LAST GYPSIES

< br /> Alesha Dimitrijevic - our contemporary, today he would have been a hundred years. Before him, the Roma art was familiar by Soviet kichu theater "Romen". But in suitcases abroad are his songs to us came the legend of the Russian emigration. The unique tone envelops, he sang old songs or bawdy songs. Of the hundreds of people he knew in Paris, thousands of the world's unity in Russia. Vysotsky was eager to Paris to see Alesha, Natasha Medvedev spoke with him every night. After all, who was born in St. Petersburg (or Samara?), Who grew up in Harbin, who spent half his life in Paris, the other - in Argentina, has traveled in a carriage traveling circus halfway around the world and has performed in the most luxurious of its cabaret, Alyosha was the last great Russian gypsy. With his death in '86 in Paris arose over two centuries before a musical tradition that inspired Pushkin and Tolstoy, was causing the officers to shoot, merchants squander state to the "Yar", and the writer Joseph Kessel snack vodka glasses in "Sheherazade". But life Alesha Dimitrijevic and personality mythological and require a detailed description. Tell about his friend kindly Kostya Kazansky - Bulgarian singer, French composer and Russian musician, very familiar to many as the author of all the French plates Vysotsky. Speaking at the "Tsarevich", "Rasputin" and other legendary Parisian restaurants, Kostya heard, loved and carried away for life art Volodya Polyakova, Wali and Alesha Dimitrijevic. He will take with them as a guitarist, arrange their plate, and later wrote a book, which tells the story of this unique cultural phenomenon as "Cabaret Russe."

bones, as was the fate of the Roma choir after the revolution?
Gypsy families were in all directions. First in Constantinople, Belgrade, Sofia, but then everything came together in Paris. But I think that very few Roma emigrated - most remained. Massalsky most Shishkin. And I really would like to know how their fate in Russia. Dimitri and Anastasia Polyakova emigrated, but Yegor stayed and worked near the place where after his death in the early 30's, a Roman theater. Take Vertinsky - left, and then returned. Morfessi performed in Paris only the Roma, with the same infusion Polyakova. My favorite bass king, and gave as Vertinsky, one show at Versailles, and then he went to the theater - it was necessary to live. But the main disappointment was of course in public. She demanded, "Coachman, do not ride horses." Good, in general, the song, but what about her? All the way around, chase the horses! So like the public - and in this gypsy aristocracy over. After all, Russian immigrants 20's, not only Roma, had ambitions to show their art to the world. The potential of the Russian emigration was unusually high, this phenomenon was not before or after. Russian theater, opera, music. In the end, nothing happened - but that's another story. Nothing but Diaghilev ballets French are not interested. Russian art they did not understand then, and do not understand now. This is the main problem of emigration. The French do not care, good or bad are the artists in cabarets and restaurants.
In Paris revived the atmosphere of "Jar" ​​or "Strelna»?
First Russian theater appeared in Paris because there was no other choice. We had to make to survive. Some have done so, and to emigration, Ryzhikov, owner of "Hermitage". A first Russian theater opened near here, in Montmartre, a Greek Varonis. Interestingly, this was not a Gypsy choir, and the Georgian - which Moscow has never been and could not be. But the spirit of Russia, was the era, although the same could not have done: the public is not the same, not the Russia. "Yar" is not never happened before, and this chorus was impossible to gather here. It sang of 10 people, of whom three or four known to all, "as it should be." Others - such extras. They generally were not many - those who sing "as it should be," as Vladimir Polyakov. Just something was 10-15 famous gypsy families. Choral Gypsies were 200-300 people, including grandparents and children. In the chorus, "Yar" at different times were 20 to 40 people. If you needed a large choir, invited Russian men. They dressed and singing. Most important, when the choir was singing, we get the atmosphere in the church. It is impossible to pass - you can only imagine. But if there were people willing to spend money on art, so it was possible to exist. The audience was a different, except for a few Russian millionaires, but a few years later and it was over. Russian cabaret rescued Americans - Paris after the war for them was a cheap city. Thanks to them, got rich beggar earlier artists. Americans, of course, Russian merchants, so they spend money differently. Without a Russian sweep.
Who of old Roma was in Paris on your memory?
In 1971, when I arrived in Paris, almost no one left. Anastasia Polyakova died in the States, Massalsky too. Dmitry Polyakov was a famous brother Yegor - also conductor in the choir "Yar". He died in the 40s, and his wife, Olga, twenty years ago. But they have only been successful before the war. And then it was over. Everything changed. Died Alesha Dimitrijevic, I was asked to write an article about it - just like a book, I had to write not only about himself, but about the rest. Which of Dimitrijevic in 20 years would have thought that after forty years Kessel will write about them as the last Roma? And that will be it in Paris! No one. After all, the latter could be Polyakov, Massalsky, Shishkin. And became Dimitrijevic. Indeed, in the 20's here in the existing world of Russian emigration knew who the Massalsky or Polyakov. And then, in the 30s, there was a new audience, not knowing their "before". And from that moment the young Dimitrijevic sing and dance in Paris, as no one before them here did not. The success of a mad, unbelievable. They hit the Parisian public - they were more like those of Roma from mythology. Anastasia Polyakova was fine lady, dressed in black. Dmitry Polyakov was a noble gentleman, despite the Tartar physiognomy. They knew how to sing a century ago. But what were they to do here in these restaurants?
