Lyubov Voropaeva: “Only two people react instantly to a hit - Pugacheva and Kirkorov. At her anniversary, poetess Lyubov Voropaeva presented a book about female wisdom Lyubov Voropaeva personal life

The name of Lyubov Voropaeva has already entered the history of Russian music. A talented poet, songwriter, producer, she has raised many stars Russian show business. It was thanks to her that the country recognized Zhenya Belousova. Songs based on Lyubov's poems were performed by Leontyev, Semyonova, Lolita, Dolina, Ponarovskaya, Presnyakov Jr., VIA "Jolly Fellows", the group "Aria", Nadzhiev, Ukupnik, Kemerovo and many others. Especially for MyJane.ru readers, Lyubov shared her thoughts on the topic of poetry, loneliness, female friendship, as well as her signature New Year’s recipe.

- Love, what do you think, if Zhenya Belousov lived today, was an aspiring singer and got into, say, the “Star Factory”, could he become an idol of today’s youth?

I don’t know... Maybe I could have... But then the heart of Zhenya Belousov’s project was precisely our union. So, if we had produced “Factory” with his participation, I would have been able to do it for sure!

- What kind of book are you writing? Will it be entirely dedicated to Zhenya Belousov? When do you plan to finish it and publish it?

I'm writing a book about how I got into show business and what I did there. There will be several chapters about Zhenya Belousov in this book, naturally... The book is very difficult to write. I planned to finish it in December of this year, but it didn’t work out... All year I was caught up in some other things and projects: there was little time and emotional strength left for the book. So now I cannot say when I will finish the book... I will try to finish work on the manuscript as soon as possible.

- With what good poems different from bad ones? Apart from the obvious, extreme examples. By what criteria can you evaluate your creativity?

For no reason. Creativity is subjective. I evaluate it this way: if poetry gives me goosebumps, it means they are real...

- Is there a book or movie that made you cry?

I cry only from the poems of Joseph Brodsky... And the film that brought me to tears is “Once Upon a Time in America”...

- Lyubov, you are friends with many women, including famous ones (Maria Arbatova). Do you believe in female friendship, free from envy, gossip, and rivalry? How do you think, real friendship possible only between “equals” (people of the same

social status with approximately the same financial situation)?

Actually, I don’t really believe in female friendship. Almost all my friends betrayed me in my youth... As they say, “women’s friendship lasts until the first man”... But Masha and I have 30 years of acquaintance behind us. And we are both strong women... And it so happens that we are both not envious and do not like to gossip. That’s why we never quarreled, probably... Well, social status, education and all that are very important, I think... Because it’s better to be friends without envy, on equal terms.

- Comparing yourself with Maria, in your LiveJournal you wrote that you would never go into politics. Why?

Because personally, this activity is not interesting to me.

- There is an opinion that successful woman There is always a man standing there who helps her and supports her. There is also another, more famous, wisdom: behind every great man there is great woman. At the same time, in one of your interviews you say that loneliness is a companion successful person. What is still closer to the truth?

How many people, so many opinions. Anything can happen in life... But most great men definitely had great wives, yes... But for some reason, great women were rarely supported by their husbands. Paradox.

- Love, if you had the opportunity to choose where to be born in your next life, which country would you choose? You lived in the States in the past, why did you return?

I didn't live in the States for very long. I wanted to stay there, but ex-husband I was homesick for Russia... About my next life... Yes, I would probably be born again in Russia... It’s interesting to live here.

- Why " The Iron Lady show business

suddenly decided to make contact with a huge number strangers? I mean LJ (livejournal.com).

In general, people are interesting to me. Communication is energy exchange, mutual enrichment. A year and a half ago I left Moscow for the country. I live in the forest, I rarely communicate with people in real life now... That’s probably why I really value communication with people on LiveJournal...

- Love, you are a famous cook, creator cooking show“Cold Ten”... Do your family have any culinary traditions associated with celebrating the New Year and Christmas? What will definitely be present on your table during the upcoming holidays?

Fried poultry, pies, two or three of my favorite salads, homemade boiled pork... Here is a New Year's recipe from my LiveJournal:

Personally, I love cabbage pie. From any test. From yeast or puff pastry. IN Lately By the way, I used store-bought several times puff pastry, rolled out in a thin layer. I cook this pie in a deep pan. It turns out amazing! Because it's all in the filling. I do it like this: Pour boiling water over chopped cabbage and boil for 10 minutes over high heat, then drain it in a colander, add a lot of fried cabbage vegetable oil before Pink colour onions, greens (dill or parsley or both), 3-4 finely chopped hard-boiled eggs, butter 100 grams – while the cabbage is hot, salt. Cover the top of the pie with a layer of grated cheese, and then pour in a mixture of 2 beaten eggs and 2 tablespoons of sour cream. Well, pop it in the oven, and that’s it!

- Please tell us about the most memorable New Year's Eve meeting in your life. And how do you plan to meet But

new year 2008?

One day we celebrated New Year from the composer Yura Antonov in his country house... Yura bought so many firecrackers and fireworks that we stirred up the whole neighborhood... A decorated Christmas tree grew right in the yard, and we danced around this tree... And all Yura’s dogs and cats danced with us... He was cool New Year! And this year we will celebrate the holiday in our country house. Guests will arrive and all that... Of course, I will cook... We already have illumination hanging on the gazebo in the yard. Soon I’ll start decorating the house... As for the Christmas tree, we have a forest all around here - choose any... True, I planted a small blue spruce in our yard, but it won’t grow any time soon...

- Love, let's end this interview with your poems? What would you like to dedicate to our readers?

