How could you make the pages turn beautifully on camera; what did Svetlana Surganova like on the set and how did the musicians lip-synched to the song? Watch the film “Stranitsy” (“Pages”).

Filmed in Saint Petersburg, in April 2021.

Backstage film “Stranitsy” (“Pages”): Tsvetta Fioletta

Video “Volchitsa” (“She-Wolf”) production: GARNETGARDEN Production

Video “Volchitsa” (“She-Wolf”) director:  Anastasia Lavrova


Now here’s some good news from “PushkinRyadom”. Yesterday was an amazing day for our entire team, as the world-famous artist and sculptor Mikhail Mikhailovich Shemyakin visited us.

He gave a sincere, meaningful interview for the journalist and TV presenter Roman Gerasimov Followers of the closed club  “PushkinRyadom”  will be the first to watch the 10-minute preview and share our joy of  such an important and interesting meeting. We highly appreciate people who care for the Russian language and for Russia as a whole, even living abroad.


“This is my city”: musician Svetlana Surganova spoke about the “Saint Petersburg’s brotherhood”, patience and tact, Moscow sounding like Rakhmaninov and the new album “Vse Budet. Zavtra” (“All Will Be. Zavtra”).

Interviewed by Anastasia Medvetskaya.


I grew up… 

In the wing of a house in Kavalergardskaya Street in Leningrad. Apparently, this small, at that time three-story, building, built in 1817, was an outbuilding. After the revolution there were communal apartments.

When the family of Surganovs and Cheburakhins  (these are the surnames of my beloved  grandparents) were offered to choose an apartment in this house, they chose a private apartment number 23, but by chance they were settled in the communal one, number 22. Therefore, for 25 years, I had been studying all the subtleties, nuances and disadvantages of communal living. The beauty of our communal apartment was in its being laconic – only 72 square meters, which is not much for four families with children of different sexes.

The bath was in the kitchen – if you wanted to take a shower, then all the doors were closed and for two hours others were deprived of the ability to drink tea or warm up lunch. But all this taught to accept the reality and taught the main thing: patience and tact, live in harmony and negotiate. And now, in spite of improvement of living conditions, something has changed to the worse,  but okay, I will not grumble.



They used to take me for a walk in Tavrichesky Garden, Smolny Cathedral – the miracle by Rastrelli, the Smolny complex itself – the former headquarters of the revolution. There is a wonderful walking area there. I was extremely lucky with the place of residence in the early years, and I have kept this apartment for myself and for my mother. Scenic views: Shpalernaya, Suvorovsky prospect, Kirochnaya, Tavricheskaya – an amazing, marvelous place! It is a pity that Mom, as she once confessed to me, did not like to walk in Tavrichesky Park. Just think of this miracle, when instead of the stone jungle and concrete walls, just in five minutes you find yourself on the shore of a wonderful pond, opposite the facade of Tavrichesky Palace. Fabulous!

And recently I’ve learned about another similar place – Derzhavinsky Garden. What a beauty, what inspiration! One should come there to restore the functioning of all chakras.


If not Petersburg, then …

I am a patriot, I’d like to outline, of Leningrad. Supporting Alexander Yakovlevich Rosenbaum – this is a kind of “Saint Petersburg’s brotherhood”.

But if we talk about countries that I also like for ideology, how citizens live and feel themselves there, for the internal world order, I am fond of Sweden, I love it and respect it. I am keen on going to rest in Switzerland: mountains, lakes, Rhine Falls, Bern. I love Georgia very much, but I haven’t been there for a long time. My dream is to visit Japan. God grant, we will play a debut concert there sometime. Alas, so far, these are only my dreams, unsubstantiated yet: I cannot boast and say that in four months we are going to Japan with a new disc “Vse Budet. Zavtra” (“All Will Be. Tomorrow). 

If we compare Leningraders with Muscovites …

They are precisely Leningraders. And all of them are united by a skill that I continuously broadcast in three words in any possible situation – “patience and tact”. They contain the essence of the success of society, coexistence, living at any level. These words were spoken by the character of Alisa Brunovna Freindlich in the film “Office Romance”: “Patience and tact! You didn’t have it! “, that is  what we all lack.

Petersburg is closer to me in its disposition of mind, in the speed of the nervous and endocrine systems. It is undoubtedly smoother, slower, which annoys many people – in Moscow there are different tempo rhythms, so I never even intended to move to the capital.

