Русское вторжение на западном рок-фронте (по следам американских гастролей)

[Valdemar]

Ещё рецензия об "Эстраде-77".Перевести бы,что конкретно пишут. "Нью-Йорк таймс"

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[Valdemar]

The New York Times

By Richard Eder
Sept. 21, 1977, Page 67


THERE is some charm and occasionally some mild excitement in the songs, dances, acrobatics and mime acts that the Soviet Estrada company brought to the Majestic Theater last night. Taken as a whole, though, it is depressingly like the displays at airport souvenir stands.

A few of the articles have an authentic feeling to them, whether it is some dazzling bit of skill; or a suggestion of a folk motif coming through the painted glaze. But a great deal is a kind of nightclub package tour through the more obvious forms of Soviet entertainment.

Most of the groups performing in this big variety show, which will play here for three weeks and then go on national tour, possess real quality. Almost invariably, before the group has finished, the quality submerged in a kind of export packaging.

•

For example, the Orera group from Georgia, begins with a fine, infectious vitality. Dressed in black velvet, and with big, open grins, they do an exuberant, roaring song that sounds a bit like yodeling, a bit like scat‐singing quite, a bit like a samba group from Rio de Janeiro.

They shift into a soft, crooning love song, and it still works. If there is vulgarity it is unashamed, surrealistic. Their huge bass voices take off into a crooning falsetto and the effect is of lions doing gazelle impersonations.

But their appeal begins to sag when they break out into "East Side, West Side" sung with heavily accented English and a large soulfulness. That might qualify as an oddity, but they then go on to "Give My Regards to Broadway." And finally out comes their contralto, Nani Bregvadze, and after singing in Russian for a bit, she goes into an allout rendition of "That Was the Time, My Friend." It was almost a pity that nobody thought to bring out a platter of shashlik and set it ablaze.

•

The best of the singing groups suffered a similar, if less spectacular decline. The Pesnyary, a group described on the program as a folk‐rock ensemble, began with an extraordinary song, perhaps the best single thing in the evening. Armed with violins, guitars, flutes and something called a zhaleika —it is a combination of lute, accordion and barrel‐organ if you imagine such a thing—the singers delivered a stunning, contrapuntal arrangement of a Byelorussian folk song.

The Program

ESTRADA, the 1977 Music and Dance Festival from the Soviet Union. Nikolai Laktionov, artistic director; Nadezhda Kazantzeva, administrative director; Tamara Dolovanova, choreogracner; Savely Onishchenko, production manager. Presented by United Euram. At the Maiestic Theater, 245 West 44th Street,

WITH: Nani Bregvadze, Grigori Davidenko and Vladimir Kononovich; Natalia and Deg Kiriusnkin; Larisa Kudeyarova; Yefim Levinson and Galina Korzina; Orera; Pesnyary; Vladimir Serov; Souvenir Ensemble; Alla, Vyacheslav and Vyaches av Rasshhidn Jr.

They did several interesting though less remarkable numbers, and then turned to a rock arrangement of another Byelorussian theme. It had a certain touching authenticity — this heavy, yearning version of rock, often modeled on records brought in with some difficulty, is heard all over Eastern Europe—but it was not really well done.

•

Two comic dancers, Vladimir Kononovich and Grigori Davidenko, made a brief and very valuable appearance. Wearing astrakhan hats and sporting enormous moustaches that were probably astrakhan as well, they overdid all the classic routines of Russian folkdance—all the squats and kicks and leaps—with a jerky, maniacal zeal, Davidenko i particular, his eyes bulging, his neck straining, his arms flailing, managed to turn himself into a living caricature: He had that odd excess of the famous cartoon in Krokodil.

Two numbers by a mime pair, Natalia and Oleg Kiriushkin, had an uneven charm. Both are appealing: He is a mournful, frustrated mime who makes a wonderful thing of a shiver. It starts with his left foot, rises, crosses diagonally, seizes his right shoulder, travels along it and exits through his right hand. She is a frail and possessed mechanical doll. Their skill was marred, unfortunately, by the frequent banality of their material.

The acrobatic numbers were generally disappointing. Only Vladimir Serov, who does amazing things with a unicycle and teacups atop a slack‐wire, stood out. He had a useful habit of giving off a foolish, earsplitting grin each time things became especially precarious.

Souvenir, the principal dance group, performed agreeably in several traditional folk routines, although there seemed to be excessive refinement and insufficient ferocity. On the other hand they did a gypsy. number to taped music that was limp and painfully banal.

[Valdemar]

Абзац про Песняров:

..."Песняры", группа, которую в программе называли фолк‐рок-ансамблем, начали с необычной песни, возможно, лучшей за весь вечер. Вооруженные скрипками, гитарами, флейтами и чем—то под названием жалейка ‐ это сочетание лютни, аккордеона и шарманки, если вы только можете себе это представить, — певцы исполнили потрясающую контрапунктическую аранжировку белорусской народной песни.

[Олег Верещагин]

жалейка ‐ это сочетание лютни, аккордеона и шарманки

А жалейка - это разве не духовой инструмент типа рожка? Они, наверное, имели ввиду колёсную лиру. Уровень американских журналистов уже в 1977 году был ниже плинтуса

[Истинный поклонник]

А жалейка - это разве не духовой инструмент типа рожка? Они, наверное, имели ввиду колёсную лиру. Уровень американских журналистов уже в 1977 году был ниже плинтуса

Олег. А Вы уверены,что большинство наших российских журналистов, сейчас, в 2026 году знают что такое-жалейка?

[Eugene]

большинство наших российских журналистов

Сейчас вообще караул.

[Fratello]

Ещё одна заметка:"Новое русское слово"22.09.77г.,тоже с сайта "ВИА-ЭРА"
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