Singer Sofia Rotaru has reportedly supported her family member, Anatoly Evdokimenko, a Ukrainian native who is 29 years old, by covering travel and living expenses abroad. The claim was published by Utro.ru, a source known for reporting on celebrity news and personal matters in the entertainment world.
The outlet notes that a substantial amount of money was spent to relocate Evdokimenko to the United States. The reported purpose behind this move appears to be to give him the opportunity to pursue a music career on a broader stage, separate from his home country. Evdokimenko has been publicly active under the stage name SHMN since 2017, and the publication suggests that his approach is not an attempt to imitate other Russian artists such as Yaroslav Dronov. The choice of stage name and the timing reflect a broader strategy to establish his own identity in the music scene while leveraging family support that has been described as significant.
During his time abroad, Evdokimenko reportedly collaborated with international labels and his music received airplay on multiple radio networks. This indicates an effort to build international exposure and to test audiences beyond Ukrainian and Russian markets. As a result, the musician has been able to expand his network and sustain momentum even while based outside his country of origin, a fact highlighted by several entertainment reports as he advances his career.
In a separate development during the summer of 2023, media coverage indicated that Rotaru resided in Italy with her son, daughter-in-law, and grandson, continuing a pattern of residence abroad that has lasted for more than a year. The reports mention that a house in Italy was acquired and registered under Rotaru’s son Ruslan Evdokimenko, illustrating strategic international ties and real estate arrangements connected to her family. This information underscores how international living arrangements can intersect with a celebrity’s public life, especially when it involves ownership of property and cross-border family dynamics, as described by the outlets covering these events.
Another well-known figure in the music industry, Nadezhda Babkina, has weighed in on the situation, stating that Rotaru has faced a form of pressure due to ongoing tensions between Russia and Ukraine. Babkina indicated that while there had been prior communication between the two artists, conversations paused amid what she described as a dangerous climate. This account highlights how geopolitical conflict can ripple through the professional and personal spheres of artists who have cross-border ties and longstanding professional networks, influencing public perception and private correspondence alike.
In related coverage, references to earlier industry decisions involved Levkin and his daughter replacing Alla-Victoria in a project labeled Yolki-10. This point reflects the broader patterns of cast changes and collaboration shifts within the entertainment industry, where public personalities frequently navigate multiple roles and evolving lineups to sustain projects and audience interest. The interplay between personal histories, career moves, and organizational choices remains a recurring theme in discussions about Rotaru and her contemporaries, illustrating how public narratives can evolve as markets and audiences react to new developments.