Victoria Daineko, a Russian singer who gained fame after winning Star Factory-5, has spoken about the art of performing with imperfect health or mood. In conversations with socialbites.ca, Daineko frames professionalism as the ability to shield audiences from personal struggles while delivering a memorable live show. She describes herself as an artist who leans into melancholy and says there are times when sadness accompanies her on stage, even to the point of tears during a concert.
She explains that all performers face bad news, rough health, or a difficult mood at times, yet they learn to keep these strains from shaping the audience’s experience. The stage, the music, and the overall image must remain intact. In Daineko’s view, professionalism means stepping onto the stage despite adversity and carrying out the performance with the same care and precision as always. She notes that audience support can bolster this resolve, though it is not strictly required for success. As she puts it, she is a singer of sad songs by choice and temperament, and that affinity helps her navigate moments of personal sorrow without compromising the show. Even if tears come, she believes they can coexist naturally with her craft, and this alignment feels right to her.
In a September interview with Channel Five, Daineko reflected on how somber songs can influence a singer’s personal happiness. She compared musical pieces to mantras, suggesting that certain moods within a song can prepare a person for a range of events, shaping feelings and expectations alike. This perspective highlights the potential power of music to program mood through repetition and atmosphere, a idea she presents with calm conviction. The notion, she argues, is not about denying emotion but about harnessing it in a controlled way to perform with conviction and authenticity on stage.
Other artists have shared similar statements about mustering courage and managing emotions before appearing in front of an audience. Tatyana Bulanova and Sveta Svetikova have discussed the challenge of getting on stage despite inner tensions, emphasizing discipline and a professional mindset as essential to delivering a steady performance. Their experiences resonate with Daineko’s account, painting a broader picture of how performers balance personal vulnerability with professional responsibility. These artists illustrate a common thread in the performing arts: stage presence often requires compartmentalizing personal feelings long enough to communicate with listeners, convey the intended mood, and present music that connects with fans. The conversation around emotional labor in music underscores that public performances frequently demand resilience, even when the heart feels less than ready to perform. It is a reminder that the art form relies on a blend of personal sensitivity and technical control to sustain a compelling live experience.