Russian music critic Evgeny Babichev spoke in a conversation with news.ru about Larisa Dolina, highlighting her as one of Russia’s finest vocal talents. He emphasized that Dolina’s vocal technique stands out on the domestic stage, portraying her as a versatile singer capable of delivering a wide range of styles with assurance.
Babichev pointed to Dolina’s great technique, melodic richness, and a notably expressive vibrato as the defining marks of her singing. He described Dolina as a universal performer who can handle diverse repertoires with ease and authority. This portrayal frames Dolina not just as a gifted vocalist but as a benchmark for technical mastery in the Russian music scene (Babichev, news.ru).
Beyond Dolina, the critic also praised Polina Gagarina, noting that she possesses strong vocal gifts. According to Babichev, Gagarina creates a sense of lifting and flight, especially in the upper registers. He added that this quality is rare among vocalists, and that while some performers push into shouting at the top notes, Gagarina preserves a pure, pleasurable vocal line for audiences in Russia and across Europe (Babichev, news.ru).
In discussing male performers, Babichev singled out Grigory Leps, comparing his singing style to the late Vladimir Vysotsky for its intensity and expressive edge. The comparison underscores Leps’s ability to convey raw emotion through powerful phrasing and distinctive timbre, making his performances particularly memorable to listeners who value visceral delivery (Babichev, news.ru).
Babichev also commented on the landscape of rock music, noting that veterans like Valery Kipelov, the founder of the Aria group, have continued to shape the art form. He described Kipelov’s performances as among the finest in Russia for their intricate, filigree-like precision and stage presence, highlighting how experience informs a high level of technical craft in rock vocal delivery (Babichev, news.ru).
Overall, Babichev’s observations offer a portrait of a vibrant Russian vocal scene where classical technique, emotional expressiveness, and rock-inflected power converge. The critic’s assessments suggest that Dolina remains a touchstone of technique, Gagarina embodies aspirational vocal flight, Leps channels intensity, and Kipelov embodies enduring virtuosity in rock. The conversation captures a spectrum of talent that defines contemporary Russian singing for both domestic audiences and international listeners (Babichev, news.ru).
Reflecting on the role of critics in shaping public perception, the discussion illustrates how authority in music criticism can illuminate the nuanced capabilities of different voices. Whether emphasizing technical form, expressive range, or stage presence, such commentary helps audiences navigate a diverse musical ecosystem and appreciate the particular strengths that each artist brings to the stage (Babichev, news.ru).
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