In a Tver recording studio named Salam, a notable moment in music history surfaced when Alla Pugacheva laid down three new songs on November 3. The sessions took place in a space managed by the studio’s founder, sound engineer Igor Laletin, who spoke to RIA News about the day’s events.
According to Laletin, the songs were recorded for private use, intended for the singer’s circle of family and friends rather than for public release. He described the material as intimate in tone, focusing on universal themes of love and the deeper currents of life. He emphasized that the recordings were not intended for commercial distribution, but rather for personal reflection and memory.
During the session, Laletin recounts that Pugacheva revisited memories from earlier days, sharing stories and laughter within the studio space. After completing the takes, the singer left, leaving behind new material that was momentarily kept within the intimate confines of that recording environment.
As the singer worked, she requested that Laletin send her the vocal stems so she could decide how to finish them later. He recalled that the ultimate destination of the recordings was unclear at the time, suggesting that the artist might revisit the material in another setting or project, possibly during a future performance.
There is speculation about what the future holds for these three songs, with some imagining that new versions could surface in contexts such as a solo concert in another city or country. The idea is that the material serves as a creative reservoir, offering a glimpse into a private artistic process rather than a finished product ready for distribution.
Salam studio has a history of drawing high-profile figures from the music world. Prior to this session, other acclaimed artists including Leonid Agutin, Irina Allegrova, Tatyana Ovsienko, Andrey Gubin, and Alsou have utilized the studio’s facilities, contributing to its reputation as a versatile space for artistic exploration. The studio’s environment—equipped for capturing nuanced vocal performances and intimate performances alike—has made it a preferred choice for artists seeking a private, reflective setting for their work.
In related contexts, various media outlets have covered moments in the Salam studio’s recent past, highlighting how the space continues to be a focal point for creative experimentation among Russia’s contemporary music scene. The broader narrative around the Salam studio emphasizes its role as a sanctuary for artists to experiment without the pressures of immediate public release, allowing personal projects to mature away from the glare of the spotlight.
Overall, the November session with Alla Pugacheva adds another chapter to Salam studio’s evolving story. It underscores the studio’s commitment to supporting personal artistic ventures while remaining a crossroads for high-profile collaborations and private explorations. The exact fate of the three songs remains to be seen, but the day at Salam certainly yielded material that reflects the singer’s private artistry and the studio’s capacity to nurture intimate creative moments.