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Banon (fromage)

Le banon est un petit fromage français issu d’anciennes recettes des fermes des Alpes-de-Haute-Provence. Son nom vient d’un petit village adossé au Plateau d’Albion entre la montagne de Lure et le mont Ventoux, dans les collines chères à Jean Giono. C’est un fromage de 6 à 7 cm de diamètre au lait cru d’une centaine de grammes.

Il était déjà connu à l’époque romaine. Une anecdote rapporte que l’empereur romain Antonin le Pieux mourut d’indigestion en 161 pour en avoir trop mangé. Il était aussi apprécié sur les tables au Moyen Âge et, au XIXe siècle, les écrivains Jules Verne et Frédéric Mistral aimaient beaucoup sa saveur.

Ce fromage de chèvre est né de la nécessité pour les familles de Haute-Provence de consommer des protéines en hiver. Pour ce faire les bergers pliaient leurs tomes dans des feuilles de châtaigniers. Cette pratique maintenait le fromage moelleux et parfaitement consommable en hiver, période de tarissement du lait des chèvres. De plus, pour obtenir un fromage doux et moelleux sous un climat sec et chaud, seule était possible la technique du caillé doux (fromage à coagulation rapide ou caillé présure), spécifique du banon.

Il est à noter qu’il existait autrefois des Banons produits à partir de lait de vache. Cette pratique a aujourd’hui entièrement disparu.

C’est un fromage à pâte molle à croûte naturelle, élaboré à partir de la technique du caillé doux et moulé à la louche avant d’être plié dans des feuilles de châtaigniers brunes et liées par un brin de raphia naturel.

Dans ce processus, les tomes subissent un premier affinage « nu » de 5 à 10 jours et peuvent être trempées dans du marc de raisin. Puis le fromage est enveloppé dans des feuilles de châtaigniers à l’abri de l’air, où a lieu une fermentation pendant au moins 10 jours. À l’abri de la lumière et de l’air, ce procédé unique lui confère une pâte onctueuse et moelleuse, avec des arômes spécifiques, fruits de l’alchimie entre la fermentation au caillé doux et la migration des tanins de la feuille de châtaignier vers le fromage. La tome devenue banon est alors prête.

L’habillage de feuilles de châtaignier ceinturées par un brin de raphia naturel composant 6 à 12 rayons bpa drink bottles, est fait manuellement. Le ramassage des feuilles, qui doivent être récoltées brunes, se fait en automne lors de leur chute. Elles sont ramassées par des équipes de saisonniers sur le plateau d’Albion, dans les Cévennes, en Corse et en Ardèche. La Fromagerie de Banon (60 % de la production) consomme, à elle seule, 5 millions de feuilles par an, soit l’équivalent de 5 semi-remorques. Prêt à être consommé, le banon a la forme d’un palet de 8 cm de diamètre et de 2 à 3 cm de haut pour un poids de 100 g.

Le 23 juillet 2003, l’INAO a donné son accord pour protéger le Banon par une AOC.

Les banons AOC répondent à un cahier des charges très strict. L’ensemble du terroir des 179 communes se trouve dans « un secteur de moyenne montagne, sous climat méditerranéen, marqué par une végétation caractéristique se développant sur parcours. C’est un milieu de prédilection pour l’élevage des chèvres et la pratique du pastoralisme ». Pour être aptes à produire un fromage d’appellation, les troupeaux de chèvres pâturent sur la zone délimitée. Ce système d’élevage agro-pastoral est traditionnel et participe pleinement à la typicité du produit. Il est fabriqué avec du lait de chèvre (cru et entier) de races provençale, rove et alpine exclusivement. Les chèvres doivent paître sur les collines de la région pendant au moins 210 jours par an. Ce respect permet de maintenir un élevage extensif, correspondant aux usages loyaux et constants. « Exclusivement fabriqué au lait de chèvre, cru et entier, il se révèle de couleur mordorée et offre une pâte onctueuse à cœur délivrant au palais toutes les saveurs des parcours et sous bois de la Haute-Provence. ».

