Singing heart Leonid Utysov

17
“In order to reach the top in any field of art, you need to constantly work and improve your skills. I am convinced that this truth is immutable. But where, then, did Utesov, who, judging by what he can do perfectly, would have needed two hundred years to work hard on himself? ”
N.V. Theological


Leonid Osipovich Utesov was born in Odessa. This 21 event took place on March 1895. The boy who was born in the Jewish family of merchant Osip Klementyevich Vaisbein and Maria Moiseevna Granik was given the name Lazar. In fact, on that day, two babies appeared in the family at once. A few minutes earlier, Lazarus was born to his twin sister, named Polina. Leonid Osipovich subsequently joked: “I was very educated - as expected, gave way to a woman ...” Utesov's father — a soft and sentimental man — loved a sharp word and a joke. Maria Moiseevna, in contrast to him, was a woman with a strict, confident hand, led the household and taught the children to iron discipline, order and ability to appreciate the little that they had. By the way, there were nine children in the Weissbane family, but four of them died in infancy.



Until the age of ten, young Lazarus dreamed of becoming a firefighter or a sailor. Subsequently, he admitted that he never dreamed of theater and did not even go to it: “The theater was around me - free, original, cheerful. The theater, in which only one production was continuously performed - is a human comedy. And it sounded sometimes tragic. " Despite the difficult financial situation, Osip Klementievich dreamed of giving children a good education. Thanks to his efforts, the young Utesov in 1904 was arranged at the commercial school of the large Odessa patron Faig. Unlike other real gymnasiums, this institution in respect of Jews did not adhere to the permissible three percent rate. However, there was another original rule in it - Jewish parents, who determined the institution of their child, were obliged to bring one more, a Russian Orthodox boy, and pay for their studies. Thus, the neighbor’s son went to study with Lazarus.

Among the teachers of the Faig School were many representatives of the Russian intelligentsia. The director of the institution was Alexander Fedorov, a famous professor in Novorossiysk University in Odessa - a big fan of music and the author of the opera “The Fountain of Bakhchisarai”. Thanks to his efforts, a plucking orchestra, a symphony orchestra, a choir and a drama group were organized in the school. In this place Lazar Weisbane learned to play the violin and piccolo-balalaika, he sang with pleasure in the choir. However, he did not succeed in graduating from college. The reason was the behavior of Lazarus, who brought the teachers to white heat with their tricks. The “farewell benefit performance” was a trick with the teacher of the Law of God. Closing the curtains and catching the priest in the dark, Utesov, along with his comrades, smeared it with ink and chalk. This day was the last in Lazarus’s student career - with the “wolf ticket” he was deprived of the opportunity to enter other educational institutions, and his education ended in six classes at the Faig School.

Odessa itself became the real school for the future artist. It was at that time that an indestructible craving for music settled in the boy's soul. In a large port city, where people of different nationalities lived, from all sides there were Russian, Neapolitan, Ukrainian, Greek, Jewish and Armenian songs. In addition to music, Lazar was fond of gymnastics and football, as well as the French wrestling popular in those years. In this sport, he managed to achieve major results, and even participated in local championships. And soon on the Kulikovo field earned balagan circus wrestler Ivan Borodanov. Young Lazar quickly became acquainted with all the actors, and Ivan Leontievich invited the young man to work with him. The offer without delay was accepted. Weisbein worked as a toutsman, clown mate, gymnast. Before leaving for the tour, Lazar told his parents: "I will become a real artist, and you will be proud of me." However, in Tulchin, a new circus worker suddenly fell ill with pneumonia. Balagan Borodanova went on tour further, and the young man after his recovery moved to Kherson, where he worked for some time in the hardware store of his uncle Naum.
After returning to his native Odessa, Lazar went fishing with the fishermen, and one day he met a local artist, who introduced himself as Skavronsky. He said to the guy: “You, undoubtedly, are an artist, however, how, pray tell, play with your surname?”. After this, young Weissbane thought about an artistic pseudonym. According to legend, the nickname "Cliffs" came to his mind when he looked at the coastal cliffs with fishing huts. Subsequently, Leonid Osipovich wrote: “Probably, Columbus himself, having discovered America, did not experience such joy. And to this day, I see that I was not mistaken - by golly, I like my surname. And not only me. And soon (it was already 1911 year) Skavronsky invited him to play in a miniature called “Broken Mirror”. This plain, but surprisingly funny piece was often performed in a circus, and the young man knew him well. In it, an officer’s batman smashed a mirror and, fearing punishment, stood up in a frame, taking to imitate exactly the facial expressions and movements of his master. This required careful preparation, but Utesov instantly mastered the number, reproducing everything Skavronsky showed with incredible dexterity.