NEW YEAR'S NIGHT (from the series "Childhood")

Standing on tiptoe, I reach out

To the riches of the New Year tree:

Now, immediately, today

Try it! And tomorrow let

They scold you and deprive you of fun,

And in the corridor in a dark corner

They will also put up rag dolls

In the closet they are executed by oblivion -

That will be tomorrow!

I timidly bend the branches

And I freeze with delight,

And the door turns white in the darkness...

Behind this door is my mother's laughter,

Father's newspaper crunches,

There is tart tea, there is a festival of light

And the tablecloth is new, like snow...

And the heart is like a squirrel in a wheel -

The top of the tree is blazing!

And now the hand is already taking off

All the "bears" and all the nuts...

Everything is covered in chocolate: hands, mouth...

And I fall asleep in bliss

And for some reason I know for sure

That Santa Claus is about to come in.

1983, from my second book of poems, “Dictionary of Love.”

Fifteen years ago, the public’s favorite, famous for the hit “My Blue-Eyed Girl,” passed away.

Zhenya Belousov's star lit up at lightning speed musical Olympus, but, unfortunately, it went out just as quickly. At the age of 32, the singer passed away. According to the official obituary, he died at the Sklifosovsky Institute from a stroke. Zhenya Belousov's songs are still heard on radio and television. He owes his wild success to his first producers - the spouses of the poetess Lyubov Voropaeva and composer Viktor Dorokhin. It was they who took up Zhenya’s promotion, writing hits for him “My Blue-Eyed Girl”, “This short summer", "Golden domes". Viktor Dorokhin passed away three years ago. His wife, nicknamed the iron lady of Russian show business, continues to do what she loves.

*Zhenya Belousov was simply wildly popular. Unfortunately, fame and money were too much ordeal for the singer

- Lyuba, do you often visit the grave of your star ward?

Every year in June, on Zhenya’s memorial day, we gather at the cemetery at 12 noon. This time I met his mother Nonna Pavlovna, who came from Kursk and will stay with Zhenya’s twin brother Sasha for the whole summer. There were also the most loyal fans. Zhenya's widow Lena and daughter Christina appeared a little later. Nonna Pavlovna said that in childhood Zhenya was a ringleader, a hooligan and a tomboy, unlike Sasha, who was assigned the role of a squire. But Sasha never gave up on Zhenya. He was quiet, calm, balanced, in fact, he remained that way. At one time he worked as a drummer for Tatyana Ovsienko.

- Belousov is from Ukraine, although his passport says that he was born in Kursk.

He was born in Kharkov, his older sister Marina still lives there with her family. A few months after the birth of the twins, the Belousov family moved to Kursk - Zhenya’s dad was a military man.

- Do you remember how your first meeting with the singer took place?

We were introduced by the music editor of the main editorial office of radio and television television programs, Marta Mogilevskaya, who produced Morning Mail. Marta lived on one side of the Patriarch's Ponds, and my husband, composer Viktor Dorokhin, and I lived on the other. We talked almost every day. We got a computer in our house (one of the first in Moscow), and Vitya was all about it. And I spent the evenings at Martha’s, because my colleagues gathered there, it was fun and interesting. We drank and showed each other new songs. It's like a visiting artistic council at home.

In the summer of 1987, Mogilevskaya filmed next issue“Morning Mail,” where Zhenya Belousov, as part of Barry Alibasov’s group “Integral,” sang a song about some distant continents. Marta calls me from Ostankino: “Listen, I have such a sweet boy sitting at home right now, waiting for me and frying chicken in kefir, can you imagine. The chicken turns out amazing!” At the same time, she did not mention either the first or last name of her new boyfriend.

Some time passed, we had not seen each other for a long time, I was busy, and suddenly Mogilevskaya said: “Remember, I told you about the boy with whom I have a relationship. He wants to meet you and your husband, he really likes the song “For a Minute,” which you wrote for Katya Semenova. When he worked in a tavern in Kursk, he lived off your song, because they ordered it ten times a night.” We chose a time, and Marta brought Zhenya to us.

stood late fall or early winter, because Marta was already wearing a fur coat, and Zhenya was wearing a denim windbreaker jacket with white faux fur. Such a chilled little sparrow. But at the same time, he’s really pretty in appearance, curly. The young man turned out to be with aplomb, he knew his worth. We sat down to drink tea, and Zhenya and Dorokhin started talking about music and the whole evening there was zero attention to Marta and me. When the guests left, the husband said: “You know, I’ll make a star out of this guy. How do you like him? “No way,” I answered. “We work with Katka Semenova, our songs go so well.” In short, Belousov did not make any impression on me. I didn’t understand Martha either: well, I think she’s having a problem. And Zhenya simply began to board Dorokhin: he called every day. This made me jealous. Men solved all issues for closed door, and I eavesdropped from time to time, for which I got a lot of trouble from Dorokhin. If emotions overwhelmed me and I burst into the room without knocking to say my weighty phrase, my husband sent me right there, in Zhenya’s presence...

- When did you give up and realize that you are now a co-producer and there’s no escape from it?

After I actively got involved in the work. It was I who developed the technical specifications for the project, I was entrusted with working on the image, I was responsible for the so-called PR, although no one knew this word then. As for Zhenya’s hairstyle, my husband and I were categorically against the tasteless “chemistry” that Belousov had on his head in Integral. They convinced the guy that it was much better without curls. His hair was industrial, and it turned out that he had a little wavy, but it was a natural, beautiful wave, and not a kitschy chemical. We also designed the costumes for the artist ourselves.

