Alex Siniavski

Irina Zagornova, Svetlana Mikhol

Gari Nova

The "Barynya" Balalaika Orchestra plays Balalaika, Bayan, Domra, guitars, Garmoshka (Russian button accordion), Balalaika Contrabass, cello and drums.

All members of the orchestra are conservatory graduates, the best Russian professional musicians available in New York area of the United States. Some of the musicians performing with the Orchestra: balalaika virtuosos: Alex Siniavski, Lev Zabeginsky, balalaika prime Simon Lemberskiy, balalaika-sekunda Alexander Ressetar, Russian Bayan virtuoso Gennady Gutkin, violin virtuosos Sergey Ryabtsev, Alexadre Tseyitlin, Russian garmoshka player Mikhail Smirnov, Contrabass Balalaika player Leonid Bruk, contrabass Ruslan Khain.

Best in the United States singers are performing with the Orchestra: Natalia Smirnov, Irina Zagornova, Victoria Pichurova, Gari Nova, Alexander Menshikov, Sergei Pobedinski.

Russian, Ukrainian, Gypsy and Klezmer music, songs and dances: Kalinka, Hopak, Devochka Nadya, Barynya, Sailors, Dark Eyes, Chubchik, Moscow Nights, Volga Boarman, Korobushka (The Peddler), Odessa, Marusechka, Zemlyanka, Dark Night, Katyusha, Smuglyanka, Two guitars, Chastushki, Cheremshina, Chervona Ruta, Tango Dark Eyes, Put'-Dorozhka, Polyushko, Marusya 1,2,3, Serdtse, Along Petersburg, Murka, Goro-gori, By the long road, Tzar Nikolai, Sergey Gusarov, Konfetki-baranochki, My Gypsies, Stakanchiki Granyonye, Shto mne gore, Ural'skaya Ryabinushka, Kayone, Pri Luzhke, Ne budite, Po Dikim Stepyam Zabailaliya, Vesyoloi Shumnoyu Tolpoyu, Zlaty Kolechiki, Subboteya, Quadrille, Pidmanula, Varenichki, Chardash, The Moon Is Shining Brightly, Birch-tree, Rucheyok and more.

From "War and Peace" by Leo Tolstoy. On photos below people are dancing with THE BARYNYA BALALAIKA ORCHESTRA at the Petrushka Ball. Waldorff Astoria Hotel, New York City 2006. more pictures

And indeed everybody in the room looked with a smile of pleasure at the jovial old gentleman, who standing beside his tall and stout partner, Marya Dmitrievna, curved his arms, beat time, straightened his shoulders, turned out his toes, tapped gently with his foot, and, by a smile that broadened his round face more and more, prepared the onlookers for what was to follow. As soon as the provocatively gay strains of Daniel Cooper (somewhat resembling those of a merry peasant dance) began to sound, all the doorways of the ballroom were suddenly filled by the domestic serfs- the men on one side and the women on the other- who with beaming faces had come to see their master making merry.

"Just look at the master! A regular eagle he is!" loudly remarked the nurse, as she stood in one of the doorways.

The count danced well and knew it. But his partner could not and did not want to dance well. Her enormous figure stood erect, her powerful arms hanging down (she had handed her reticule to the countess), and only her stern but handsome face really joined in the dance. What was expressed by the whole of the count's plump figure, in Marya Dmitrievna found expression only in her more and more beaming face and quivering nose. But if the count, getting more and more into the swing of it, charmed the spectators by the unexpectedness of his adroit maneuvers and the agility with which he capered about on his light feet, Marya Dmitrievna produced no less impression by slight exertions- the least effort to move her shoulders or bend her arms when turning, or stamp her foot- which everyone appreciated in view of her size and habitual severity. The dance grew livelier and livelier. The other couples could not attract a moment's attention to their own evolutions and did not even try to do so. All were watching the count and Marya Dmitrievna. Natasha kept pulling everyone by sleeve or dress, urging them to "look at Papa!" though as it was they never took their eyes off the couple. In the intervals of the dance the count, breathing deeply, waved and shouted to the musicians to play faster. Faster, faster, and faster; lightly, more lightly, and yet more lightly whirled the count, flying round Marya Dmitrievna, now on his toes, now on his heels; until, turning his partner round to her seat, he executed the final pas, raising his soft foot backwards, bowing his perspiring head, smiling and making a wide sweep with his arm, amid a thunder of applause and laughter led by Natasha. Both partners stood still, breathing heavily and wiping their faces with their cambric handkerchiefs.

"That's how we used to dance in our time, ma chere," said the count.