Before the revolution, the family Dimitrijevic was known in Russia?
Before the revolution, no one in Russia Dimitrijevic did not know. Although the eldest brother, Nicholas, was a wonderful dancer, and he worked in the "Yar" - is Vladimir Polyakov told me. And all the rest were children up to the revolution. Val was born in 1905, Alesha - in 1913. All in the family, there were five brothers and three or four sisters. The most musical of them was Ivan. When they were in Europe, we all danced and worked in the circus, and Ivan played guitar. Everything revolved around Ivan, he was doing more than others. Alyosha was a dancer, and if not for old age, he continued to dance, never sang to. Of course, each of them had a different version of their history. I did not know much, but with Russian and talked for hours they wrote. I worked with Alyosha, until he left the theater. But Alyosha very often came to my house, and one day I told him that I was going to write a book. And asked him to tell something to her. "What - you, the Bulgarians? Who are you when you come to Paris to write a book! ". And he walked away. And he once accompanied me to the house, go across the bridge, and then he says, "I understand how you write your book. You tell me how you came to Paris and met with us. " Week he was looking for, how to help this poor Bulgarians, who are not gypsies, and not Russian - nobody. And so, an idea! It is necessary that a solid foundation. This humor, tragicomic story, but with all the time Alesha has been. And even now could be: Alesha calls and comes with a pistol on his belt. But this is not your new Russian mafia - not a real gun.
How Dimitrijevic found in Latin America?
Like many others, they left France with the outbreak of the Second World War. Valya went before marrying a Brazilian consul. Bringing in Brazil almost did not sing yet because she was a married lady and she had a daughter already. Then it was the consul died, and in Brazil, changing era. And when she returned to Paris, she had to live on something. They take up almost no music there - there was not Russian institutions and had no place to speak. Alyosha, I think Argentina idealized. After Russian space Alyosha did not know he left a child. And in Argentina - Pampa, then there is something there! When Yul Brynner starred in Argentina, he went to the Gauchos went with a guitar - singing them Russian and Gypsy songs. Brought the meat, and they sat all night. So in the Argentine pampas is, perhaps, something Russian that they have found in this expanse. By the way, that he does have a large Argentine influence. He sings like some singers sing tango. And there are many things that he took from Latin America. And, thank God, we got a unique fusion.
As Alyosha and Valya back? Paris left them for twenty years?
Went back in 1958, first Valya from Brazil, then Alesha from Argentina. Invited their niece Sonya, daughter of Nicholas Dimitrijevic, who danced in the "Yar". Sonia was almost the same age as Valya and Alyosha - Nicholas was a senior in the family. And Valya went to the ensemble Marc de Lucheka who accompanied her. And then they came back and Alyosha, a brother and sister, were performing together. Mark de Luchek, incidentally, helped them a lot. Was a famous restaurant "Grand Severin", where Mark took them to sing with his band. Mark was very young and very beautiful. He was twenty years old and has always been around a lot of beautiful young girls. A Vale and Alesha was nearly 60. In general, the atmosphere was great, and it turned out very well. But this is not had nothing to do with the fact that the family did Dimitrijevic in the 30s, in the era of the famous restaurant "Poisson d'Or." After the war, the public changed again! Some, of course, remain - such as Joseph Kessel, who had known them since the twenties.
Alesha selectively treated people, but because he had a lot of friends?
Very. He was very friendly and nice person. Of course, is a professional relationship. I knew him, and with that and the other. I spent four years working with Alesha and Valya, before two years with their niece, Sonia. Can I make myself a compliment, but they chose me and knew who to choose. I never understood why. I never was a famous guitarist, as Mark. Maybe because I started to sing "Coachman," I came here, and he was writing songs on Russian poetry - Ehrenburg and others? The first time I sang in cabarets all, they looked at me like I was crazy. And after two months at one point Sonia Dimitrijevic said, "Hey, come to us!". I can not explain it. When someone they love is forever. No matter you are Roma or foreigner. And when you do not like, then it is better to fall into the earth. This is a special world. Like Yul Brynner, from this moment became a citizen of the world. In the 30's really helped Dimitrijevic Yulu Brynner here in Paris. When there was nowhere to go, he went to them. When Yul Brynner had the opportunity to record an album in Vienna, he invited his friend, Alyosha. I love this record and I like the way he sings - a little monotonous. but it has its own charm. When he sings, he does not see himself too seriously. But, like Dimitrijevic, transfers with something very significant. I can not do it as the language of the Masonic signs. Those who have worked with them, understand this. When we speak, I feel that now Alyosha come in and say, 'Hey, you there! ". Vladimir Vysotsky now or call or knock on the door.