There was a time when Zhenya and Vitya shouted to me: “Come on! new song, only vulgarity is needed! So I wrote “My Blue-Eyed Girl,” however, this was already the second song. As for the first, I was given the task not to write a hit under any circumstances - this is a special trick to get on radio and television. I composed a song about Alushta, romantic love Zhenya and Martha with the hope that Mogilevskaya will definitely stage the composition in “Morning Mail”. But we didn’t take into account that Zhenya was still a walker. While the song was being recorded, he managed to marry Natalya Vetlitskaya, leaving Marta.

- Fast...

They met Vetlitskaya at Marta’s house, and met on the set of “New Year’s Light.” Neither Zhenya nor Natasha were involved in the filming, so they sat at the bar and drank. I joined them, drank cognac, then I saw how hot the guys were clenching! I say: “Well, screw you!” - and went to the site. For a whole month Zhenya didn’t tell us anything. Suddenly, on New Year’s Day, a drunk man calls: “Guys, congratulate me, I got married.” Dorokhin asks: “On Marta, or what? Now let’s congratulate.” - “No, on Natasha Vetlitskaya.” We were left in a precipitate. Dorokhin then uttered his signature phrase: “Tell the bride that there will be no duet. I won’t spin it.” Apparently this played a role. As soon as Belousov left for tour, Vetlitskaya quickly found solace in the arms of another. It was the shortest marriage I know. It lasted... nine days.

- Was Zhenya so loving?

Yes, he was amorous, an addicted person, but the artist’s personal life did not concern us, the producers, thank God. In this regard, it was, of course, difficult for Belousov’s wife Lenka. In general, we learned about her existence and that the singer had a daughter, Kristina, when the child was already a year old. Zhenya hid from us that he had a family in Kursk: common-law wife and a child. By the way, they first got married and then got married.

- You said that Belousov was a good cook.

He made great pilaf. When visiting us, he baked pork with sweet sauce and prepared various salads. The late Andryushka Popov, Zhenka’s friend and one of our first administrators, and I were engaged in delivering deficits. This is Soviet time- there was nothing in the country. Having started working with Zhenya, we began to earn colossal money, which we simply had nowhere to put. We had an agreement that the singer would receive 50 percent of what he earned, and Victor and I would receive 50 percent. Somehow my husband calculated that during the two years of the project’s existence we earned more than five million dollars. Crazy money at that time. Land was not for sale then, gold was in short supply, nothing could be purchased.

- They say that Belousov kept the money right in the bags.

I don’t know about him, but we actually had bags lying around in the room, which Dorokhin and I called a wallet. It was filled with bags of money; there was no time to even count them. In order to somehow “fertilize” this money, I had to make acquaintances at the bases. I established contact with the Vesna trading company on Kalininsky Prospekt and bought everything in a row, in triplicate. That’s why Nonna Pavlovna and Lena and I had the same suits, handbags, and then crazy fashionable “Pupa” cosmetic sets. We had the same white bedrooms, Romanian walls, upholstered furniture, washing machines from the Beryozka store, two-chamber salad refrigerators from National, and Moskvich cars. Dorokhin was a smart driver, he taught Zhenya to drive.

- Why did your union break up, because it was so fruitful?

There were many reasons. The alcohol theme prevailed, but Dorokhin did not understand this, since he himself did not drink at all. It began with the fact that the dances, which were delicately chiseled, began to gradually dissolve and disappear. Quality suffered. Zhenya was incredibly tired, because we sometimes performed three concerts a day. There was a moment when my husband hit Zhenya hard in front of me! And to the point, since Belousov went to bed in the dressing room in his concert costume. Dorokhin simply knocked the singer off the banquette with his fist, Zhenya fell to the floor. I screamed: “Vitya, what are you doing?” The husband started yelling: “What kind of artist are you, why the hell, if you’re in a concert costume in which you go out to your audience, can you go to bed? A concert costume is sacred! Don’t you dare eat or sleep in it, always hang it on a hanger!” This story happened at Zhenya’s solo performances at the Yubileiny sports complex in St. Petersburg.

- After collaborating with you, the singer tried to work with Igor Matvienko...

The slight rise that occurred in Matvienko’s first songs quickly ended. Igor stopped writing for Zhenya. People around the composer said that he didn’t even pick up the phone when Belousov called. Our meeting with Zhenya after a five-year break took place in 1996 at the celebration of the 50th anniversary of Presnyakov Sr. Before this, messengers from Zhenya periodically came to us, but Dorokhin sent envoys away. True, after some time, Vitya and Zhenya began to communicate again. My husband tried to record a song with him. But Zhenya arrived in the wrong state, to put it mildly, he didn’t hit a single note. Vitya fell into a terrible depression because of this, saying that no one would ever hear the recording. And I will carry out his will, this recording is simply indecent.

- They say that it was alcohol that caused the singer’s death.

He was admitted to the hospital with acute pancreatitis; Zhenya, as Nonna Pavlovna said, had necrosis of part of the pancreas. I have no right to judge, but there may have been medical mistakes. Zhenya had terrible pain, and he was injected with painkillers. But the body is completely soaked in alcohol. The combination of alcohol and drugs could well have affected the singer’s aneurysm since childhood, which ruptured. When Zhenya was admitted to the hospital, we went to Turkey to rest. We returned (back then) mobile phones there wasn’t), and there were a lot of messages on the answering machine that Zhenya was in a coma. We arrived at the hospital, but we couldn’t even say goodbye; they didn’t let us in.

- There must have been a lot of people at Belousov’s funeral?