The first official performance of Utesov was held at the dacha near Odessa - the theater on Bolshoi Fontana. Despite the successful debut, new proposals did not appear to be in a hurry, but Skavronsky soon introduced the young man to an entrepreneur from Kremenchuk who had arrived in search of artists. So Leonid Osipovich was in this city with sixty-five rubles of salary. The first performance proposed by the guest performers from Odessa was a one-act operetta called “Toys”. Utyosov was assigned to play the role of an eighty-year old count. Leonid Osipovich recalled: “I didn’t see real graphs, I couldn’t play as a whole, there was no experience. I thought as soon as I appeared on the stage - the audience would understand that I was an impostor. ” However, Utesov was rescued by talent - the first professional rehearsal in his life was brilliant. He wrote: “As soon as I crossed the threshold of the stage, something picked up and carried. Suddenly I felt old. He felt all the eighty years he lived, the feeling when the damned bones do not want to unbend. "

Utesov played his first leading role in the Kremenchug theater in 1912. The performance was called “The Depressed and the Innocent”, and although the drama itself was not of particular interest, Utesov danced and sang a lot of fun, and the press noted his brilliant play. In the life of Leonid Osipovich there came a time of becoming as an actor - from the morning until the beginning of the evening performance, there were rehearsals, he was involved in several productions at once, and there was a lot of work. Later, Utesov wrote: “Success, which suddenly fell on my immature head, a feeling of boundless self-confidence, which was further strengthened by this success, kept me in some kind of excited, elevated state all the time. I was bursting with pleasure, with happiness, with pride. ”

In the summer of 1913, young Utesov returned to Odessa. Returned, by the way, the winner - in the theatrical dispersed news about the roles he played, and soon Leonid Osipovich was invited to the Odessa Summer Theater of Miniatures with a salary of sixty rubles. In Kremenchug in recent months he was paid more than a hundred rubles, but this did not bother Utesov, who wanted only one thing - to act. And Leonid Osipovich plunged into work. By that time, he was already well aware that storieswhich viewers are happy to accept today, tomorrow they will be uninteresting and boring. In connection with this, Utesov formulated the principle for himself: "Every performance must be either new or updated." There are stories about the rehearsals of Utesov, conducted by him on the streets of the city. Stopping a stranger, the artist diverted him to some quiet place and showed his new number. If the person did not laugh, then the actor knew - either the story was not interesting, or the performance was useless.

In 1914, during a short tour to the city of Aleksandrovsk (now Zaporozhye), Utesov met a young actress, Elena Lenskaya. They romance romance, and soon they got married. Subsequently, Elena Osipovna refused to become an actress to focus on the house and her husband. Utesov sincerely loved his spouse, he wrote: “I have always been amazed how, with so many blows of fate, this little woman managed not only to keep her spirits up, but also her readiness to bestow kindness on everyone”. After the wedding, the newlyweds decided to act together, and this idea was successful. Their performances enjoyed tremendous success, and the fame of young artists spread throughout the south of the country. And one day, one entrepreneur from Theodosia offered Utyosov and Lenskaya to go to the Crimea. The couple agreed, Utesov later recalled this time: “In Feodosia, I was happy more than ever. Walking along the marvelous streets with Elena Osipovna, I kept saying: “God, how wonderful it is to live in the world!”.