The most and the least favorite areas in both cities…

There are places in Saint Petersburg that are emotionally connected with some unpleasant events or simply with oppressive energy: Obukhovskoy Oborony Prospect – it’s hard for me to be there, and some events emphasize it – I don’t understand, I don’t feel this area, although it’s not far from the city center, nearby there is an embankment, the Neva, water (as Brodskiy said, “we need to go for a paddle”). At the same time there is Prosveshcheniya Prospect – a district remote from the center, just like Ozerki, but it is warm and surprisingly light there. Next is my beloved Kolomna, where our Art Space “PushkinRyadom” is located. I am in love with the area. An amazing inflorescence of famous people lived there, creating wonderful works of art, music and theatre. Also Fontanka, and the memory plate on the house number 174, Griboyedov Canal,  that Pushkin lived there – he is near, because our Art Space is in  house number 172.

It’s a bit more complicated with Moscow. I confess: I don’t know much of it. Although now, over the years, I have finally begun to recognize some areas, to understand the routes. Prospect Mira, by the way, where we stayed again, is a remarkable place. I fell in love with this district within walking distance of Botanichesky Sad and Aptekarsky Ogorod. It was there that I once strolled learning a phrase in Georgian. I wanted to congratulate Grigoriy Leps at a concert on his birthday, where by some miracle I was brought. For this it was necessary to say: “Gilotsav dabadebis dges dzvirpaso!”

The architectural component of Moscow worries me…

I would like the center to be treated more delicately and carefully.

It is obvious that there is no escape from civilization, and high-rise buildings are a kind of necessity. I am glad that modern architects, constructing new buildings, are trying to preserve the same Stalinist Empire style or something closer to the style of the 1950s – 1960s. If I see facades of certain designs that have proven themselves for decades, and there is a construction of glass and concrete next, this is an imbalance. For me, as a musician, architecture is also music, the music of space. And such decisions are like a falsely played note, some kind of disharmony, dissonance. You could ask: what about Schnittke, Mayer? Of course, they were also kind of revolutionaries, they brilliantly mixed harmonies and notes. But in a city, such a mixture is possible only as in a separate work by Mayer: you’ve built your city, ok, build your glass-reinforced concrete there, but in the area of established traditions it should be introduced extremely delicately.

How does Moscow sound to me? Probably like Rakhmaninov. This is the general impression: broad enough, with a good punch, without aggression, but with a definite message.


My relationship with Moscow…

Relatively recently I’ve reconciled with Moscow. For me it has always been a tough city, exhausting with its rhythm. Moscow has always been associated with work, with a heavy speech load – with conversations about events and concerts. And I am, by nature, the silent type. Moscow has reformatted me: an introverted, silent, immature in many senses, antisocial me. Moscow forced me to talk, to develop my second signal system – the speech apparatus, Wernicke’s and Brock’s zones.


The first Moscow concert …

It was a long time ago, with the band of “Nochnye Snaipery”. Some kind of club concert, but where exactly, I don’t remember. There was always heavy smoke in the clubs, it was allowed to smoke there, for me as a non-smoker it was hard to bear. What a blessing that now we have the non-smoking law! Clubs are now compatible with life. I could not even attend the club events, because there was absolutely nothing to breathe, and I was deprived of this – I did not know what was happening in the club life of the capital and Saint Petersburg. But today I know.

Of course, I like Crocus City for its sound quality and surroundings. Probably nothing can surpass it. But when we want  more backstage, home and cozy concerts, then  “16 Tons” sounds great, there  the closed presentation of our new album  “Vse Budet. Zavtra” (“All Will Be. Tomorrow”) took place. We had a rich sound there thanks to our excellent sound engineer Vladimir Mekhnin, we are collaborating with him for some time already, he did post-production, mastering and mix of the album “Vse Budet. Zavtra” (“All Will Be. Tomorrow”). We switched to the new remote control –  Emotion: who knows, that understands me and is  happy for the band. To my mind, the sum of these factors made it possible for us to sound good and perform strongly at the closed presentation  at “16 Tons” .


History of creation and recording of the album “Vse Budet. Zavtra” (“All Will Be. Tomorrow”) …

The guys of the band and me made a really successful alliance, we literally got married – everything coincided. The mystery and charm of life, the unification of Yin and Yang – masculine and feminine principles, in their interflow a miracle was born. It seems to me that our double album is an example of that very miracle created by the interaction of energies.