And in the Variety Theater at the civil funeral service, and in the church near the Olimpiysky sports complex, where Zhenya’s funeral service was held, and in the cemetery there was all show business. There were a lot of photographers and cameras, everyone came to show off. Zhenya was buried at the Kuntsevo cemetery. This is enough famous place. Opposite Zhenya's grave, across the alley, Zhenya Martynov is buried. Nearby are Valera Obodzinsky, Evgeny Morgunov, Leonid Gaidai, Zinovy ​​Gerdt, Lyubov Sokolova, Vladimir Basov, Yuri Vizbor. In general, a creative company of great people.

But exactly a year later, on Memorial Day, there were practically no people at Zhenya’s grave. Now only a few people remember him. I reported to in social networks when we are going to the cemetery, but none of our colleagues arrived.

This modest woman has been working in Russian show business for so long that she has become something of a national brand. Graduate of an English special school and Institute foreign languages named after Maurice Thorez, Lyubov Voropaeva defended her institute diploma with her translations of Keats’s sonnets, but did not become a translator, but became the author of three poetry books and more than a thousand publications of poems in periodicals.

In collaboration with her husband, composer Viktor Dorokhin, Lyubov Voropaeva created Russian stage many hits, and already as a producer - several bright stars, whose light has not gone out to this day. Their most high-profile project is Zhenya Belousov with her calling card - the song “My Blue-Eyed Girl.” No one had any idea that Lyubov Voropaeva called her husband’s computer “the blue-eyed girl”, of which she was very jealous...

I am a native Muscovite, from intelligent family, with traditions, with roots,” says Lyubov Voropaeva. - My dad is a professor, doctor of science, linguist, and my mother is a nuclear physicist. In my family creative people it wasn’t, I was alone; and so do doctors and teachers. My grandmother, my father's mother, graduated from the Institute noble maidens. I was born and lived on Gogolevsky Boulevard, and my grandparents lived on Tverskaya, in the famous Nirenzee house in Bolshoi Gnezdnikovsky Lane, so I grew up between Arbat and Tverskaya. A child of the center, who grew up on the boulevards and even a little on the roof, because in the Nirensee house all the children walked on the roof, there were wonderful playgrounds there.

My housemates were many famous artists, writers and others famous people. I started writing poetry at the age of three, and I’ve been doing it for as long as I can remember. I am a poet not by profession, but by nationality. There is such a nationality - a poet, and I have belonged to it since childhood. I never gave up this activity, although there were breaks. The history of the Nirensee house is a separate story: in an Internet search you can find photographs of its unusual interiors and stories about the people who inhabited this house. My mother’s parents once got an apartment there, and she lived there until her marriage. Everyone in the house knew me since childhood, I also knew many, and it was an amazing world that is now falling apart literally before our eyes...

And so, when in the summer of 1979 I was in this house, Faina Ranevskaya called me one day. An excellent start to the story, if not for the fact that she didn’t call me at all, but got the number wrong by just one digit, calling one of the famous residents of our no less famous house. So, the call. I pick up the phone and hear Ranevskaya’s voice: “Baby, this is Ranevskaya, give me mom!” It’s really Ranevskaya’s voice on the phone, I’m stunned, but I immediately pull myself together and blurt out: “Oh, Faina Georgievna, you know, you have the wrong number, but I’m so happy right now that I need to tell you something!” I love you, Faina Georgievna! I love you so much! “Who are you, baby?” Ranevskaya asks me... “I... I just... I’m a young poetess, and I love you!” - I answer. “You know what, baby, if you are a poetess, then read your poems to me,” Ranevskaya demands...

And I read my poems to Ranevskaya over the phone! From time to time she demands: “More!”, and I read something else. Finally, Ranevskaya says menacingly: “Never tell anyone again that you are a poetess!” My breath is taken away and my heart almost stops - I’m silent! And Ranevskaya, after a theatrical pause, adds gloatingly: “Don’t you dare say that you are a poetess, do you hear?!” Because, baby, you are not a poetess, but great poet! Then I babbled something into her phone, we said goodbye... and that’s it!

You go and squeeze a tit in your hand.
You think that you are walking... But you yourself are tired of backing away...
And I lie and count the stars - on the ceiling,
And one of them – until the morning – rolls down my cheek...

I won’t tell you in the morning: “Here is the trail of a star...”
You won’t see him - don’t even strain your eyes...
But maybe I can save you from trouble
And I will give you a new poem.

- Did it help you in your women's fate what are you a poet?

No, it didn’t help, of course. More like a hindrance. Because a poet is a man without skin, very vulnerable. And this state of isolation from the earth interferes with earthly relationships. Especially in relationships with men. I was lucky: my late husband Viktor Dorokhin knew, felt, appreciated and loved poetry well, but my state of leaving there still did not understand and did not accept as a husband. Although I read my poems with pleasure, I even wrote songs based on some of my finished poems, in particular, the song “Two Women,” which became very popular performed by Roxana Babayan, was written based on my poem dedicated to Rimma Kazakova.

But in general, if you trace not only my fate, but also the fate of most women poets, you will notice that poetry is an activity that interferes with your personal life. It’s very difficult to bear with a poet, it’s a constant reflection, he’s a big child. The Lord gave me such a soul that is torn and tormented. On the one hand, it is a gift to feel very deeply, but on the other hand, it is an incredibly heavy burden. Especially when you write and your soul is torn, and you feel some vibrations. Poems are not written, poems are heard. Suddenly some kind of clue appears, a connection somewhere - I don’t know where... I live like a poet, I feel like a poet...

- Tell us about Viktor Dorokhin, your husband?

