Dobranotch

Commencing their musical adventure on the streets of the French city of Nantes, for more than twenty years Dobranotch has been bringing the world the boundless energy of roots music: Jewish, Russian, Balkan, Roma.

Dobranotch

Commencing their musical adventure on the streets of the French city of Nantes, for more than twenty years Dobranotch has been bringing the world the boundless energy of roots music: Jewish, Russian, Balkan, Roma.

Dobranotch was founded in Nantes, France in 1997 by three folk musicians from Saint Petersburg: Mitia Khramtsov, Oleg Drobinsky, and Stas Zubtsov. These musicians had been living in France at that time, busking and playing Jewish and Celtic music. Their name, which means “good night” in Russian, is also a reference to a tune genre in Klezmer music which marked the end of the day’s events in a traditional Eastern European Jewish wedding.

Because of the eclectic personal and musical backgrounds of the group’s members, their repertoire came to include a wide variety of genres including not only Klezmer and Balkan music, but Russian-language Jewish songs from Odesa, Middle Eastern music, and others. The group became an important part of the renewed popularity of Klezmer music in Russia in the 1990s, notable for their use of traditional acoustic instruments rather than electronic music.

At the philharmonic they sound like refined artists, in a club or at a festival they send the audience into a dancing trance, and when they descend from the stage they’re the orchestra for a magic carnival.

Dobranotch was founded in Nantes, France in 1997 by three folk musicians from Saint Petersburg: Mitia Khramtsov, Oleg Drobinsky, and Stas Zubtsov. These musicians had been living in France at that time, busking and playing Jewish and Celtic music. Their name, which means “good night” in Russian, is also a reference to a tune genre in Klezmer music which marked the end of the day’s events in a traditional Eastern European Jewish wedding.

Because of the eclectic personal and musical backgrounds of the group’s members, their repertoire came to include a wide variety of genres including not only Klezmer and Balkan music, but Russian-language Jewish songs from Odesa, Middle Eastern music, and others. The group became an important part of the renewed popularity of Klezmer music in Russia in the 1990s, notable for their use of traditional acoustic instruments rather than electronic music.

At the philharmonic they sound like refined artists, in a club or at a festival they send the audience into a dancing trance, and when they descend from the stage they’re the orchestra for a magic carnival.

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