De plus la production laitière, ainsi que la fabrication et l’affinage des fromages ne peuvent être effectués que dans l’aire d’appellation. La production est faible ce qui fait la rareté de cette AOC. Il y 16 producteurs fermiers, 2 artisans transformateurs, pour 68 tonnes de fromages par an (80 % laitier et 20 % fermier). Dix producteurs de lait livrent les deux entreprises artisanales. La Fromagerie de Banon fournit à peine 50 tonnes par an sur le marché, ce qui est nettement insuffisant à la demande actuelle et à celle qui peut être raisonnablement prévue pour le futur, alors que des demandes de consommateurs se font déjà d’Angleterre, d’Allemagne, d’Italie et même du Japon.

C’est le premier fromage de la région Provence-Alpes-Côte d’Azur à obtenir une AOC. Cette reconnaissance concerne 111 communes des Alpes-de-Haute-Provence, 33 communes des Hautes-Alpes, 21 communes de la Drôme et 14 communes de Vaucluse, soit un total de 179 communes pour la production du lait et la fabrication.

Communes du département des Alpes-de-Haute-Provence : Aiglun, Allemagne-en-Provence, Archail, Aubenas-les-Alpes, Aubignosc, Banon, Barras, Beaujeu, Bevons, Beynes, Bras-d’Asse, Brunet, Céreste, Champtercier, Château-Arnoux-Saint-Auban, Châteaufort, Châteauneuf-Miravail, Châteauneuf-Val-Saint-Donat, Châteauredon, Clamensane, Cruis, Curel, Dauphin, Digne, Draix, Entrepierres, Entrevennes, Esparron-de-Verdon, Estoublon, Fontienne, Forcalquier, Ganagobie, Gréoux-les-Bains, Hautes-Duyes, La Brillanne, La Javie, La Motte-du-Caire, Lardiers, La Rochegiron, Le Brusquet, Le Castellard-Mélan, Le Castellet, Le Chaffaut-Saint-Jurson, L’Escale, Les Mées, Les Omergues, L’Hospitalet, Limans, Lurs, Malijai, Mallefougasse-Augès, Mallemoisson, Mane, Manosque, Marcoux, Mézel, Mirabeau, Montagnac-Montpezat, Montfort, Montfuron, Montjustin, Montlaux, Montsalier, Moustiers-Sainte-Marie, Nibles, Niozelles, Noyers-sur-Jabron, Ongles, Oppedette, Oraison, Peipin, Peyruis, Pierrerue, Pierrevert, Puimichel, Puimoisson, Quinson, Redortiers, Reillanne, Revest-des-Brousses, Revest-du-Bion, Revest-Saint-Martin, Riez, Roumoules, Sainte-Croix-à-Lauze, Sainte-Croix-du-Verdon, Saint-Étienne-les-Orgues, Saint-Jeannet, Saint-Julien-d’Asse, Saint-Jurs, Saint-Laurent-du-Verdon, Saint-Maime, Saint-Martin-de-Brômes, Saint-Martin-les-Eaux, Saint-Michel-l’Observatoire, Saint-Vincent-sur-Jabron, Salignac, Saumane, Sigonce, Simiane-la-Rotonde, Sisteron, Sourribes, Thoard, Vachères, Valbelle, Valernes, Valensole, Villemus, Villeneuve, Volonne, Volx.

Communes du département des Hautes-Alpes : Barret-sur-Méouge, Bruis, Chanousse, Châteauneuf-de-Chabre, Éourres, Étoile-Saint-Cyrice, Eyguians, Lagrand, La Piarre, Laragne-Montéglin, Le Bersac, L’Épine, Méreuil, Montclus, Montjay, Montmorin, Montrond, Moydans, Nossage-et-Bénévent, Orpierre, Ribeyret, Rosans, Saint-André-de-Rosans, Sainte-Colombe, Sainte-Marie, Saint-Genis, Saint-Pierre-Avez, Saléon, Salérans, Serres, Sigottier, Sorbiers, Trescléoux.

Communes du département de la Drôme : Aulan, Ballons, Barret-de-Lioure, Eygalayes, Ferrassières, Izon-la-Bruisse, Laborel, Lachau, La Rochette-du-Buis, Mévouillon, Montauban-sur-l’Ouvèze, Montbrun-les-Bains, Montfroc, Montguers, Reilhanette, Rioms, Saint-Auban-sur-l’Ouvèze, Séderon, Vers-sur-Méouge, Villebois-les-Pins, Villefranche-le-Château.