He was my second husband. I got married for the first time at eighteen. I was in my first year at the institute, and my husband, the father of my son, was finishing the institute. We met in the library, in the reading room, and after me, by the way, what’s funny, he married a librarian!.. (Laughs). I wasn’t married for long, because I associated marriage with the desire to break out from under my parents’ wing and live independently. After the birth of our son, my husband and I separated... My son is an independent adult, he has his own family, his name is Dmitry. Manages projects in a large American construction company, just like me, graduated from the Institute of Foreign Languages.

- How did you raise your son?

I didn’t raise her at all. I was a very young mother, a complete fool, a student. It was very difficult for me. My parents helped. My mother retired early to help me finish college and raise Dima. And soon after graduating from college, I began to go on tour, starting to write songs and work on stage - I was the host of concerts, and my son completely moved in with my parents. They raised him. If it weren't for them, I don't know what would have happened. His creative career I am entirely obliged to my parents. My son returned to me when he was already in sixth grade. By that time I stopped wandering around the country.

- How did you meet your second husband?

On the road. We had known each other for a year before this. And the romance broke out in the city of Taldy-Kurgan. We held out for a long time, and then we couldn’t stand it. He then said that our relationship had no prospects, since he had been married for a long time and tightly, but three days later he changed his mind. As a result, we lived in marriage for a quarter of a century and were happy. After the wedding, we left the Mosconcert “for nothing” because the head of the team in which we worked was against our relationship. Even before meeting Victor, I had experience writing songs with big amount co-composers and was even the author of one of the first Soviet rock operas, Robinson Crusoe.

Victor and I had only one opportunity to survive together - this was songwriting. I told him: “Let’s write songs together.” Moreover, he was jealous of me - different composers came to me. That’s how Dorokhin and I started writing songs. What happened next is known to everyone. The songs became popular, and we became a popular creative duo. Great love, joint creativity. True, we often quarreled, Italian passions were in full swing. He offended me greatly, shouting: “Put your poems somewhere far away!” I wrote forty options, and he said that none of this was right. I went through a lot of school with Dorokhin...

In the song “The Last Tango”, which Katya Semenova sang and with which we became winners of the “Song of the Year”, I wrote the chorus for several months. The required lines did not appear. Victor rejected the text, I cried. And suddenly it dawned on me and - the song worked! He said: “Yes, that's it! Goosebumps, goosebumps! Victor was the leader in the family. His character was very difficult. Believe it or not, he is a Scorpio! A person who engages in self-criticism and ultimately destroys himself. He constantly stung me, and this was one of the reasons that at some point, unable to bear it all, I left him for another person, and each of us had our own personal lives. A difficult period came, our marriage, as they say, was “tired”, and we decided to let each other go. And then, when I found out that Victor was seriously ill, I returned to take care of him, and he died in this apartment in my arms.

This happened in 2009. It’s quite hard for me to be in this apartment now; my common-law husband, composer and music producer Nikolai Arkhipov, and I come here for the winter, and spend the rest of the time outside the city. Our family lives a very intimate life. For the summer we are moving our music studio to Vacation home, and then back. This is the only thing we are transporting, because everything else is in the country house, including all my clothes, dishes, etc. So in our case, moving occurs exclusively with computers, guitars, microphones, amplifiers and speakers. For some time we lived outside the city constantly, occasionally visiting Moscow, and then all the artists came there to visit us. Everyone really likes it, because in the summer there are barbecues, a forest, a river, and inspiration is everywhere in the air.

Memory of me -
long road.
Memory of me -
a little tenderness.
Memory of me -
the quiet sound of the tram.
Memory of me -
the woman is different.
Memory of me -
all your sadness.
The memory of you is me.

- Were you born strong or did you become so under the influence of circumstances?

I became like this after doing a lot of work on myself. And as a child, my poetic nature began to manifest itself very early. I caused a lot of grief to my parents. I was kicked out of school, and my mother was constantly called to school. I was always doing something, and once I even ran away from home. Nobody was bored with me. My parents often remember how they walked with me on Gogolevsky Boulevard - I was two years old - and I cried and asked: “I want the moon from the sky!” And all my life I want this! On the other hand, I’m not so iron-clad, as you already understood when you were in my apartment.

I’m very much a woman, I adore everything “girly,” as they say - beautiful interiors, outfits, good cosmetics, and cooking. And the “iron lady” - journalists have already nicknamed me, they need to come up with something. I live for today, for today’s poems, for who I am today, here and now. I have over two hundred songs. But I don’t want to publish my new poems, I don’t want to engage in this messing around, because life is so short that I want to run on. Now is a very tough time. And while I’m alive, I want to give a sea of ​​smiles and positivity to people. It seems to me that every person should live with full dedication, to the fullest, and that is why I continue to be creative.

- Do you need a strong shoulder, or do you feel self-sufficient?

Probably still necessary. At some points I am very defenseless. It's hard for me to even open the door with a key. I get confused with these keys all the time. I can't deal with papers at all. For me, all these bills, receipts, certificates, some kind of documentation are a dark forest. Kolya, my common law husband and co-author, is also not particularly versed in this issue, so we have a business manager. But Kolya takes on all the housework, even though he creative person, all about music. Besides cooking, cleaning and putting laundry in washing machine I don't do anything else. In a country house I can’t do anything myself without help. Of course, a man’s shoulder is needed, in the sense of purely male help.

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You don’t have to ask Lyubov Voropaeva how many years she has been in show business, because it was thanks to her that this very business appeared in our country. Despite the fact that many changes have occurred in Russia since then, the poetess and producer in one person is still in great demand. However, first things first. -During the times of socialism, the word “show business” was a dirty word and was used exclusively in relation to Americans. At that time we had Soviet stage And Soviet songs

. And my late husband Viktor Dorokhin and I became pioneers in the USSR. It was we in show business who created the first production project - Zhenya Belousova - and did it in accordance with Western canons. We created this project in front of the whole country. Literally breathing down our necks, Igor Krutoy and Sasha Serov came after us.

