— How was the Mirage group created and what rules of the entertainment industry in the 1980s helped it gain popularity?
— In the 80s there were no formal rules to imitate, only the need to please audiences and reach them quickly. The strategy relied on tapping into so-called authors who could push a song to every radio station, club, and stage. If audiences liked it, the song spread everywhere; if not, it faded. If the creator did not believe in Mirage, a different project might have taken the spotlight. Yet fortune favored Mirage, and the plan worked.
Back then people grew weary of rigidity and stage pretensions. Many worked closely with those in power, but the moment the audience demanded quality music, the tides shifted. Fashionable, timely material earned its chance to succeed almost immediately.
— At age 23 Mirage was founded. How did the founder develop musical understanding and industry insight so early?
— Early success in show business was not unusual. People achieved remarkable things young. The key was sincerity, persistence, and hard work. A natural talent helped as well. The belief that genuine effort brings results proved essential.
— When selecting soloists, what mattered most: vocal ability or stage presence?
— Everything mattered, with the priority on vocals. Soviet style misgivings about vocal quality were rejected. The aim was not to distort voices through heavy production but to find singers who had proper training in folk traditions. Natalia Gulkina and Margarita Sukhankina stood out, along with Ekaterina Boldysheva, a graduate from the conducting and choral department of the Moscow music institution formerly known as the October Revolution Music School.
— Do you recall the moment the group gained fame?
— Fame did not arrive overnight. It grew as demand for concerts increased and schedules filled. In 1988 there was a stretch when eleven shows happened in a single day, a testament to the growing appetite for Mirage.
— How did those demanding times feel?
— Exhaustion tempered any vanity. Things were happening, but the energy spent on touring kept things grounded. The success was real and tangible.
— What was the financial picture in the 80s and 90s and how were soloists compensated?
— The earnings were substantial, though the ruble’s instability makes exact figures elusive. Soloists received fixed fees per performance, without a share of profits. The money reflected an era of negotiated rates rather than percentages.
— What was it like to receive big money for the first time and what was purchased?
— The initial sense was that money existed but its purchasing power was limited by living conditions. Apartments and foreign cars were often out of reach due to housing rules and market conditions. Still, life allowed some indulgences without overstepping constraints.
— Were there rumors about Mirage building vast wealth?
— A large fortune would be plausible, but much of it was squandered or not converted promptly into freely usable currencies. The period of transition hurt fortune prospects, and in a true market shift, more could have been earned.
— Why did the lineup of soloists change often and who initiated these changes?
— The soloists themselves drove changes. There were few formal contracts, and personal dynamics sometimes clashed with the idea of strict agreement. Relationships and personal commitments often played a role, leading to departures rather than explicit firings. The memory of those years evokes colorful anecdotes.
— The group featured performers such as Ekaterina Boldysheva, Margarita Sukhankina, Natalia Gulkina, Svetlana Razina, Inna Smirnova, Natalya Vetlitskaya, Irina Saltykova, and Tatyana Ovsienko. Who among them stood out most in Mirage history?
— The founder does not rank individuals as best or worst. Each artist contributed to the collective identity and deserves acknowledgment for their part in shaping Mirage.
— How many female vocalists hold an edge in a group setting?
— Two soloists add depth and competition, which can elevate performances and keep audiences engaged. The dynamic can be intense backstage, but it often translates to stronger onstage energy for the crowd.
— Was there an attempt to sustain the collaboration with Sukhankina or Gulkina and why did it end at times?
— Collaborations shifted over time. The relationship went through cycles of joining and parting, followed by periods of renewed work. In show business, such cycles are common and natural.
— Tell us about the lawsuit involving Sukhankina. How long did the dispute last and where does it stand now?
— Legal matters require confidentiality handled by counsel. It is understood that disputes arise over licensing and performances, with the aim of ensuring proper authorization and fair handling of rights.
— What arguments has Sukhankina offered in her defense?
— The defense has not provided public comments in detail. Legal professionals are handling communications and ensuring that procedures are followed.
— As the owner of the Mirage copyrights, what is the standard for performance rights or concert programming fees?
— A portion of the musical rights and lyrics belongs to the Mirage owner. Individual song sales are not the focus; the emphasis lies on rights for broader concert programs and performances.
— Can Mirage record and perform new material with the current lineup, or do decades of success shape expectations?
— Mirage continues to maintain a busy tour schedule with the current lineup. The possibility of new material exists, with time and creative direction guiding the path forward for any future releases. The direction will reveal itself over time.
— Was there an attempt to revive The Little Prince project, which lasted until 1994, and why did it not return to the stage?
— There was no effort to revive that project. One of the soloists moved to Europe to pursue a different life, and the attempt to continue that particular venture did not materialize. What remains is a collection of nostalgic phonograms found online.
— How does modern show business compare with the 80s and 90s?
— Mirage was born in the late 80s when show business operated like a true business; popularity translated directly into earnings. The market economy shaped the industry then. In the following decade, shifts and new dynamics appeared with politics and power playing bigger roles, changing how fame and money moved through the industry.
— What is the current direction or plan for a new project in Europe or elsewhere?
— The creator has shifted focus to European projects and aims to launch a new band in Europe or another locale. Work on drafts is underway, with a preference for pursuing serious success outside the previous arena.
— What does a project need today to achieve lasting success and longevity?
— A solid, talented concept that resonates with audiences will prevail. The hope is for a project to connect with audiences in English this time, broadening its reach and appeal. [citation attribution]