- Your whole life is a continuous competition. “Star Factory”, “Eurovision”, the recent project “One on One”... Do you like to be in a state of competition?

— I hate contests, competitions and competitions. This is an incredible challenge for me. And it was always important to me where I was. I’m just the kind of person by nature who tries to do everything one hundred percent. And if I see that it didn’t work out, that’s all, good luck. I begin a soul-searching session and I can get to God knows what depths. For a creative person, this is, in general, not bad, but sometimes it gets tiring.

- Why do you agree to such projects then?

— This is an absolutely invaluable experience. On projects, I gain as much of it as you can’t get at any university in five years of study. I am becoming stronger, more mature, wiser, I am growing rapidly, in leaps and bounds. And this is very valuable. The “One to One” project lasted three months, and during this time I managed to acquire a huge amount of knowledge! I not only learned to copy artists, but prepared carefully, watched live performances, read biographies, and watched interviews. There is a lot to learn from them. For example, how Whitney Houston brilliantly communicated with the audience, how she involved the audience, how she shared her energy with them through gestures and words, how she opened up to people. Zemfira, on the contrary, is a very closed person by nature; she only knows how to slightly open the door to her soul. The characters that were hardest for me were Alla Pugacheva and Lyudmila Gurchenko. I got the most complex song by Pugacheva: grandiose poems by Marina Tsvetaeva, a difficult melody. And Alla Borisovna herself: when I watched her concerts, I never ceased to be amazed at how different she could be. Alone on stage, without any special effects, she put on such a show that you can only shrug: how does she do it?! I cried, I laughed, I even had a tantrum once. Because the emotional message with which Pugacheva comes out to the viewer is incredibly difficult to convey. But with Gurchenko it’s the other way around: she is first and foremost an actress. And her songs had the exact dosage of soulfulness and acting. It’s very difficult to grasp these proportions: I’ll put something in, then I’ll leave something out – the balance is lost.

- And Freddie Mercury?

- Oh, that's a separate conversation. By copying his vocals, you could easily lose your voice. He gave incredible drive and rock at the highest heights! Not only was it difficult for me, a woman, to portray a man. But the fact is that there is not a single video recording of a live performance of “The show must go On.” Freddie was already deeply ill when he recorded it. He did not appear in public. But he worked a lot, greedily and obsessively in the studio. He told his teammates: “Come on! Let's! We need to record as much as possible so that people still have my voice. Play me something now, I’ll sing it, and then you’ll come up with the arrangement yourself.” Such a will to live! Such a desire to leave yourself to people! I was amazed by the scale of his personality. But at the same time, I understood that if it weren’t for the “One to One” project, I probably would never have dived so deeply into the biographies of all the above artists and would not have learned so many new things.

— From your stories, it seems that the project lasted not three months, but three years.

- That's exactly what I'm talking about! Each project is like you are living five years of your life. And at the same time, I just talked about the external side of the show, I didn’t say a word about the life that was inside the project. What happened behind the scenes is a separate lesson for me, almost more than what happened on camera. School of Life. I was surprised at how different sides people showed themselves. There I met very positive people with whom I became friends. But there I learned what betrayal is. It’s clear that I’m not going to name names now. And I specifically didn’t talk about this until the finale of the show, because I think it’s indecent to whine and complain and thus try to attract the attention of the audience. But the atmosphere in our small circle was very difficult. I even encountered conspiracies against me!

— How could someone outsider influence the course of the competition? After all, the assessment depended only on you, on how you performed?

— It wasn’t always like this. Well, for example, there are images that cannot be copied with ordinary makeup; you need complex plastic makeup. While preparing for two looks, I was surprised when they suggested that I not do this makeup, although it was obvious that it was simply necessary. As it turned out later, one of the participants in the project tried to bribe the makeup artists so that they wouldn’t do it for me on purpose and my act would look less bright. Hard? Not that word.

“But from the outside it seemed that the project participants sincerely cared about each other and rejoiced at the successes of others.

— On the part of the majority of participants, this was all true. Sergey Penkin, for example, is an amazing person, the soul of our project. I remember he came to my dressing room, just when I was very nervous before the number in the image of Alla Borisovna, sat down and said: “What are you worried about?” I explain that I’m losing my nerves, I can’t pull myself together, I don’t know how to present the song correctly, I’m completely confused. He asked: “Play me the original.” I'm turning on. "Now sing." I sing. “Imagine that your loved one has left you. Now sing.” I sing. “That’s how it should be! Now don’t worry at all, just do your job.” That is, a person who was himself inside this competition openly helped us, his rivals, gave advice, that is, helped us beat him! I think this is the highest manifestation of humanity. I was also amazed by Eva Polna. She and I shared the same dressing room, and she kept my morale up and always joked. And she took my performances to heart. When I came out with Alla Borisovna’s number and read the monologue, Eva cried and couldn’t stop. “Julia, what are you doing?!” - she said. At the same time, she herself was in the image of Bogdan Titomir. That is, she has heavy makeup on her face, and she is crying, and tears flow between her own cheeks and Titomirov’s fake ones. I was so moved.