However, their happiness in the sunny and quiet city did not last long - in August, 1914 received the news of the outbreak of war in Feodosia. Utyosov urgently took his spouse to Nikopol, while he himself went to Odessa. Life in the city has already changed - the plants and the port did not work, the Black Sea trade stopped. When in Odessa we learned about the arrival of Utesov, they began to be snapped up to be invited to various theaters. Leonid Osipovich settled in two theaters of miniatures, and a couple of months later an agenda arrived at his home. About to avoid the service it was not discussed, the father of the artist told him: “They do not come back only from the next world. The war will not come to Odessa, and you will return - I believe in it. ” Utesov was lucky, he served in the rear, located in a village near Odessa. 14 March 1915 he learned that he became a father - he had a daughter, Edith.

At the end of 1916, Utesov was diagnosed with heart disease, and Leonid Osipovich received a three-month vacation. This time was spent by him with advantage - he settled in the Kharkov theater of miniatures with a huge salary of one thousand eight hundred rubles. The artist showed his old repertoire - humorous stories, miniatures, couplets. Played with inspiration, enjoying the opportunity to do a favorite thing. He did not have to return to the barracks; one fine morning Utyosov was awakened by the sounds of “Marseillaise” - Kharkov met the February revolution. After the end of the contract, Leonid Osipovich returned home. There were also joyful changes in the family. His wife's brother returned from hard labor — an ardent revolutionary, and Leonid Osipovich's sister and her husband returned from emigration. There was another news - the abolition of the Pale. From now on, the “geography” of Utesov's acting activity expanded. In the summer of 1917, he received an invitation from Moscow to perform in the cabaret at the Hermitage restaurant by the famous chef Lucien Olivier. And, of course, he went. In the capital, the Odessa artist performed with stories and verses. Despite the fact that the performances were liked by the public, the artist himself felt uncomfortable. After Odessa, the city seemed to Leonid Osipovich too balanced, bland. At the end of the summer tour, Utesov moved to the Strouysky Theater, which turned out to be another mystery for him. The hall of the theater was filled with workers, artisans and small merchants. Utesov was received with a frank chill, and the fact that in his hometown always caused laughter or cheerful revival, did not meet here any response. Leonid Osipovich wrote: “I confess that I could not stand the competition - I did not finish the season and returned home to the Bolshoi Rishelyevsky Theater. The idea of ​​misunderstanding me Muscovites sat in the head with a nail. The first time I encountered this. For the first time, the public seemed to me more complex than I thought about it. ” By the way, in the Richelieu Theater everything returned to its place - and understanding, and success, and asking for extra tickets to the Utesov concert.

After October 1917 in Odessa began a change of government - the Ukrainian Central Council was replaced by the Germans, followed by the French interventionists, along with the Greeks and Italians, and then the troops of the white army. Despite this, the city itself was relatively calm. Coups weakly influenced the artists, in particular - the artists of the "light genre". Utesov gave presentations for the Volunteer Army, and a little later for the Red Army men. Admiral Kolchak, who personally thanked him after the performance, and the legendary Kotovsky, who led the cavalry detachment at that time, listened to him. At one time Utesov, dressed in black leather, worked as an adjutant with his wife's brother, who was authorized by the Special Food Commission of the North-Western Front. Recalling the time Odessa of the civil war, Leonid Osipovich wrote: “Thoughts on how to live further did not torment me. I knew that well. My cheerful disposition, my thirst for constant renewal, my spontaneous unity with those who work, prompted me to further the direction of activity. ”

During the civil war, Utesov, together with the actor Igor Nezhny, organized a small creative team and, driving around on an agitation train, spoke with him to the Red Army soldiers on different fronts. They gave concerts both day and night, and in large cities, and at small stations, and just in an open field. At this time, Utesov, no longer a novice, saw the true power of art - during the performances "people tired in battles straightened their shoulders in front of their eyes, gained courage and burst into animated laughter." Leonid Osipovich wrote: “Never before have I received such applause, have I never experienced such pleasure from performances”.

