchestrates her. It is not surprising that later I wanted to become a conductor, to be able to transfer his energy to the orchestra, to guide her in the right direction. I get enormous pleasure from it.

— You like to combine in one program the elements of various styles…

— They simply reflect my essence. I’ll listen to very different music and hard rock, and Robbie Williams, and The Beatles, and Shostakovich… music For me is a laboratory where I put my experiments, mixing different stylistic ingredients. I am sure that this art of the future. On the one hand, it is difficult to find, on the other — is more accessible, allows you to constantly attract a new audience who likes different genres. Today in Sweden and in other countries is actively developing the style crossover, and I like to do something crazy in this direction.

— You are constantly working with different artists. How quickly we manage to establish contact with them?

— I guess I’m a very good psychologist. (Laughs.) To be honest, I have never had a problem to find musicians with a common language, and that nice, after each joint project I again invite the same artists. Probably the thing that I always try to invest the maximum, to convey positive energy, and people feel it. I’m glad this is happening.

— How is modern music scene in Sweden?

— Very active, and in all directions. This applies to rock, pop, and folk music: there are more new interesting artists, and representatives of the old guard — such as Roxette, — continue to create, to perform. Many Swedish composers write for the internationally known stars, and aspiring musicians there is an incentive to move forward. I have more than 10 years was Director of the music school, now due to lack of time I only care about the orchestra and percussionists. So, we have has about 1,600 students, and we try to support students in their endeavors: if you want to sing in a hard rock band — OK, we’ll help you to develop in this direction, interested in ethnic music — very well. Of course, first of all, we give a solid classical Foundation, because without it to develop further is very difficult.

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