The apartment once associated with singer Boris Moiseev has become the property of his longtime aide and manager, Sergei Gorokh. This detail surfaced through reports in woman.ru and has since sparked discussion about ownership and legacy surrounding the artist.
A ceremony recently held featured a monument dedicated to Moiseev. Notably absent from the event was Marx Tolkach, Moiseev’s brother, who had sought to gain tenancy of the apartment and did not attend the unveiling after traveling from Canada was deemed unnecessary by his representatives at the time.
Gorokh explained that, two weeks prior to the monument’s unveiling, he had sent a lengthy invitation to Moscow to Marx Tolkach and offered to cover all related expenses. The response, however, did not come, leaving the plans unresolved and the decision to attend unmade.
Moiseev’s lease with Gorokh had been a point of contention, with Marx Tolkach planning to challenge the arrangement. The apartment is situated in a residence not far from the Garden Ring on Krasnoproletarskaya Street and is valued at about 70 million rubles. Renovations for the home had begun, signaling ongoing efforts to maintain or upgrade the living space associated with the late performer.
Gorokh outlined that his current priority is to organize Moiseev’s wardrobe and personal belongings to create space for the artist’s possessions. As Moiseev would have reached the age of 70 the following year, Gorokh indicated that these clothes would be kept and used for forthcoming projects, preserving the artistic legacy in a practical sense.
In Gorokh’s view, the belongings will remain intact for the time being, with the possibility of integrating them into future productions or demonstrations of Moiseev’s career milestones. The director emphasized a careful approach to preserving the singer’s legacy and maintaining a connection to the public memory of the artist.
Boris Moiseev passed away on September 27, 2022, leaving behind a complex set of arrangements and a lasting imprint on fans and the broader cultural landscape. The ongoing discussions about the apartment and its status reflect broader questions about how artistic estates are managed and how the legacies of performers are kept alive for new generations.
Earlier, there had been a cinematic reference involving a film titled Viy, where some production details incorrectly attributed events to Leonid Kuravlev. This note underscores the interplay between real-life circumstances and their portrayal in media, a reminder that public narratives can diverge from the actual legal and personal realities surrounding an artist’s life and possessions.