— Which, by the way, says not only that Eva is sentimental, but also that your skill in transformation is beyond all praise. After the results of the project and the winner were announced (Alexey Chumakov became), viewers continued to discuss for a long time that Yulia should have taken first place. Do you agree with this?

— Do you see the resonance that arose because I took second place? And that's great! If I had been the first, everything would have been quiet and calm. Seriously though, I want to thank all the fans who cheered for me. They often told me: “Julia, hang in there, we’re rooting for you!” And this is what I worked for. And I’m glad that they liked my work, that’s the main thing, and second place or first place doesn’t matter. Maybe even good. When my producer Max Fadeev saw the final performance, he called me and said: “Yulia, you will be second. And that’s exciting because there’s going to be a lot more room to grow.” And I agree with him. The second place gives air to become better. Always go forward and see that there is still so much to do ahead! For me, it’s better if I’m not entirely happy with the result, I’d start digging into why this happened and look for where I didn’t work, and then everything will be great. And even if you have to go through many circles of hell for this.

- You treat yourself harshly...

- How else? Otherwise there will be no successful performances, projects, songs - nothing at all. But I want to say a big thank you to all my relatives for the fact that they, as best they can, try to dissuade me of my harsh attitude towards myself. Every time my mother feels my bouts of soul-searching, she calls and says: “Yulia, you are the best. My father and I look at you on TV and are proud!” Very important words for me. Thanks also to my neighbors. They unwittingly and constantly become listeners to my rehearsals, and it has been especially difficult for them in recent months. I could start rehearsing a new image at eleven in the evening or at one in the morning - I was so worried that I would not have time to prepare. And they have a small child. But I didn’t hear a word of reproach from them. Only once, when they met me in the elevator, they laughed and said that they might not watch the show anymore. Very positive guys! But, of course, my boyfriend gets the most from me. We have been together for many years, and I never cease to be amazed at his patience. I come home from another recording of “One to One”, in my head there is only work. I declare: “I need to start rehearsing urgently! I won’t be able to do anything.” He tries to calm me down: “Get some rest, lie down, relax!” I don't care. He will always come to the rescue, always support and understand. He’ll prepare food and take you on tour. I was, of course, lucky, very lucky!

— You met when you were 16 years old. Together for almost 10 years. And this is a significant period for any modern couple.

“I watch a lot of relationships between young guys and see that everything around is very fleeting, not real. You can, of course, laugh at your grandmother’s stories: “When I met him, we first walked and only two years later we kissed...” But this is the real thing. Such romantic relationships may have a future: it is clear that people value and take care of each other, love develops on a different level. And not so that I saw a person, on the second day everything already happened, and on the third: “Sorry, we are not made for each other.” I don't understand this approach. It is clear that times are changing, but still I am for everything to go more, let’s say, in a classical way. Everything has become too superficial now: talking about things, about money, about apartments. Where is the soul, where is the heart, where are the real feelings? That's the most important thing. And it is also important to understand that love is also work, and very hard work. Above all, above all. And in order to maintain harmony in any relationship - with your husband, girlfriend, parents - you often have to step on the throat of your own song.

- But you still hear it, and for many years. At the age of 16 we entered the “Star Factory”. Did you have a childhood?

— I had a childhood, but it wasn’t much — when I went to my grandparents for the summer. A cousin lived there, we walked, climbed through the villages, ate ranetki, played Cossacks-robbers and “The Sea is Uneasy.” The rest of the time my life consisted of study and work. But I can’t say that it was particularly difficult for me. Sometimes I even deliberately created additional difficulties for myself. My parents and I often moved from apartment to apartment, and, accordingly, I changed a lot of schools in my life. This really upset me: I was timid and shy, relationships with classmates were difficult to establish, and as soon as I started making friends with someone, I had to move again. And in the seventh grade I said: “That’s enough, we can move anywhere, but I won’t go to a new school anymore.” I traveled by myself from the northeast of Moscow to the northwest, with two metro changes, and then on foot. Every morning. But I don’t regret at all that my childhood was, let’s say, not entirely typical. I don't like it when things develop according to template scenarios. I need everything to be fast, interesting, exciting and definitely something new.