Finally, the civil war ended, and the time of the NEP began. Shops forever trading in Odessa quickly filled with goods. A new breath has also gained cultural life - new establishments were opened, in which local and visiting entertainers performed unlike each other. It seemed that Leonid Ospipovich had a great time in his hometown, but at the end of 1920, he decided to make a second attempt to conquer Moscow. In January, 1921 artist left the building of the Kiev station and immediately went to a place called “Terevsat” or the Theater of Revolutionary Satire. It was located in the current building of the Theater. Mayakovsky, and his director was the famous theatrical figure David Gutman. Very soon, Utesov was in the office of David G.. He himself talked about this meeting like this: “I was met by a short, somewhat hunched man. In his eyes shone humor.

I really liked those ironic eyes. I asked him: “Do you need actors?”. He replied: "We have their 450, what difference will there be another one." To which I remarked: "Then 451 will be me." Working for Gutman, Utesov played many roles. In addition to Tevrsat, he performed at the Hermitage Theater, opened at 1894 in the Karetny Ryad Yakov Shchukin series. Having learned from failure in the Theater of Miniatures of Struysky, he decided that it was necessary for the capital residents to show either something new or something well forgotten. He chose the second way, having played his old scene about the Odessa newspaper boy. Utesov, jumped out onto the “Hermitage” stage, all hung with foreign headlines, advertisements and posters, and on his chest was a huge duck - a symbol of lies. He found the topics for the couplets very simply - all he had to do was open a fresh newspaper. Between the couplet readings, Leonid Osipovich danced, putting the mood of the message into the dance. The style of "living newspapers" turned out to be in tune with the mood of the time - in Moscow the Utesov number was a smashing success. Continuing to be listed in the Theater of Revolutionary Satire, Leonid Osipovich performed less and less there - he did not like primitive agitational performances, which occupied an important place in the repertoire of the theater.

In 1922, Leonid Osipovich once again dramatically changed his life. It began with a love drama that almost destroyed the artist's family. In the Hermitage, he met actress Casimira Nevyarovskaya, whose beauty was legendary. Kazimira Feliksovna fell in love with Utesova, and Leonid Osipovich answered her in return. Despite the fact that Nevyarovskaya tried to keep him, eventually Utesov still returned to the family. However, the love story was the beginning of a new stage in the artist's works - in the spring of 1922 he went to Petrograd with the intention of trying his hand at the operetta. Shortly after arriving in the city, Utesov got settled in the famous Palace Theater located on Italianskaya Street. The repertoire of the artist was extensive - he played in the operetta "Silva", "Beautiful Helen", "Madame Pompadour", "La Bayadere" and many others. In spite of the fact that Utesov never was a real singer, and arias and couplets often simply pronounced, the audience gladly accepted it. Simultaneously with his work at the Palace Theater, Leonid Osipovich performed at the Free Theater, created in 1922 by the entrepreneur Grigory Yudovsky. On his stage, the artist played his famous “Mendel Marants”, the replicas of which quickly diverged into aphorisms. In the Free Theater, Utesov resurrected his newspaper man, turning him not so much into a news narrator, but rather as a songwriter. In addition, it was in Petrograd that Leonid Osipovich became famous as a performer of "thieves' songs."

However, the artist was not enough. Utesov recalled: “Once a wonderful thought came to me — would I try to show everything in one evening what I could do? I immediately began to make the program. So, the first issue is me in something dramatic, even tragic. For example, my beloved Dostoevsky. After the most complicated dramatic image, I will come out ... Menelaus! Paradoxical neighborhood, almost terrifying. Then I will play an amusing sketch about a clever and somewhat cowardly Odessan, then I will give a small pop concert, where different genres, which I have a lot of, will flash like in a kaleidoscope. After that, I will transfer the public to another state by performing something elegiac, sad, for example, do not tempt Glinka’s romance in which I will take the violin part. Then I will sing some songs, accompanying myself on the guitar. Classical ballet will follow! With professional ballerina and classical support, I will dance ballet waltz. Then read a comic story and sing topical verses. At the end there should be a circus - I started it in it! In a red mask, I work on the trapeze a full range of tricks. Evening I will call simply - “From tragedy to trapeze”. Utyosov's fantastic performance lasted more than six hours and was a phenomenal success. Critics noted in reviews: “This is not even a success - an extraordinary sensation, a mad furor. The public went on a rampage, the gallery raged ... ".