I was really happy to give the guys the chance to express themselves not only as arranger musicians, but also as composers. They are very talented! First of all, I cannot but mention incredibly gifted Denis Susin, our bass and amazing solo guitarist, the owner of a huge number of musical ideas. He has been in the band for ten years and from time to time he used to show me his sketches, they were great, yet they did not fully fit into the programs we were playing, but for some inclusions. And then came this wonderful day, which brought the guys the chance to express themselves.

We worked on the album in the country. Seryozha Sokolov, our drummer, suggested: “Let’s try outside, not within the walls of our (then old) studio in the 8th Sovetskaya, let’s go to the country: combine the useful with the pleasant – breathe fresh air, walk and compose.” He was absolutely right that the place also defined vibrations, ideas, emotions. I think if we were working within the walls of the studio, it would have been another music, different from the one born in Igora. 

The lyrics were mostly written in Vsevolozhsk, where I live. To be honest, I needed solitude and support, which, by the way, was provided to me by Natalya Samsonova, my old friend and assistant – she is very well-read, she is fluent in the epistolary genre. She sketched out unbelievingly successful ideas and phrases. She gave a certain charge and a pool as some kind of inclusion.

… Although not all of the lines were included, I am grateful to her for this push, as well as to Irina Fahrenbruch, some of her lyrics were also partly included into the album. She had two stanzas that fitted well with the melody and I asked her to continue. This was not always possible, and I took and completed the texts myself. We used so many interesting, hitherto unknown to me technologies, “if only you knew from what rubbish!”

It was an exciting experience for me to write lyrics to a ready-made melody, and not vice versa, as usually the songs are created to the verse or simultaneously. And here is a ready melodic and rhythmic structure, into which you need to weave meaning, text, emotion, content, phonetic euphony.

It took us two years to write the album – it sounds scary. Still 21 tracks in two years make a pretty good pace: a year for a disc. Taking into account the pandemic, the construction of “PushkinRyadom” in cooperation with our partner and friends, the Agency of Great Opportunities (abv-event), the fact that at that moment we were creating a studio, where everything was recorded, mixed, and mastered – these are actually super tempo. The main pool of musical ideas was created in two weeks, then we simply had to clean everything up, disperse and produce.

This album is self-discovery and self-knowledge. Suddenly it came to my mind: wow, I’m already a grown up girl and I can call a spade a spade without being shy. Someone managed to implant in me the confidence that was lacking. And a butterfly flew out of the chrysalis.

I wish Moscow and Muscovites …

Patience, tact, inner harmony for everyone, internal development, longing for beauty and the ability to see the beauty, the ability to turn to the wisdom of great teachers. Listen to lectures by Mikhail Semenovich Kazinik. If someone experiences mental discomfort and needs some kind of psychological counseling – here is Ekaterina Aleksandrovna Sokalskaya. Absorb the knowledge, study! 

We live in an extraordinary time when there are numerous great podcasts and YouTube channels (Galina Yuzefovich, Nikolai Solodnikov’s “Yeschenepozner” offer amazing meetings with incredible people). The world is open, just learn how to filter and do not get bogged down in the slag of unlimited information access.

Source: Moskvich Mag


On November 14, 2021, on the birthday of Svetlana Surganova, the video for the song “Liven Osenniy” (“Autumn Rain”) premiered on our YouTube channel.

The song “Liven Osenniy” (“Autumn Rain”) is the first single, which was presented in November last year and was included in the double album “Vse Budet. Zavtra”. (“All Will Be. Tomorrow”).

The video is remarkable for its visual architecture based on the works by the French surrealist photographer Gilbert Garcin. Gilbert Garcin started taking photography in retirement, at the age of 65, and world fame came to the master at the age of 82. His conceptual work is distinguished by the depth of the semantic layers and the purity of frame construction. No wonder he was compared to Rene Magritte. Works by Gilbert Garcin are in the public collections of the European House of Photography, the National Fund for Contemporary Art, the Municipal Fund for Contemporary Art in Marseille and the Château d’Eau gallery in Toulouse. The photographer died in 2020, at the age of 90.  

The intellectual and aesthetic dimension of the video is set by the combination of five creative views from different eras on the same subject  – the sense of human existence: the French photographer Gilbert Garcin, the Spanish poet Juan Ramon Jimenez, whose lyrics (translated by Sergei Goncharenko) became the basis of the song text, artist Svetlana Surganova, musician Valeriy Tkhai, the author of the music, and director Anastasia Lavrova.

 “This is one of my favorite songs and not only from this double album. For me, it has its own layers: its rhythmic movement is like a spindle, like the sound of the wheels of a cart on the pavement, driven by a humble, little sad donkey. But in this movement there is the inviolability of the constancy of the forward movement. And that’s why I want to move to this music: with my body, thoughts, feelings,” – says Svetlana Surganova.


