Former soloists Alena Apina and Tatyana Ivanova, once stars of the pop group Combination, have begun performing together again at a select set of events. The pairing, which captured fans during the height of the group’s popularity, has resurfaced in the public eye as whispers about high-profile appearances circulate within the music industry. It is reported that the duo is expected to take the stage at a New Year corporate party, with a proposed fee of five million rubles for the collaboration. In addition, there have been talks of a major live appearance on a Kremlin stage, signaling a rare homecoming for two artists whose careers have traversed solo projects, reunions, and evolving musical landscapes. On the program, Apina and Ivanova are set to perform a curated lineup built around familiar Combination staples. List highlights are American Boy, Accountant, Cherry Nine, and Don’t Forget, numbers that continue to resonate with long-standing supporters while inviting a younger audience to experience the nostalgia of the band’s earlier era. The overall concept blends the celebratory mood of a New Year festivity with the prestige of a historic platform, aiming to deliver a show that honors the group’s legacy while showcasing the performers’ current artistry.
Industry observers note that the fee structure for the reunion reflects the duo’s enduring draw. In past engagements, Apina reportedly charged about 2.2 million rubles for solo appearances, while Ivanova’s rate has been around one million rubles. The shift to a joint appearance at a high-profile event is seen as a strategic move to capitalize on the duo’s shared history, leverage a steady fan base that spans several generations, and secure a prominent broadcast or venue. Given the Kremlin’s significance and the associative value of the group’s catalog, the proposed performance could also serve as a barometer for investor interest in nostalgia-driven concerts and the broader market for veteran acts within Russia. The precise terms of any engagement often depend on the scope of the show, travel, production requirements, and licensing for the use of original recordings, but the reported five-million ruble figure signals a major commitment from organizers seeking a big-ticket ensemble for the season’s peak.
Legal matters around the group’s intellectual property have taken on new significance as Apina appears prepared to pursue action against Vitaly Okorokov, the founder associated with Combination. The dispute centers on branding and the rights to perform songs credited to the group. Allegations have circulated about the use of material connected to Combination during performances that reportedly included Okorokov’s authorization; yet a phonogram, claimed to feature another former member, has been drawn into the discussion as well. Members of the group Russian Girls, Samara Kadirova and Yana Polyanskaya, have denied that Apina’s voice was used without consent. A legal adviser consulted by involved parties indicated that intellectual property protections would be defended in court if necessary, underscoring how relationships between founders, rights holders, and performers can become intricate when legacy catalogs are reinterpreted for public performances.
Meanwhile, other industry news has touched the broader tapestry of the music scene. Reports from earlier periods mentioned Sofia Rotaru, noting that her Moscow apartment had been taken off the market. While these stories are distinct from the reunions of older groups, they reflect a wider public interest in the lives and business ventures of well-known artists. In a market where appearance fees, licensing rights, and brand integrity intersect, fans pay attention to both the onstage phenomena and the legal and commercial dynamics that shape what they eventually get to hear and watch. The interplay of performance opportunities, negotiations, and rights management forms a backdrop against which reunions like Apina and Ivanova’s are measured, debated, and, for many, celebrated as a reminder of the era when their music defined a generation and continues to echo in contemporary pop culture.
Looking ahead, the path for the two former colleagues remains contingent on several factors. Ticketing and production values will determine the scale of any future performances, while licensing agreements and the use of original recordings will influence the viability of various set lists. The developments around Apina and Ivanova’s collaboration illustrate how veteran acts navigate the shifting terrain of modern show business, balancing artistic legacy with the realities of rights management, sponsorship, and audience expectations. For fans in Canada and the United States, the news underscores the enduring appeal of classic Russian pop and signals the possibility of eventual streaming appearances or regional releases that bring the duo’s repertoire to new markets. The narrative around their reunion, the monetary stakes involved, and the ongoing IP conversations collectively reveal a music industry in which history and commerce repeatedly collide on the biggest stages.