The artist's popularity reached incredible heights, and in the spring of 1927 he went to Riga on tour. The trip to the Baltics inspired Utesov to make new trips. At 1928, he had the opportunity to travel with his family in Europe as a tourist, and he took advantage of it. Leonid Osipovich visited Germany and France, visited the Dresden Gallery and the Louvre, visited European theaters. It was during this tour that Utesov really got carried away with jazz. According to him, he was shocked by the peculiarity of this spectacle and its musical form, the free manner of the musicians, their ability to stand out for a moment from the total mass of the orchestra. Returning to his homeland, Leonid Osipovich started creating his own musical group. Since the word “jazz” caused hostility among party functionaries, Utesov coined the term “theatrical orchestra”, setting the task to adapt jazz to local conditions. A wonderful trumpeter of the Leningrad Philharmonic Society Yakov Skomorovsky agreed to work with him. His connections in the musical environment helped Utyosov find the right people. The first orchestra was created in 1928. Apart from the conductor, he consisted of ten people — two trumpets, three saxophones, a grand piano, a trombone, a double bass, a banjo, and a percussion band. That was the standard composition of the jazz band in the west. Leonid Osipovich did not hide from his colleagues neither organizational nor creative difficulties. In those years there were no studios to prepare a new repertoire, and the artists did everything at their own peril and risk during their free time. The team prepared the first six pieces for seven months and did not perform at that. Some musicians lost faith in success and left, and they were replaced by new ones. For the first time, the rock orchestra appeared on the stage of the 8 Maly Opera Theater in March 1929 in a concert dedicated to the International Women's Day. Utesov wrote: “When the number came to an end, the dense fabric of silence broke out with a bang, and the strength of the sound wave from the hall was so great that I was thrown back. Not understanding anything, for several seconds I was perplexedly looking into the hall. And suddenly I realized that it was a victory. I knew success, but it was precisely that evening that I realized that I had grabbed "God by the beard." I realized that I had chosen the right road and that I would never leave it. It was the day of our triumph. ”

The uniqueness of the dramatized jazz Utesov was that each musician had an independent character. The orchestra entered into musical and human relationships with the help of words and instruments, arguing, talking, cursing, putting up. They were not chained to the place - they got up, approached the conductor and each other. The program was full of jokes and jokes. Thus, not just an orchestra appeared before the audience, but a certain company of resilient and cheerful people. Subsequently, "Tea-jazz" Utesov showed to the people such famous performances as "Two ships", "A lot of noise from the silence", "Music store". Leonid Osipovich unmistakably chose among the songwriters and composers of people who are able to give birth to the hits. And from each song he did a theatrical production, a full-fledged performance with the participation of orchestra musicians. His popularity in the country in the thirties was enormous. Every day, from all over the Soviet Union, he received dozens of enthusiastic letters — from collective farmers, workers, students, even criminals. Alexei Simonov wrote: "The cliffs sang so many songs that there would be enough of a whole people to remember the whole era." Loved the artist and the powers that be. It is believed that his patron was omnipotent Lazar Kaganovich. Joseph Vissarionovich himself liked to listen to many Utesov songs, especially from the row of “thieves”. A curious fact, Leonid Osipovich was the only leader of a pop orchestra who managed to protect his musicians from arrest and references.