– What about the example of the group “Tender May”?

– This group was more a social phenomenon than a musical one. She began to develop into a show business phenomenon only after the appearance of Zhenya Belousov.

– With everything you could imagine: from accusations that everything we did was complete vulgarity, to racketeering. But the times were interesting and even funny; it was possible to make a film in the spirit of Once Upon a Time in America.

We literally took a girl from the street and met her when she was finishing school. We trained her, improved the well-being of her family - without going into details, I will say that the situation there was very difficult. But the project ended disastrously, because at that moment the girl was rapidly going through puberty

– Unfortunately, I write very slowly. I started writing when my husband was very ill, and then he died. These memories hold me by the throat so much that when I started actively writing some time ago, I realized that it was causing me a lot of pain, and I paused.

– What is this show business like now? It seems to me that it has become somehow cliched and formal.

- Against. People who are actively involved in this field of activity call themselves show businessmen with a degree of pride. Now he has become more professional compared to when we started. In those years, the country was closed, and Victor and I were incredibly lucky to have an American friend, he worked at the American embassy. Especially for us, he subscribed to all music publications and constantly brought us all MTV releases on cassettes. We were very informed people. And Victor was one of the first musicians who learned to work on a computer. In our house there were real universities and educational programs. Tukhmanov and Garanyan came to us to study with my husband, many people constantly called with questions, and Victor advised everyone. We were just lucky we had access to information.

– Why did you move from Moscow to the countryside?

- I'm very tired. Until 2009, for 13 years, I did a lot of club events, also becoming one of the founders of the event industry in Russia, produced shows, and constantly lived the Moscow nightlife. These parties greatly undermined my health and even my creative state. When you produce five or six original programs a month, you work your ass off. My nerves began to fail. Life turned into rest days between shows. And I bought myself a country house. This allowed me to calm down, look at my life differently and change it. I joined the online community, immediately opened my blog on LiveJournal and began writing a book. Now the rhythm of my life has changed. Although everything can happen again if I meet people with sparkling eyes. Only with such people, with talented like-minded people, could I work. If I meet such people, I will return to the event industry without hesitation. I don't rule it out.

On this topic

– But money won’t be able to bring you back to this activity?

– Money doesn’t turn me on; I have long known the value of both myself and my business in this life. I treat them normally, but I don’t put earnings first.

I am a creative person, the first place for me is the implementation of my creative ideas, and I am happy only when they come true.

– Why did you work only with men? Zhenya Belousov, Herr Anton, Andrey Vertuzaev with the group “Kartush”...

– Viktor Dorokhin and I once had a wonderful project “Barbie”. But this experience turned out to be bitter for me. , and we could not keep her from the vicissitudes of life. And when she was two and a half hours late for her solo concert the most fashionable in those years night club"Carousel" on Tverskaya, we terminated the contract with her. There were few nightclubs at that time, and people gathered specifically for it; all the places were sold out. And our girl came straight from her bed, all disheveled, and she had to go on stage and work for two hours... After she sang the entire program with grief, Victor and I took her home and told her that our contract was no longer there. That's it... Working with girls goes fruitfully until the first man. Whoever loves the girl dances. That's why I don't like working with girls. I prefer cooperation with men. Although, if singers contact us with my new permanent collaborator - composer and music producer Nikolai Arkhipov - with a request to write a song, we do not refuse, another thing is that I will never take on a women's project. Although there were a lot of offers. I don’t want to waste my nerves on other people’s sexual instincts.

– At the very beginning of your production activities, there was romance in your songs, just remember the song “My Blue-Eyed Girl,” but now other themes, more cynical, are coming to the fore. Does romance really remain only retro?

– It all depends on the performer you work with. Nikolai Arkhipov and I are still writing wonderful lyrical songs for the most subtle lyricist Leusz Lubitsch, and our joint song with him “I am alone, you are alone” even aroused the admiration of Didier Marouani, the founder of legendary group“Space”, who unexpectedly suddenly left me the warmest comments on this song, which I posted in my LiveJournal, and even sent me a letter with an offer to work on the Russian texts of his works. If you mean the project “A Lonely Man” by Herr Anton, a Russian artist from Hamburg, then I can say that Lyubov Voropaeva is not new to ironic poetry. Back in the 80s, in the “Ironic poetry of the 12 Chairs Club” column in the “Literary Gazette” there was a regular author - Lyubov Voropaeva, and this author wrote a huge number of ironic and humorous poems. Recently, one person asked me: “Love, you write such wonderful lyrical poems, where did you get “Lonely Man” from? How so?" And I answered him: “Do you know all the works of the author Lyubov Voropaeva? I also work with three rock bands that play in the styles of new alternative and new punk. So Lyubov Voropaeva calmly writes punk lyrics, sometimes even using obscenities!” "How! – he was horrified. - Can't be!" - “Go to the Yandex search on the Internet, find the groups “Stinger”, “Reactor” or “Bryzgi”, listen to the songs, read the lyrics. And understand that Lyubov Voropaeva is a multifaceted person. And in the same project “Herr Anton”, of course, there is an element of punk somewhere!”

– How did Anton come into your life?

- Through the Internet. In general, he knew my name and my projects for a very long time. He was associated with music and TV. I can't say anything more about this yet. Then he went to Germany and decided, by communicating with me via the Internet, to fulfill his old dream. He just tried to sing, and our first joint song“A Lonely Man” immediately became a hit, blowing up discos in Germany, Russia, and now Ukraine.