- By the way, about the new... The cartoon “Epic”, which you recently voiced, is your debut?

— Yes, this is my first cartoon. I have long dreamed of being called to do voice acting - and it finally happened! I carefully prepared for work - I even came to the studio dressed almost exactly like my heroine. I found the same purple blouse and tied a ponytail on my head like Mary Catherine's. Thus, I gradually got into a working mood. And you know, everything worked out for me. The only remark that the directors made to me was: “Let’s say it in Russian” (all because I watched too much of the original cartoon, in which my heroine speaks in the voice of Amanda Seyfried, and in the studio I tried to copy her American intonations). I also had to tense up at the moment when my heroine learns to fly on a bird and, naturally, squeals all the time. I screamed until my voice began to dry up. And there were several hours of work ahead. I must say that we, the actors working on the cartoon, turned out to be real heroes of labor; we did everything in one day. I would stretch out this pleasure, immerse myself in the process entirely. But, unfortunately, my crazy schedule did not provide such an opportunity.

— You, like many artists, live at a fast pace: you have filming, touring, voice acting, television projects... Do you still have enough energy?

“Thank God, I’m a little old and my health is still fine.” I have always loved to live fast, to spin like a squirrel in a wheel. If you put me in front of the TV for three days and forbid me to work, I will simply run away - such a life is not for me.

Sometimes, however, my own body begins to whine and whine that it wants to lie down and lie down. But I'm fighting. It turns out I’m fighting with myself. I say: “Yes, it’s hard now, but you and I, my dear organism, we both know why we’re doing all this. We need to move forward, and only forward, without stopping!” I will never, ever complain in public that I’m tired. After all, I’m doing what I love and I’m absolutely happy. What about fatigue? This is good. When a person is tired, he receives a completely different, well-deserved pleasure from rest.

I have an enviable ability to sleep anywhere. This is incredibly important for an artist. I sympathize with my colleagues who are incredibly tired, but at the same time cannot sleep on trains and planes. It’s terrible when you can barely stand on your feet, plop down in a chair, and suffer the entire flight, looking out the window. I sit down, take warm socks out of my bag, ask the flight attendant for a blanket, or two if possible, cover my head and sleep. They ask me: “Tell me, Yulia, how do you breathe there, under the blanket?” I don't know, I'm fine.

— You are a nomadic person, and on tour you sometimes have to live in difficult living conditions. How important is comfort to you?

- I don’t need presidential suites - I need an ordinary clean human room, where no one will knock on the walls, with a bed on which you can sleep well, a shower, breakfast. And everything else is details. I am unlikely to ever lament the fact that there is no gold vase in my room or that the flowers in it are the wrong color.

— What does the word “rest” mean to you?

— Be in a normal work process. It seems to me that people who just relax all the time live in some kind of vacuum, “without regaining consciousness.” And life goes by. I'm not saying that everyone should live the way I do, but for me this is the optimal way. And this is happiness.

Family: father - Stanislav, musician; mother - Svetlana, music teacher

Career: in 2003 she took part in “Star Factory-2” (producer - Maxim Fadeev). In 2004 she performed at the Eurovision Song Contest. In 2005, she released her debut disc “Vysoko” and recorded the soundtrack “If Love Lives in the Heart” for the TV series “Don’t Be Born Beautiful.” Subsequently, 4 more solo albums were released. In 2008, she took part in the Star Ice project (Russia channel). In 2009, she won the project “Dancing with the Stars” (Russia channel) paired with Evgeniy Papunaishvili. In 2012, she recorded the soundtrack to the film “Unequal Marriage” in a duet with Joseph Kobzon and took part in the “Battle of the Choirs” project (Russia channel) as one of the mentors. In 2013, she took second place in the “One to One” project (Channel One).

After the appearance of the mega-popular Channel One show “One to One,” the usual ideas about the stars of domestic showbiz changed in the minds of many TV viewers in the country. Me included. I would never have thought that the sweet-voiced person would turn out to be such an artistic and gutta-percha person, and that the one with oriental charm would be a creative experimenter and...

But, to be honest, I was most surprised by the pretty Yulia Savicheva. We are used to seeing a girl in the form of a teenager who has an excellent command of her natural voice. Bright haircuts, emotional “boyish” movements on stage, tearful performances - as it turned out, all this is a thing of the distant past. On the show “One to One” we see a diametrically different Savicheva.

The resource Heat.ru managed to “keep secret” with the talented singer. According to Yulia, life became even brighter during the project. In addition to the wonderful transformations, for the first time in her career, Savicheva voiced the heroine of an animated film. Mary is the main character who is destined to encounter a real fairy tale. Yulia is very proud that she was invited to voice the girl, because for a long time the singer has been dreaming of trying herself in this role. New cartoon" Epic"will be released in wide release soon. We'll be looking forward to it.