After the cinema gained sound, the question of the release of musical comedy was raised. The initiator of the creation of “Merry Guys” was the head of the Soviet film industry, Boris Shumyatsky, who had specially arrived in Leningrad to watch Utesov's Thea Jazz Shop “The Music Store”. After the performance, he entered Leonid Osipovich's dressing room and announced to him: “But from this you can create a musical film comedy. Abroad, this genre has long existed and is quite successful. And we don't have it. ” Negotiations started the same evening, as a result of which the film “Merry guys” was shot. Her director was returned from America, Grigory Alexandrov, and the Utesov played one of the main roles. The first “Jolly Fellows” was viewed by Maxim Gorky, who liked the film very much. It was he who recommended it to Stalin, who, laughing enough, praised the picture. As a result, in November, 1934 hosted the premiere of the first Soviet musical comedy. She was a great success not only in our country, but also abroad, where she went by the name “Moscow Laughs”. At the second International Film Festival in Venice, the film won an award for music and direction and was among the six best films in the world.

Leonid Osipovich was unusually happy with the success of the film, but he could not help but notice that his contribution to the creation of the Jolly Fellows is persistently hushed up. He wrote: “At the time of the premiere in the capital, I was in Leningrad. Having bought Izvestia and Pravda, I read with interest the articles devoted to the “Merry Children” and was amazed. In both were the names of the composer, poet, director, writers, there was not only one - mine. It really was not an accident. In May, 1935, in celebration of the fifteenth anniversary of Soviet cinematography, along with other industry workers, marked the merits of the creators of the first Soviet musical comedy. The awards were distributed as follows - the Order of the Red Star was received by Grigory Alexandrov, the title of Honored Artist of the Republic - his wife Lyubov Orlova, the camera “FED” - the performer of one of the main roles Utesovu along with their musicians. One of the reasons for this attitude to the artist was covered in the director of the film Aleksandrov, with whom Leonid Osipovich had strained relations.

22 June The 1941 orchestra of Utesov, which was conducting a regular rehearsal on the stage of the Hermitage Theater, heard the terrible news about the beginning of the war. It immediately became clear to Leonid Osipovich that from now on you need to sing completely different songs. However, he did not cancel the evening concert. The artists sang the well-known songs of the civil war, and the audience enthusiastically sang along with them. The next day, all the people of the city of Voronezh sent a collective application for volunteers to join the Red Army. The message fell into the political department of the Red Army, and from there soon came the answer. It denied the request because the musical group was mobilized to serve military units. In the first days of the war, Utesov gave concerts at military enlistment offices, at recruiting stations and in other places from which military units went to the front. And soon the musicians were evacuated to the east - first to the Urals, and then to Novosibirsk. Despite the enthusiastic welcome given to storovtsy in Siberia, in June 1942 musicians left for the Kalininsky front. Not once did the orchestra find themselves in trouble, more than once came under fire. However, this did not affect their appearance or the quality of their performances, Utesov wrote: “Under the pouring rain, we performed in ceremonial clothes. Under whatever conditions the performance takes place, it must be a holiday, and even more so at the front. ” Occasionally, the stalwarts had to perform several times a day, for example, in July 1942 they gave forty-five concerts. The stage was often a hastily shot down platform, and the auditorium - the bare ground. At night, the musicians wrote down the lyrics on pieces of paper in order to distribute them to the audience at the next concerts. And in 1942, the fifth Guards Fighter Aviation Regiment was presented with two La-5F aircraft, built on the personal savings of the orchestra musicians. 9 in May 1945 in Lokomotiv were performing on Sverdlov Square. Later, Leonid Osipovich, answering the question about his happiest day, invariably reported: “Of course, 9 may 1945. And I think that concert is the best. ”

Singing heart Leonid Utysov


On Victory Day, Leonid Osipovich was awarded the Order of the Red Banner of Labor, which was a sign of recognition of his contribution to the Victory. And in 1947, the artist also became an honored artist. Beginning in the summer of 1936, his daughter Edith took an active part in the performances of the Strolovsky jazz. Having grown up behind theatrical scenes, she sang beautifully, played the piano, spoke fluent German, English and French, and attended the drama studio of Ruben Simonov. She sang many songs with her father in a duet. Currently, experts have come to the conclusion that Edith was a truly distinctive and talented actress who created her own style of singing. However, in those years, critics scolded her peculiar voice. Utesov’s daughter had perfect pitch, but she stubbornly told her about detonation and the ability to perform only under her father’s patronage. In the end, in the mid-fifties, Utesov received an order from the Ministry of Culture to dismiss Edita Leonidovna from the orchestra. For the artist, it was a heavy blow. However, he deftly got out of the situation, proposing his daughter to create his own little jazz. Soon Edith Leonidovna began performing solo performances, accompanied by a jazz ensemble, led by former rocker Orest Kandata.