– Do you go to discos yourself?

- IN this moment, of course, I don’t go, but I constantly watch them on YouTube on the Internet. I really love it dance music and in the car I listen exclusively to dance radio stations. So I follow all the news happening in this musical direction, very carefully, collecting and analyzing all the information. In our tandem with Nikolai Arkhipov, who not only writes music, but also makes arrangements for all our songs and records them in our studio, also working as music producer, it turns out today, as I think, the musical product is very High Quality.

– Isn’t it a shame that now songs are called, like everything else in a consumer society, products?

– I spoke about the product as the result of labor. But it doesn’t offend me, because I am an Internet person, I live in the spirit of time and nothing breaks me in this time. My LJ blog has a huge number of young friends, 18-19 year old readers. This means that something attracts them to me, if they read me, write me letters, consult with me. Sometimes I even suggest where it is better for them to go, which institute, I give advice to someone in their personal life, they do not run to their parents, but to me. This means that they trust me and feel that I understand them, that we are contemporaries.

The whole country knows songs based on lyrics by Lyubov Voropaeva by heart. Together with her husband, composer Viktor Dorokhin, she created one of the first successful projects Russian show business - Zhenya Belousova. Well, I’ve learned the underbelly of bohemian life like the back of my hand...

“When my husband Viktor Dorokhin and I composed our first songs, Vitya said no more or less: “If you want me to continue writing music, our works must please the biggest stars,” says Lyubov Voropaeva. “If they reject it, it means I’m not a composer and I won’t do it.” Who were the stars then? Pugacheva and Leontyev. We went to the masters, as they say, “straight from the street.” We started with Leontyev. We found out where he was having a concert and took with us a small Sony tape recorder, on which Dorokhin recorded an instrumental disc of the song “ Female portrait" And after the concert they burst into a dressing room full of people: “Valery Yakovlevich, we brought a song to show you.” Dorokhin turns on the tape recorder, takes out a piece of paper with my text and, in front of all the costume designers and administrators, begins to sing in his disgusting composer’s voice. Leontyev looks at us and suddenly says: “Guys, what a cute song! Let's record it! " And he actually wrote it down. Moreover, she turned out to be so successful that the record on March 8, which was released by Melodiya, was named in her honor - “Woman's Portrait”. My poems were printed directly on the cover. This is how our creative duet with Viktor Dorokhin.

Twenty degrees without Pugacheva

Another bastion that we set out to conquer was Pugacheva. “Bring the second song,” Dorokhin told me, “to Alla Borisovna. True, she doesn’t dance, but our song “Twenty Degrees of Frost” is danceable, so offer it for Christina.” Orbakaite was just starting out then... I found out Pugacheva’s phone number from my friends on the radio, dialed her number, introduced myself: “I’m the poetess Lyubov Voropaeva, I want to show you a song.” “Well, bring me,” she says, “your song.” I grabbed the cassette with the demo recording and went to Alla Borisovna. Vitya was waiting for me downstairs in the car. He knew her after all. He once played drums in “Singing Hearts”, and Alla was an aspiring soloist in “Jolly Fellows”; they often crossed paths on tour. Vitya believed that his appearance would remind Alla of the times when she was suppressed, erased in “Jolly Fellows”, and was not allowed to sing more than two songs in the program. And I went alone. Igor Nikolaev opened the door for me. The loud Alexander Kalyanov looked into the hallway - there was clearly some fun going on in the apartment. I was so scared that Alla had guests! Wildly embarrassed, I handed her the cassette and immediately retreated. She got into the car, and Dorokhin said: “Why are you so fast? Why didn’t you make her listen in your presence?” In general, he scolded me all the way. We go into the apartment - phone call: “This is Pugacheva. Well, what a good song! Christina will sing it." I just stood there frozen with this tube. "Who called?" - Vitya was alarmed. I say: “Pugacheva. They take the song." And then he began to be indignant: “What do you mean they take it? Will they take me without me? Who will do the arrangement? Why didn't you ask? In short, he created a wild scandal. I think: “Damn it, how impudent you are! Pugacheva likes your song, but you are still indignant.” In the end, he finally forced me to call Alla back. She said: “We need to learn the song first, and then we will record. Don't worry." After two or three weeks I had to call again. Pugacheva replied: “We teach, we teach.” And then Dorokhin’s patience ran out, he said: “So? so: I'm tired of it. It is unknown in which studio they will record it, how it will sound. They can ruin my whole song! Therefore, we will record it with Katya Semenova. Go ahead, call Katya." Soon we showed Katya Semyonova “Twenty Degrees of Frost” and at the same time another of our songs “For a Minute”. As a result, “For a Minute,” performed by her, suddenly became the song of the year and went all over the country. At that time, if a young author made it to the finals of the “Song of the Year” and received a laureate’s diploma, this meant that the way to radio and television broadcasts was opened for his subsequent songs. Naturally, Vitya and I were happy! I still keep my laureate diplomas; they occupy an entire shelf in my closet. We received them every year - sometimes two or three at once... And then I came across an interview with young Kristina Orbakaite, where she complained that “here were the authors, they brought me a very nice song, I just fell in love with it, began to work on it, and suddenly I turn on the radio and hear it performed by another singer. Yes, such authors will not miss theirs!” In a word, because of Dorokhin, relations with Pugacheva were ruined. “He was such a person - everything should be under his control. He didn't write many songs, but they all turned out to be very noticeable. Vitya said: “I beast of prey, I give birth to lion cubs.” At the same time, his character was very difficult...