Marina Vlady wrote about how the awaited meeting with Alesha Vysotsky.
There is a steady Russian myth of Roma Paris literary image of old Russia in general. Arriving in Paris for the first time, you are disappointed in him. And then it's like Vysotsky or not. Vladimir Polyakov could understand and appreciate Vysotsky. Alesha Dimitrijevic - no. Alyosha had such a Russian dictionary in order to understand what is the matter. He could only feel these songs. Perhaps because Alyosha could not read and write, he was mad nose! Alesha Dimitrijevic did not explain why and whom he loves, and who - no. Volodya - loved, and Marina Vlady well write about it. When there was Bella Akhmadulina Boris Messerer, we went to "Rasputin" listen Alyosha. And she said: "O Lord, in which he sings! Let's write him a word! "Volodya says," Leave it, it is his language, Russian Dimitrijevic Alyosha! »
You was hard making records with Alesha?
Yes, but it was totally professional approach. This was not a whim for Alyosha, for years he wanted to make a record by himself, without his sister. Always been the case: Bringing in front and behind a little Alyosha, who did not like it. All the shit - the public, the sister can not do the next also unclear who - all he does not have, always dissatisfied with everything. And he had his own ways to feel, that it was him. Edith Piaf did in his own way, Alyosha - differently. Piaf sang one song 50 times a night, and Alyosha, whom I accompanied the day, the next day saying, "You remember what you did yesterday is not it? I'll show you how to. " But every day I played the same way. Simply, he was singing in a different way. He wanted to make his own way. I have a gray hair on one side because of Alesha Dimitrijevic, on the other - because Volodya Polyakov. And with that, and the other was difficult, almost impossible to work. But I am very happy that we did it - thanks to Misha Shemyakin, whose initiative and had the money. It was a very nice gesture on his part. Alesha was less problems - it was interesting. And with Vladimir Polyakov was important documentary time.
Alyosha most loved to sing songs. He was happy with the arrangement?
No. After all arrangements we do without him, he thought of them knew anything. But this is my moral issue. After he sang "descends night coolness" romances of the 19th century, not folk songs. And you had to recording from a classic romantic style - as played music then. After all, they were born songs: someone was playing the piano, the other took the violin, but played like playing Chopin or Schubert. In the 19th century in Russia there was no orchestra to accompany gypsy songs were just the chorus and guitar. Then Davydov and others began to sing recitals piano accompaniment only. And I just figured out how it could be. Took some interesting stuff out that they have done here in the Russian cabaret Romanian violinist - when I played the whole orchestra, but played clean. I explained all this to Misha Shemyakin, who agreed and said Alyosha. But to explain one thing and hear - is another. And when Alyosha went into the studio, he saw that all the musicians will play the notes. He worked all his life in the theater, where all the singers bring with them music - except Roma. He was not afraid of the arrangements, but just did not want the music was too serious.
Your plate has become very popular in France, and in Russia too.
When we released the record, we had to make it "promotion." Alesha calling, saying that will come with the guy who wants to write a book about Dimitrijevic. And we come in "Rasputin", we sit down at the table, drink a glass and I leave Jacques Pryuzelya their future hero. Bringing down there, too. But friends Alesha - not necessarily friends Vali. This is normal, it is always and everywhere. And he came to Vale too - say, going to write a book. She replied, "But Kessel already wrote all of us! It is written! ". But after all that Kessel wrote about them - two pages on the first record. And Alyosha - do not care. It's a special world, and special people. Of course, he wants the book and record - for him it is after all, who else. And bring a person to him, he will be playing the fool with it!
In the 84th year, you go with Alesha on tour in the States. There again a different audience, raised on Chanson. They are easier to grasp and more comfortable for the audience numerous imitators.
Concerts in the States were poorly organized, the man who was engaged, lied to us, and I wanted to leave immediately. We were doing concerts in all major cities - for new immigrants. Performed three Alyosha, my wife and me. Left because of it - we pulled him out of "Rasputin" in order to make these concerts, his swan song. And I wanted the song was beautiful. Alesha even brought along his girlfriend, wanted to show her that he is known in America that he - a star. And it turned out, "You want only the songs of street punks? Will you kids. " And it was a huge disappointment, it was very disappointing. We can assume that the most interesting from the fact that he did it - "Shine" and "Mama, I love the rogue!". The first two or three concerts he tried to sing some songs, but it was no good, the audience was not listening. And Alesha loved songs - like every person who loves to sing. Everything else was not interested. One day we were playing with Alesha Dimitrijevic in Washington, the concert was very hard for us - there were problems with the guitar, and just tired.

Link to original