After the war, Utyosov, along with his orchestra, traveled a lot around the country, recorded on records, spoke on the radio, and then on television. Its orchestra, which received the status of State Pop in 1948, became a real creative forge, where Nikolai Minh, Mikhail Volovats, Vadim Lyudvikovsky, Vladimir Shainsky, Evgeny Petrosyan, Gennady Khazanov and many other composers, musicians and pop masters honed their skills. In 1962, Leonid Osipovich had a terrible grief - his wife Elena Osipovna died. And in 1965 Utyosov - the first master of variety art - was awarded the title of People's Artist of the USSR. In October, 1966, during a concert in the CDSA, he suddenly became ill, and after this incident, Leonid Osipovich decided to leave the stage. In the following years of life, Utesov continued to lead the orchestra, but he almost did not perform. He also starred in television a lot and wrote an autobiographical book, “Thank you, heart!”. And 24 March 1981 held the last appearance of the artist on the scene.



In retirement, Utesov read a lot, listened to his old records. In the last years of his life, he felt forgotten and alone. In January, 1982, Leonid Osipovich, married for the second time - Antonina Revels, who had worked as a dancer in his ensemble before, and then for many years after her wife's death, helped to manage the household. By the way, this marriage, concluded secretly from the daughter, did not bring happiness to the artist - according to the memoirs of the friends of Utesov and his new spouse in the spiritual plan were very far from each other. The singer’s dream of having grandchildren was not realized either. In March, his son-in-law, film director Albert Hendelstein, passed away on 1981, and Edith died of leukemia soon (21 in January of 1982). Many fans of pop music came to her funeral, and Leonid Osipovich, struck down with a loss, said bitterly: “Finally, you gathered a real audience.” After the death of his daughter, Utesov lived only a month and a half. In 7 hours of the morning 9 March 1982 him gone. The last words of the artist were: "Well, everything ..."

According to the book O.V. Taglinoy "Leonid Utesov" and the site http://chtoby-pomnili.com.
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17 comments
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  1. +5
    20 March 2015 05: 13
    "But every spring so pulls me to Odessa, my sunny city" ...
    1. The comment was deleted.
    2. +1
      20 March 2015 14: 17
      Quote: elenagromova
      "But every spring so pulls me to Odessa, my sunny city" ...


      There is a city that I see in a dream.
      Oh, if you knew how dear
      At the Black Sea appeared to me
      In blooming acacia city.

      Eh ....
  2. +5
    20 March 2015 06: 24
    At one time Lenya was listening))) ... "Two Soldi", "Moscow Windows", etc., but "The Coveted Stone" is simply amazing ...
    1. +5
      20 March 2015 11: 22
      Quote: Hagakure
      At one time Lenya was listening))) ... "Two Soldi", "Moscow Windows", etc., but "The Coveted Stone" is simply amazing ...