Tutor for Serov

Meanwhile, Victor and I turned out to be the first producers in Russia to make own project in the person of Zhenya Belousov. “My blue-eyed girl”, “Night taxi”, “Golden domes”, “Such a short summer” - these songs were sung everywhere. Following us, literally neck and neck, came Krutoy and Sasha Serov. I want to tell you about Sasha Serov separately... We were introduced by Igor Krutoy, to whom my older friend, poetess Rimma Kazakova, told me that I was fluent in English. Igor, through some of his channels in the Ministry of Culture, agreed that Serov would represent the USSR at the Intertalent-87 competition in Prague. But to participate in it it was necessary to perform a composition on English language. Igor had already written a song based on the poems of Rimma Kazakova, and asked me to do it as quickly as possible English version. He even paid 200 rubles “for urgency” - the then monthly salary of a Soviet employee. It was a small task: to teach Sasha Serov to sing it in English in a short time. So Sasha appeared at our house, on Malaya Bronnaya, and we began to prepare for the competition. This happened mostly late in the evening - Serov came to see me after the concerts. To begin with, I wrote everything to him in transcription in Russian letters, and only then we started cramming. But where is it... with English pronunciation Sasha had a big problem. And yet, it was not in vain that we suffered with him: firstly, the entire population of the nearby streets became acquainted with the song performed by Sasha, and secondly, Serov won the “Intertalant-87” competition! A few years later he gave me a painting with an inscription on back side“Lyuba Voropaeva – with gratitude for Intertalant-87.” And then Victor became seriously ill. He began to have health problems after breaking up with Zhenya Belousov. This was a very strong blow for Dorokhin and an incredibly difficult decision - to abandon the main work of his life. After all, he created such a grandiose project from scratch - a real national idol! Dorokhin's condition deteriorated rapidly. His heart ached, his legs gave out, he had surgery... As a result, Vitya could only exercise social activities, I no longer found the strength to create. But there was no money at home! Reforms took place in the country, and everything earned was burned. In addition, when this easy money appeared, it was distributed very generously left and right. As creative people, we didn’t attach much importance to them. The room where I have a bedroom now used to be called our “wallet”; we used to throw plastic bags with wads of money there. And often there was squabbling at home over who would count them. We lent in bags and bought everything - the money depreciated before our eyes, it had to be saved somehow. In short, the moment came when it became very difficult for us financially. Just then, one of my acquaintances began organizing events in Moscow restaurants, which are now called “events”. And he invited me to participate in these projects - he took over the business part, and I took over the social part - inviting “star” guests. Thus began an activity that was so unusual for a poetess - producing events. Soon I began to work independently and was invited to the Golden Palace casino. My projects took place in annual cycles. These were “Star News”, and “Star Zodiac”, and “Golden Person”, and the culinary competition “Cold Ten”. Gradually I became simply in great demand. The stars with whom I collaborated knew that, firstly, it would be interesting and fun, and secondly, they would receive honest PR. Because all the best publications came to me. I am happy that even now, having returned to the event in the fall of 2014, I am working with the same people with whom I once started. In mid-October last year, my first show took place at the Oblaka restaurant, dedicated to my fortieth anniversary. creative activity Roxana Babayan. Her business card- the song “Two Women”, written by Viktor Dorokhin and me. Everyone was happy to meet again, I was inundated with bouquets... If the crisis does not hit the establishment too hard, I hope everything will work out for us. There have been six shows so far. We presented a national project with great success people's artist Vladimir Devyatov “Folk Sphere”, celebrated the 50th anniversary of Sasha Shaganov, the 25th anniversary of Evgeniy Fridlyand’s creative activity... And I dedicated one of the events to my old friend, Kolya Agutin, the father of Leonid Agutin, who once brought me into show business .

A ball of kissing snakes

Here is how it was. Kolya Agutin had an unofficial wife, Lena Zhernova, who then worked at Central House writers, where I, a young poetess, ran to drink coffee. And so one day I was sitting with the collection “Poetry Day” in my hands, where my next publication was published (this publication was considered very pretentious), and I saw Lenka drinking coffee with some man. She called me to their table and introduced me to her gentleman, Kolya Agutin. He turned out to be a great connoisseur belles lettres. And, being married to Leni Agutin’s mother, Lyudmila, a teacher of Russian language and literature, he understood this very well. Moreover, I learned over time that for many years Nikolai Petrovich Agutin and Lyuda, already being husband and wife, carried on a love correspondence in poetry with each other.” After reading my poems in “Poetry Day,” he asked: “Haven’t you tried write songs? I said no". - “Do you want to try it?” Of course, I didn't refuse. Kolya introduced me to the head of VIA " Funny boys", where he then worked as a director. And soon he moved to VIA “Singing Hearts”. In those years these were two super popular ensembles. And suddenly I - as if by magic magic wand- I get there and there. There's competition for me because I suddenly find myself a gifted songwriter. Later, over the course of many years, Kolya and I encountered each other in life; Zhenya Belousov’s first director was him. He visited me even after Dorokhin passed away. In general, among the main characters of my shows there was not a single person with whom I had a tense relationship. Although I can’t say that I’m friends with everyone. But mutual language I can find. As Borya Zosimov once said, a “party” is “a ball of kissing snakes.” But I’m not a snake by nature, so people probably aren’t afraid of me and relax in my presence. Including masters, stars of the older generation.”

Interesting Facts

“We lent in bags and bought everything...”

It was with Valery Leontyev that the poetess’ path to the world of big show business began...

Babayan could only entrust the organization of the 40th anniversary of her creative activity to Voropaeva...

Interviewed by Ekaterina Pryannik