– The song “Liven Osenniy” (“Autumn Rain”) reveals deep meanings if you listen to it “from within”, immersing. This is a special feeling. As if you are looking at it from the reverse side. Therefore, the inspiration by the works of Gilbert Garcin in creating the visual-semantic component is not accidental here. His photographs for me are a projection of a state that could be described as “being inside the head of God”. As if they were a manifested visualization of the Creator’s thoughts.

I am particularly attentive to this work. Several strong artistic broadcasts came together at one point – I am still fascinated by this amazing turn of space,” – says director Anastasia Lavrova.

The video was the first joint work (filming took place in March 2021) of the creative tandem of the band leader Svetlana Surganova and director Anastasia Lavrova. But the premiere of this video was chosen to complete the filmed trilogy of philosophical video essays.

For the first time, the video was presented on October 5, 2021 at the pre-premiere screening in the Moscow club “16 tons” as part of the presentation of the new album of the band “Surganova and the Orchestra”.

 Worked on the video:


Director Anastasia Lavrova 

Co-producer Yana Kondratyeva

Creative producer Andrey Khudyakov

Operator Andrey Goretskiy



PREMIERE! “PALITRA” (“PALETTE”) film about filming the video “AKVAREL” (“AQUARELLE”)!

How was the magic born on the set of the video “Akvarel” (“Aquarelle”)  

how long does it take to shoot

how many takes does Svetlana Surganova need for a perfect scene

– watch the film “Palitra” (“Palette”)!

Production:  GARNETGARDEN Production


Dear spectators! 

Due to the new restrictions introduced in the regions, we are unable to maintain the tour schedule.

A full lockdown has been introduced in a number of cities, restrictions have been increased in others.

We all have to muster the strength and the patience and wait until the situation returns to normal.

We are looking forward to meet you!

Concerts in the cities of Ivanovo, Kostroma, Vologda, Yaroslavl, Nizhniy Novgorod, Kazan, Samara, Saratov, Orenburg, Ufa, Izhevsk and Irkutsk are postponed to the spring of 2022.

Our organizers are trying to make a new schedule now.

Follow the news on our website.

Please pay special attention: all purchased tickets are valid.

There is no need to return or exchange them.

Concerts in the cities of Kirov, Perm, Yekaterinburg, Tyumen, Chelyabinsk, Omsk, Novosibirsk are in force.

Thank you for your understanding. We all found ourselves in a difficult situation.

Take care of yourself and see you at the concerts!


Life is a non-stop movement, development from the similar to the new, eternal transformation of the form, collapse and repetition. Death is a permanent part of life. Only by accepting its power and its mere presence as the soul developer conceived by the Almighty, it is possible to begin the path of transformation of the seeking consciousness into the directed ray of the Creator …

Words and music of the song “Volchitsa” (“She-Wolf”) by Svetlana Surganova

Words and music of the prologue and epilogue by Anatasia Lavrova

Production: GARNETGARDEN Production (2021)

Director: Anastasia Lavrova

Co-producer: Yana Kondratieva

Creative producer: Andrey Khudyakov

Director of photography): Andrey Goretskiy


“I have been spaced out for a long time and I am on my own wave” 

Svetlana Surganova’s interview for “Moskovskiy Komsomolets” newspaper 

By Ilya Legostaev 

More and more often, in our non-album time, large-scale, complexly designed records are released. It’s a bit weird, but pretty interesting. In June “Svetlana Surganova and the Orchestra” released the album “Vse Budet” (“All Will Be”), and in the first days of October released was the final part of the dilogy “Zavtra” (“Tomorrow”). No wonder, twenty-one songs, ranging from pop to alternative rock, are a good reason for conversation.



Dear participants of our project on, who purchased the lot “CDs with autographs of all members of the band”!

We have signed the first part of the CDs for you! So far, this is only a quarter of the total, the copies are being printed, and we will continue to sign them during the tour. We will gradually handle all 584!

Many thanks for your support!


The premiere of the video “Volchitsa” (“She-Wolf”) will take place on October 21st !

It is the second joint work by the creative tandem of Svetlana Surganova and the director Anastasia Lavrova, which we all have been waiting for. Eight minutes of aesthetic pleasure – about life on Earth and its beauties, about the eternal and the close to everyone. Philosophic and symbolic.

All will be – next Thursday, October 21st.