      And I like "they took the city of Brest with a fight, the whole city passed and
      read the last street name ....
  3. +13
    20 March 2015 06: 35
    And in the film "Orlova and Alexandrov", he was shown to be greedy, envious and petty, the film smells rotten, in my opinion. And in general, on the first channel, they often show films with a veiled obscurity of their history and country.
    1. +9
      20 March 2015 08: 26
      As the classic said - do not read Soviet newspapers before dinner, rephrasing - do not misrepresent Channel 1 ... or rather, abandon the TV altogether - it is harmful ...
      1. +1
        20 March 2015 23: 38
        I’m certainly not a professor, but I advise (1 channel), not more than once a month))
    2. +4
      20 March 2015 14: 17
      So there is a social order and a strict qualification. The author must kick the Soviet past and spit at the heroes without fail. Echelons, Bastards, Stalingrads, etc., are born that way. "October coup" you know ...
  4. +4
    20 March 2015 07: 34
    And the voice is useless ... it would seem ... But when I hear the Odessa Bear, a wave of emotions ... What does it mean, a person sang with his soul ..
  5. -10
    20 March 2015 10: 55
    It is ridiculous to read about Leonid Utesov, who is Lazarus Vasbeyn. An artistic alias, of course. For some reason, all the Jews in the Soviet Union suddenly decided to take on artistic pseudonyms. And our grandfathers in Russia received Jewish power, but with touching Russian names.
    1. +4
      20 March 2015 11: 24
      Quote: Lockout
      It is ridiculous to read about Leonid Utesov, who is Lazarus Vasbeyn. An artistic alias, of course. For some reason, all the Jews in the Soviet Union suddenly decided to take on artistic pseudonyms. And our grandfathers in Russia received Jewish power, but with touching Russian names.

      But talented, hell.
      1. +2
        20 March 2015 20: 36
        Well, let's say a Jew is just a sign. But really, he was still a citizen of Russia.
  6. +3
    20 March 2015 13: 31
    Utesov’s very relevant geopolitical song (how many years have passed, and the theme is still relevant):



    The genius of the Russian stage, by the way, many people think that our rock music originates from Utyosov, and not from foreign "Beatles", etc.
  7. +2
    20 March 2015 15: 04
    The cliffs are the genius of domestic jazz in the first third of the 20th century!
  8. s1н7т
    +2
    20 March 2015 17: 28
    Undoubtedly, there was talent!
    And somehow they asked him: Is it not annoying that Ariel has quailed and remade his song? (about the cab driver) That: Not once! They sang her better than me.
    It is strange that nothing is said about his role in war films. Father said that they sang "Dark Night" at the front more readily than "Get up, huge country" with all due respect to her.
  9. +4
    21 March 2015 03: 02
    Each type of creativity has its own characteristics. Some sing in voice, and others in soul, the main thing is to be talented and sincerely human. Leonid Osipovich Utesov in his work singled out precisely the second quality, for which the people fell in love. Today, recalling his songs and roles in cinema, you especially vividly perceive the palette of images recreated by him, in which the cheerful character of Odessa, self-irony and true love for the Motherland, have become an integral part of the great era of socialism.

    The record hisses on the old gramophone, the darkened needle crackles, and as if distorting the time, a familiar voice sings to pain:
    ***
    Moscow is calming down, the distance has turned blue
    Rays shine brighter than Kremlin rubies.
    Day passed soon night, you must be tired
    My dear Muscovites.

    You can finish the song with simple words,
    If these simple words are hot.
    I hope that we will meet again,
    My dear Muscovites ...
  10. +1
    21 March 2015 18: 48
    Quote: viktorrymar
    And in the film "Orlova and Alexandrov", he was shown to be greedy, envious and petty, the film smells rotten, in my opinion. And in general, on the first channel, they often show films with a veiled obscurity of their history and country.

    Very true. The same judgment was made 6-8 years ago. Modern telecine is presented with intrusive, aggressive advertising promising to describe and show real historical events and the fate of the heroes in these events, but in fact, almost always "the mountain gives birth to a mouse." Films were shot for the demand of an unassuming audience. The ancient principle of "Bread and circuses" is in use. Cinema is for the stomach, not for the head ...
    As for Leonid Osipovich Utyosov, his contribution to the development of Russian pop art is not measurable. All our stage "came out of his greatcoat." I still remember gramophone records at a speed of 78 revs with his songs. At the end of the 50s, my parents bought a radio "Octava". And my father's favorite song performed by Utyosov, "Two friends served in our regiment, sing a song sing ..."
  11. 0
    24 March 2015 14: 08
    My favorite song!!

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