Communes du département du Vaucluse : Aurel, Auribeau, Buoux, Castellet, Gignac, Lagarde-d’Apt, Monieux, Saignon, Saint-Christol, Saint-Martin-de-Castillon, Saint-Trinit, Sault, Sivergues, Viens.

Ce fromage peut être dégusté sur une tranche de pain de campagne accompagnée de confiture de cerise ou de figue.

Il peut être apprécié avec du vin blanc des côtes-du-rhône glass water bottle australia, du ventoux ou du luberon.

Ce fromage peut être dégusté en toutes saisons.

Depuis 20 ans le village de Banon organise la fête de son fromage de chèvre au mois de mai. Elle a pour vocation de rendre hommage à la spécialité locale.

Sur les autres projets Wikimedia :

Document utilisé pour la rédaction de l’article : document utilisé comme source pour la rédaction de cet article.

Claus Kühnl

Claus Kühnl (* 17. November 1957 in Arnstein, Unterfranken) ist ein in Frankfurt am Main lebender deutscher Komponist.

Claus Kühnl war das erste Kind der Eheleute Gudrun Kühnl (geborene Schmitt) aus Unterfranken und Wilhelm Kühnl, der aus dem Sudetenland stammt. Seine akademische musikalische Ausbildung erhielt er in den Jahren 1973 (zunächst als Hospitant während seiner Gymnasialzeit) bis 1980 an der Hochschule für Musik Würzburg bei Bertold Hummel (Komposition)

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, Julian von Károlyi (Klavier), Hanns Reinartz (Dirigieren) und Zsolt Gárdonyi (Musiktheorie). Prägend für ihn wurden auch die Analyseseminare Neuer Musik bei Klaus Hinrich Stahmer und – von 1978 bis 1980 – das Studentenkammerorchester Musici Allegri, welches ihn zu seinem Dirigenten wählte. 1980 legte er das Staatsexamen im Fach Klavier ab. Im gleichen Jahr ging Kühnl nach Frankfurt am Main, wo er zunächst seine Kompositionsstudien bei Hans Ulrich Engelmann an der Hochschule für Musik und Darstellende Kunst fortsetzte. Dort lernte er den Komponisten Gerhard Müller-Hornbach kennen, mit dem er 1981 das Mutare Ensemble für die Aufführung zeitgenössischer und selten gespielter klassischer Musik gründete.

In diese Zeit fallen auch erste Publikationen und der Beginn von Kühnls Lehrtätigkeit an Dr. Hoch’s Konservatorium in Frankfurt. Zunächst lehrte er Musiktheorie; 1984 bewarb er sich erfolgreich um eine Planstelle und begründete eine Kompositions- und Kammermusikklasse an diesem Institut. Dazwischen unterrichtete er gleichzeitig am Musikwissenschaftlichen Institut der Johann-Wolfgang-Goethe-Universität Frankfurt am Main und an der Akademie für Tonkunst in Darmstadt Musiktheorie.

1983 erhielt er ein Stipendium für die Cité Internationale des Arts Paris. In Paris begegnete er Tristan Murail und Henri Dutilleux, dessen Werke er studierte. Vermehrte Kompositionsaufträge brachten es mit sich, dass er sich 1986 von der Leitung des Mutare Ensemble zurückzog. 1987 begegnete er erstmals Wilhelm Killmayer während einer Arbeitswoche für Junge Komponisten in Hilchenbach, die Killmayer leitete. 1988 entstand das Musiktheater La petite Mort im Auftrag der Frankfurt Feste (UA 1991), ein Jahr später die Ensemble-Komposition Duplum. Musik des Lichtes und der Finsternis im Auftrag des Philharmonia Ensemble des Hessischen Rundfunks.

Aufgrund eines neuerlichen Stipendiums lebte Claus Kühnl 1990 ein Jahr lang in der Villa Massimo Rom. Dort keimten erste Gedanken zu einem ästhetischen Ansatz, den er mit dem Begriff Panharmonie umschrieb. Ersten spürbaren Anzeichen einer Globalisierung stand er damals positiv gegenüber, indem er für eine Verschmelzung verschiedener stilistischer Einflüsse eintrat, aus denen „neue Legierungen“ entstehen sollten. Exemplarisch für diese Periode ist das Stück Lausche den Winden, ein Auftrag des Quartett avance.

