Producer Joseph Prigozhin spoke in a recent interview about how charity and cultural outreach shape the way artists perform in public. He described a model that places performances in hospitals, schools, and other educational settings, and extends into performances for the armed forces. The aim is to bring art to people who might not have easy access to it, while keeping events well organized and financially clear. Prigozhin also noted that his wife, the singer Valeria, often sings without charge, though not every appearance falls under this free category. She supports charitable efforts when it makes sense, but certain venues and events require different arrangements. This approach reflects a broader belief that art can uplift communities while maintaining practical rules for compensation and access. Credit: interview with producer Joseph Prigozhin.
Prigozhin described a rule that governs free performances in a city. If an artist offers a free show there, the city is not eligible for paid ticket sales for at least a year. He said the aim is to prevent market distortions that would divert potential buyers away from regular shows and undermine local venues. In practice, organizers must decide between a free appearance and a paid schedule in the same urban area for an extended period. The policy emphasizes fairness, the protection of local artists, and a stable calendar for venues and sponsors.
He noted that a free performance is not automatically counted as a charitable contribution on major holidays. For big national holidays, planning and pricing should reflect the event’s scale and the costs of staging it. The choice of holiday and the structure of performances are guided by producers, but the guiding ideas remain transparency and accountability in how appearances align with public sentiment and safety.
May 9, Victory Day, is described as a significant holiday with glorious performances. According to Prigozhin, pricing depends on the star level and the expenses involved. Artists are often willing to participate on such holidays because the day carries a sense of unity and national pride, and because the audience can be reached far and wide. He emphasized that many performers stand ready to appear on any holiday when the country comes together, underscoring a shared passion for music and memory.
On April 15, Nina Ostanina, a State Duma deputy, criticized the large fees charged by Russian artists for May 9 appearances. She argued that patriotism should not be bought and that such performances should not be treated as commercial ventures. The producer responded with a firm defense of artists’ pricing, underscoring that the costs reflect scheduling, travel, production, and the scale of the event. The exchange highlights a broader conversation about the intersection of culture, money, and national sentiment on a day of public significance.
Earlier notes mentioned the influence of prominent acts, including a performer known as Black Boomer, and a reference to a Platinum throne on stage. The sketch points to a vibrant scene where branding, spectacle, and public expectation converge. Overall, charity-driven performances sit at the crossroads of art, commerce, and community, demanding careful planning, clear rules, and ongoing dialogue among artists, organizers, and audiences.