During a discussion with Sergei Nikonenko, a renowned People’s Artist of Russia, he expressed a clear stance about the singer Philip Kirkorov. He stated that he does not pay attention to Kirkorov and does not hold him in high regard as a person or as a performer. Nikonenko emphasized his admiration for other artists and highlighted how their craft left a lasting impression on him. For instance, he spoke fondly of Yuri Gulyaev and Muslim Magomaev, praising the integrity and artistry they brought to the stage.
Reflecting on the past, Nikonenko recalled his experiences from the 1970s when he participated in a gala concert organized for cinema comrades. He described the event as featuring serious singers who were regarded as being of the first rank, and he recalled the caliber of the composers who visited that era. Names such as Solovyov-Sedoy, Mark Fradkin, and Babajanyan came up in his memory, underscoring a time when the standards of musical performance and collaborative artistry stood high in his estimation.
According to Nikonenko, Kirkorov stands in stark contrast to those celebrated figures. He labeled the People’s Artist of Russia an amateur in comparison to the legendary talents he named, and he characterized Kirkorov as a singer who might be described as a restaurant performer rather than a true artist of the stage.
In his view, one episode from a broader cultural conversation was telling. He suggested that a section of the musical world once resembled a production such as Chicago, which he found suitable only for certain parts of its repertoire. He described other material as not aligning with his tastes and implied that some portions were more confection than craft, labeling them as casual entertainment rather than serious art.
Nikonenko did not soften his critique when discussing personal conduct. He stated that he considered Kirkorov to be an unpleasant individual who could act against women and could target those who are vulnerable. The remarks conveyed a strong moral judgment about character and behavior, beyond mere artistic comparison.
The conversation closed with Nikonenko invoking a proverb to illustrate his view of Kirkorov’s growth. He referenced the saying Great Fedora, but a fool, noting that while someone may rise in status or fame, intelligence may not keep pace with that ascent. This, in his assessment, captured the discrepancy he perceived between reputation and genuine artistic wisdom.
In a broader context, the discourse touched on other public figures and moments in recent memory. It referenced an earlier explanation by Yevgeny Prigozhin about why Kirkorov reportedly appeared at a party in a bare, unadorned manner. The remark served as a counterpoint to Nikonenko’s own harsher evaluation, illustrating the spectrum of public opinion surrounding the singer and the figure he has become in contemporary discussions of Russian pop culture.