In a recent interview, Natalia Gulkina described an incident that occurred during a solo performance in Petrozavodsk. She recalled how the evening took an unexpected turn when a heel snagged on the cape she was wearing, causing her to stumble and fall on stage. The fall happened during the performance of the song “Ivanhoe,” and the 60-year-old artist found herself briefly aided by her dancers who rushed to her side. Rather than pausing for a conventional medical check, Gulkina chose to push through the moment and continued the act by sitting briefly before resuming the routine, trying to convert the mishap into a moment of resilience for the audience. The immediate aftermath left her with a leg injury, yet she decided not to seek professional medical advice at that time.
Gulkina explained that her initial assessment of the injury was that it did not appear serious. She noted that she had no immediate supplies on hand—no bandages, no ice, and at first no one noticed the swelling that began to develop as the tour continued. As the journey progressed, the swelling became more pronounced, catching the attention of those traveling with her only after some time. She described the scene aboard the bus convoy, noting that the passengers were dispersed among several vehicles and that the start of the trip had been relatively peaceful with people resting. The singer added that it took a while before the extent of the injury was clearly recognized by the entourage, even though it soon became evident that the leg was swelling and causing increasing discomfort.
At present, Gulkina is in a recovery phase, addressing the consequences of the fall with a calm determination. She remarked that, despite the leg injury, she intends to make an effort to participate in the upcoming polling, aiming to cast her vote in the presidential election. This statement underscored her commitment to civic duties even while dealing with a painful setback, and it reflects a broader willingness to persevere through physical discomfort in the name of personal responsibilities and public involvement.
Earlier in the year, Gulkina shared a candid perspective on her financial situation, explaining that the pension she receives is modest and that this reality has affected her work opportunities. She noted that she did not receive certain bonuses because she did not hold the titles of Honored Artist or People’s Artist. According to her account, obtaining these recognitions requires submitting documents to various authorities, and despite initiating this process multiple times, she did not reach a definitive conclusion. This insight shed light on the structural challenges that can accompany professional recognition and the impact such status can have on earnings and opportunities for artists, even for widely recognized performers like Gulkina.
In a separate discussion connected to the career trajectory of Natalia Gulkina, she previously addressed questions about the path her career took following the success of The Boy’s Word. She explained that while the project achieved popularity, it did not necessarily translate into sustained advancement within her broader professional journey. This reflection highlights the sometimes uneven relationship between a single successful project and the long-term momentum of an artist’s career, a theme that has relevance for performers navigating the industry beyond peak moments of popularity.