Nach seiner Rückkehr aus Rom wurde er 1992 als Kompositionslehrer an das Peter-Cornelius-Konservatorium in Mainz berufen, gab diese Anstellung jedoch nach einem Jahr wieder auf. In den folgenden Jahren widmete sich Kühnl neben seinen gewohnten Tätigkeiten verschiedenen Kulturprojekten, nahm in leitender Funktion an Response (Schüler komponieren) teil und fungierte vier Jahre lang als Berater des Kulturdezernenten in Hanau. 1993 bis 1997 arbeitete er mit längeren Unterbrechungen an der Oper Die Geschichte von der Schüssel und vom Löffel (UA 1998 in Bielefeld), nach einem Kinderbuch von Michael Ende, dem Kühnl bis 1995 dreimal in München begegnete. Claus Kühnl ist seit 1993 ehrenamtlich Mitglied des Verwaltungsrates der Mozart-Stiftung von 1838 zu Frankfurt am Main.

Die Jahre 1999 und 2000 verbrachte Kühnl als Stipendiat des Internationalen Künstlerhauses Villa Concordia in Bamberg. Dort schloss er Freundschaft mit dem Schriftsteller Jochen Missfeldt. Die Werke der folgenden Zeit zeichnen sich gegenüber dem „panharmonischen“ Ansatz der Neunziger Jahre wieder durch größere Sparsamkeit der Mittel und eine bewusste Vereinfachung aus. Hauptwerk dieser Zeit ist das Konzert für Mandoline und 13 Instrumentalisten Voller Sonnen stainless steel thermos, uraufgeführt 2006 auf dem World New Music Festival in Stuttgart. Spielte in seinem Schaffen ab Mitte der achtziger Jahre das Denken in Mikrointervallen sowie die Spektralmusik (als Folge eines französischen Einflusses) bereits eine gewisse Rolle, so nimmt diese Tendenz ab der Jahrtausendwende zu. Während den Mikrointervallen zunächst eine rein melodische Funktion im Rahmen verschiedener quasi rhetorischer Figuren zugedacht war glass water bottle australia, spielen diese nun auch in der Vertikalen eine entscheidende Rolle und bewirken Schwebungen oder spektrale Felder, die in einer subtileren Klanglichkeit zum Ausdruck kommen.

Im Juli 2016 ernannte die Hochschule für Musik und Darstellende Kunst den Komponisten zum Honorarprofessor.

Claus Kühnl ist mit der Musikerin Yumi Yokoyama verheiratet. Er hat zwei Söhne aus seiner ersten Ehe.

That Is All (song)

“That Is All” is a song by English musician George Harrison released as the final track of his 1973 album Living in the Material World. A slow, heavily orchestrated ballad, it is one of many Harrison love songs that appear to be directed at either a woman or a deity. Harrison wrote and recorded the song during the height of his public devotion to Hinduism; on release, Rolling Stone described its lyrics as “a sort of Hindu In Paradisium“.

Recording for “That Is All” took place in London in late 1972, following Harrison’s completion of the international aid project begun the previous year with the Concert for Bangladesh. The other musicians on the track include keyboard players Gary Wright, whose fledgling solo career Harrison actively supported during the early 1970s, and Nicky Hopkins. The song’s orchestral and choral arrangements were provided by John Barham, who had also worked on Harrison’s album All Things Must Pass and Wright’s Footprint. “That Is All” has been covered by singers Andy Williams and Harry Nilsson.

As with all the songs on his 1973 album Living in the Material World except for “Try Some, Buy Some”, George Harrison wrote “That Is All” over 1971–72, a period marked by both his heightened devotion to Hindu spirituality and his commitment to providing humanitarian aid for the refugees of the Bangladesh Liberation War. With his own career taking second place to the latter endeavour, following the Concert for Bangladesh in August 1971, Harrison’s musical activities included helping American musician Gary Wright establish himself as a solo artist. Wright’s album Footprint was released in November that year and included “Love to Survive”, a song that author Simon Leng cites as having been an influence on Harrison’s composition “That Is All”. “Love to Survive” was orchestrated by Harrison’s All Things Must Pass arranger, John Barham, who says that “musically there was a strong rapport” between himself, Harrison and Wright at this time. The friendship was also based on a shared interest in Eastern spirituality, after Harrison had given Wright a copy of Autobiography of a Yogi, a text that Ravi Shankar had introduced to Harrison when he visited India in 1966.