When asked about her personal life and plans, Julia said that, like an ordinary girl, she wants a family and children. But all this will come with time. Yulia hopes that she will be able to combine the role of wife and mother with a singing career, because she cannot live without the stage: “Being a musician is like a disease that cannot be gotten rid of.”

Julia admitted that she is an extremely emotional and vulnerable person. The girl dreams of having a person living next to her who can support her. A man who will stop you in time, direct you in the right direction, and advise you in a given situation. A white dress, a banquet, a chic wedding celebration - this is not the main thing for her. This is all secondary and not the most important thing. This is exactly how Julia imagines family life.

The show "One to One" changed the girl's life. The singer appeared before the audience from a new side. With each release of the program, Julia gains more and more positive ratings. There are a couple of performances left before the final and, it is worth noting, Savicheva is one of the favorites of the project.

According to Yulia, she doesn’t just watch recordings of each character in her parodies - she literally lives their lives. Before each performance, Savicheva studies clips, concert recordings, personal lives and the characters’ personalities. After all, it is impossible to make a parody without knowing even the smallest details of the star’s life. What makes it much more difficult is the fact that those parodied by the show's participants view this process of transformation personally. And this is a huge responsibility for artists!

Yulia Savicheva admitted that the most difficult task on the project was the image of Alla Pugacheva. The singer’s hands were shaking, her voice was breaking during rehearsals, and her nerves were constantly tickled by thoughts of responsibility. And all this torment was not in vain - the room turned out to be gorgeous.

Masterfully refined and gentle, Julia got used to male roles. The legendary Freddie Mercury and Brutal were remembered in the memory of the audience. The “One to One” show is coming to an end; there is only one performance left before the finale by the entire cast, which will take place on May 19th. Then the reins of power pass to the viewers, because YOU will decide which of the five best will become the winner of the project.

Undoubtedly, Yulia Savicheva deserves to be included in this very top five finalists, because so much effort was expended. I would like to wish Yulia good luck in her parody of the great one, which will solve a lot. I think that very little time will pass, and soon the image will also be parodied for its great contribution to the history of the Russian show factory.

You're doing great, girl...

in the image of Kylie Minogue on the show "One to One" VIDEO

“One to One” is a transformation show, the participants of which will try on the images of legendary musicians of the past and present and perform the most famous world hits live on stage.

Yulia Savicheva transformed into the inimitable Kylie Minogue.

Participants:
Alexey Kortnev, Sati Casanova, Sergey Penkin, Anita Tsoi, Timur Rodriguez, Anastasia Stotskaya, Yulia Savicheva, Eva Polna, Alexey Chumakov and Evgeny Kungurov.

Presenters: Nonna Grishaeva and Alexander Oleshko

Jury: Gennady Khazanov, Efim Shifrin, Lyubov Kazarnovskaya, Alexander Revva and Lyudmila Artemyeva.

Yulia Savicheva, One to One

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20.05.2013 17:25 Yulia Savicheva in the image of Stas Mikhailov on the show One to One VIDEO

16.05.2013 16:37 Timur Rodriguez in the image of Lyudmila Gurchenko on the show One to One VIDEO

13.05.2013 17:32 Anastasia Stotskaya in the image of Liza Minnelli on the show One to One VIDEO

13.05.2013 17:15 Alexey Chumakov in the image of Lyubov Uspenskaya on the show One to One VIDEO

13.05.2013 16:50 Alexey Kortnev in the image of Boris Grebenshchikov on the show One to One VIDEO

12.05.2013 15:08 Alexey Chumakov in the image of Alexander Serov on the show One to One VIDEO

12.05.2013 14:38 Anita Tsoi in the image of Timati on the show One to One VIDEO

12.05.2013 13:56 Anastasia Stotskaya in the image of Lyudmila Zykina on the show One to One VIDEO

12.05.2013 13:19 Timur Rodriguez as Mick Jagger on the show One to One VIDEO

12.05.2013 12:41 Sati Casanova in the image of Angelika Varum on the show One to One VIDEO

08.05.2013 13:22 Yulia Savicheva as Whitney Houston on the One to One show VIDEO

Yulia Savicheva in the image of Whitney Houston on the show “One to One” VIDEO “One to One” is a transformation show, the participants of which will try on the images of legendary musicians of the past and present and perform the most famous world hits live on stage. In the first episode of the show from 3 MarchYulia Savicheva performed as Whitney Houston....