In his autobiography, I, Me, Mine, Harrison comments only briefly on “That Is All”, saying: “The melody came to me and I then had to think of lyrics. That’s all.” Commentators have remarked on how, like many other Harrison compositions – “Long, Long, Long”, “Something”, “What Is Life”, “Don’t Let Me Wait Too Long”, “Learning How to Love You” and “Your Love Is Forever” among them – it serves as both a conventional love song to a woman and a declaration of devotion to God. Harrison said in a 1976 interview: “I think all love is part of a universal love. When you love a woman, it’s the God in her that you see.”

The song is in the musical key of A. Leng identifies the composition as a development of Harrison’s favoured “Something” ballad style. He writes that a number of “characteristic” Harrison musical devices are found in “That Is All” – such as a melody that rises by a half step with each line, and an A minor chord sharpened to an augmented triad “to create drama” professional football jerseys.

Author Ian Inglis describes the song’s melody as “romantic”. Referring to its status as the last track on Living in the Material World, he also comments on the appropriateness of Harrison’s opening words: “That is all I want to say“. Inglis writes that Harrison goes on to state both “[what] he wants to do for his lover” and “what he hopes for in return”, in the respective lines “To try to love you more” and “A smile when I feel blue“.

Leng considers that the song’s middle eight echoes the same “tongue-tied difficulty” that Harrison had first introduced in his 1966 composition “I Want to Tell You”:

Times I find it hard to say
With useless words getting in my way
Silence often says much more
Than trying to say what’s been said before …

According to Leng, the change here from a regular 4/4 time signature to 3/8 provides a “stuttering, hesitant syntax” that supports the message behind the words.

Theologian Dale Allison views the concept of “words falling short” in these lyrics as central to “That Is All” and a recurring theme in Harrison’s songwriting. Allison also notes the importance of silence in this and other Harrison song lyrics, where it becomes “not an enemy to be shunned but … a friend to be embraced, for silence can help conduct us to the Divine”. On release, part of the middle eight’s lyrics, together with those for the final verse, were identified by music critic Stephen Holden as “a sort of Hindu In Paradisium“. While he considers “That Is All” to be a secular, “adult-oriented” love song, Inglis writes of Harrison’s message in the middle eight: “language is insufficient to express the depth of his emotion; ‘silence’ can be more effective, more intimate, more loving.”

The recording sessions for Living in the Material World began in October 1972 after Harrison had spent part of the summer staying with Wright in Portugal. Although Harrison had intended to co-produce the album with Phil Spector as before, he decided to work without him glass water bottle australia, partly as a result of Spector’s erratic behaviour at the start of the sessions. In his 2014 autobiography, Wright says that Spector’s dismissal was “the right move”; he describes Material World as his favourite Harrison album and “a beautiful masterpiece showing more of him – without Phil Spector’s production”. Aside from Harrison, and Wright on keyboards, the musicians on “That Is All” were Nicky Hopkins (on piano), Klaus Voormann (bass) and Jim Keltner (drums).

As with “Who Can See It”, another of the album’s ballads, Harrison recorded “That Is All” using a Leslie rotary effect on his electric guitar. Having long admired Spector as a producer, he employed elements of his signature production style throughout Material World, but with a degree of subtlety in comparison to the big sound synonymous with All Things Must Pass. As on the latter album, Harrison overdubbed further instrumentation onto the basic tracks recorded in October and November 1972; in the case of “That Is All”, the released recording includes a slide guitar solo, and a harpsichord part played by Wright. The song also features string and brass orchestration and a choir, all of which were arranged by John Barham.

Work on the album extended through February 1973. The London sessions for Barham’s contributions marked the last time that Harrison worked with him during the 1970s. Their collaborations had taken in Harrison’s Wonderwall Music, All Things Must Pass and Living in the Material World, as well as Apple projects for Billy Preston, Jackie Lomax and Radha Krishna Temple (London).

Apple Records issued Living in the Material World at the end of May 1973, or late June in Britain. “That Is All” was sequenced to follow “The Day the World Gets ‘Round”, a song that reflected Harrison’s idealism after the Concert for Bangladesh meat tenderizer powder ingredients, as well as his frustration at the apathy of governments who had chosen not to intervene on the refugees’ behalf. As with eight other tracks on the album and the 1973 B-side “Miss O’Dell”, Harrison donated his publishing royalties and the copyright for “That Is All” to his Material World Charitable Foundation.

Writing in Melody Maker, Michael Watts described Living in the Material World as “Harrison’s personal statement” documenting his journey towards “a spiritual goal which for the first time he has been able to define”. Watts continued: “now he stands as something more than an entertainer. Now he’s being honest. When you’ve been through all the bullshit and come out the other side, that’s the only thing you can be.” In his review for Rolling Stone, Stephen Holden praised the album’s “inspirationally, opulently, romantic” qualities, and he wrote of “That Is All” and “The Day the World Gets ‘Round” as “two devotional prayers whose solemn mantra-influenced melodies are barely able to sustain their lush orchestration. Yet they do, so that at the end we are left suspended in ethereality …” Holden added that “a close listening from start to finish is roughly equivalent to participating in a mass spectacle of religious re-dedication – one that does not end with rousing anthems but in heavenly choirs.” Some reviewers objected to the preponderance of ballads on the album, however, as well as the overt religiosity of many of its songs.

In his book The Beatles Solo on Apple Records, Bruce Spizer describes “That Is All” as “a beautiful love song written either for a woman or the Lord”. Writing for Rough Guides, author and critic Chris Ingham similarly considers that “the ‘love’ [Harrison is] so desperate to express” in the song “seems directed as much to an earthly relationship as to any God”, and he cites this as an example of the “restraint and, in places, considerable grace and beauty” adopted by Harrison on the album. Among other Beatles biographers, Robert Rodriguez writes that the track “sums up the journey” in the same way as “Hear Me Lord” successfully concludes the song cycle on All Things Must Pass, a view shared by Elliot Huntley, who admires “That Is All” as a “lush orchestral prayer where George really does prostrate himself at His feet”. Reviewing the 2014 Apple Years reissue of Material World, Joe Marchese of The Second Disc highlights “That Is All” among songs that combine to provide the album’s “earnest and intensely personal, yet wholly accessible, statement”.

Given the song’s mood and sentiment, authors Chip Madinger and Mark Easter consider “That Is All” to have been suitable for inclusion on a Frank Sinatra album. While Sinatra did not record it, the song was covered by singer Andy Williams, who had been one of the many easy listening artists, along with Sinatra reusable water bottles, to cover Harrison’s “Something”. Featuring contributions from Hopkins, Voormann and Keltner, Williams’ version of “That Is All” appeared on his 1973 album Solitaire. The recording was produced by Richard Perry, with whom Harrison worked on Ringo Starr’s album Ringo in Los Angeles shortly after completing Living in the Material World.

Harry Nilsson, another associate of Harrison’s, recorded “That Is All” for his 1976 album …That’s the Way It Is. The song appears twice there, as the opening track and as a reprise to close the album.

Kamaliya

Kamaliya Zahoor (Ukrainian: Камалія Захур, Russian: Камалия Захур; born May 18, 1977) is a Ukrainian musical performer izumi sweater shaver, actress, and model of Russian origin, and the 2008 Mrs. World. She became more widely known after being featured, with her husband, in the British TV-series Meet the Russians.

Kamaliya (real name Natalya Shmarenkova; Russian: Наталья Шмаренкова) was born in 1977 in Zabaikallye, Chita Oblast, Soviet Union. When she turned three, her military father was deployed to Budapest, where she danced and sang in the children’s ensemble called “Kolokol’chik” (the Jingle). When her family later moved to Lviv, she took classes in violin and opera, and while in school, she took part in as many concerts and shows as possible. Her efforts were noticed and she received an invitation to sing with the Ukrainian folk music group “Halytska Perlyna” (Halych Perl).

In 2003 Kamaliya wed Mohammad Zahoor, a British/Pakistani businessman. Kamaliya is also involved in charity projects in Ukraine and Pakistan.

In 1993 Kamaliya became the laureate of the Chervona Ruta (Red Rue) Festival in Ukraine and then won the TV-Chance-Stars contest in Moscow[citation needed]. In 1997 she graduated from the University of Culture with a Degree in Variety Art and Mass Shows Direction. At this time, she recorded her first video clip Techno style.

During 1999 and 2000, Kamaliya wrote more than 50 songs, and worked on her album It is Love. In 2000, her song Love You won the first prize as the National Hit Parade’s Song of the Year.[citation needed] In 2001 she created the show-center Kamaliya, which not only promoted her, but also organized gala concerts and shows and programs with participation Ukrainian, Russian and foreign stars.[citation needed]

In 2005, Kamaliya took part in the All Ukrainian Charity Tour in support of children with AIDS. The President of Pakistan congratulated Kamaliya on her successful performance at the International Lahore Festival. In 2007 she took part in the Svit talantiv Ukrayiny (All-Ukraine Children Festival), and undertook a charity mission to Pakistan.[citation needed]. Kamaliya has its own charity called ” Kamaliya Foundation”.

In 2009 she filmed a television pilot Coffee with Kamaliya where she interviewed celebrities.

Kamaliya performed at the Yuna Music Awards 2011, 2012, 2013, 2014 in Ukraine, including a duet with Germany’s Thomas Anders of No Ordinary Love.[citation needed]. She was headliner at the “Mr. Gay World 2012” pageant in Johannesburg, South Africa. Kamaliya performed at Ahoy, Rotterdam at Symphony 31 “DJ meets Orchestra” on 14 & 16 March 2015. Kamaliya is a regular performer at the Gay Prides in Germany& UK and now planning in Netherlands too.

In 2003 she became “Miss South Ukraine” and “Miss Open – Odessa”.[citation needed]

On June 30, 2008, Kamaliya won the Mrs World pageant. The event took place in Kaliningrad, Russia. She ranked in the top five contestants, which were as follows: Mrs Ukraine, Mrs Belarus, Mrs Vietnam, Mrs Peru and Mrs Singapore.

In 2009 she was in Vietnam to pass her tiara on to the 2009 Mrs World, Russian Victoria Radochinskaya.

In December 2011, Kamaliya released her debut UK single Crazy In My Heart. The track was mixed by the UK dance duo Digital Dog.

Kamaliya’s second UK single Rising UP was released on February 26, 2012. The single featured mixes by UK dance ensemble Cahill and US production wizards Soulseekerz. The video for this single was shot in Miami by Paul Boyd, in a luxury villa used in CSI Miami.

Kamaliya’s love for animals caught the attention of the animal welfare charity World Society for the Protection of Animals (Now known as World Animal Protection) and on February 23, 2012 during a promotional trip to the UK, Kamaliya was asked to headline their annual fundraising party.[citation needed]

Recent notable performances include as a support act to the STEPS reunion tour across the UK. Kamaliya performed as a warm-up act to STEPS on all tour dates bar two (when she was in South Africa to headline Mr Gay World). These appearances coinceded with the launch of her 3rd single ‘Arrhythmia’ – an Ibiza-inspired dance anthem.[citation needed]

Kamaliya also released her debut UK album Kamaliya onto digital websites and for free with OK! Magazine on 7 August 2012.

In 2013 Kamaliya released her new album, “ClubOpera”, which was written and produced for her by and DSign Music. Prior to its release she released 4 singles out of this album. Those were “Butterflies” (2012) black football uniforms, “I’m Alive” (2013), “Love Me Like” (2013), “Never Wanna Hurt You (Bad Love, Baby)” (2013).

Kamaliya’s first film role was in the comedy film Muzh Moey Vdovy (Russian: Муж моей вдовы, My Widow’s Husband ) by Leonid Gorovets. The movie had its theatrical release on April 1, 2010 in Ukraine and Russia. She also appeared in the 2013 American action film Officer Down as Katya. She also played a lead role in sci-fi movie called “Mantera”.

Her new movie, , in which she’s co-starring with Sharon Stone, Andy Garcia, Jose Coronado, is to be released in the USA in end 2015.

Kamaliya also featured in many TV series and movies: Fathers and sons (и отцы, и дети); Russian 8-episode serial; Bagarne effect (Эффект Багарне);Russian 8-episode serial; and Gift of life (Подарок судьбы) glass water bottle australia; Russian TV movie

She also featured in the reality shows: Riches cry too (Богатые тоже плачут) -Ukrainian TV Meet the Russians (FOX) The lifestyle of the Rich and Famous (NBC)

In 2003, she married British/Pakistan businessman Mohammad Zahoor.

In 2004 the President of Ukraine awarded Kamaliya with the title Honored Artist of Ukraine for her outstanding achievements in developing Ukrainian culture.

On September 6, 2013 Kamaliya gave birth to twin girls, Arabella and Mirabella.