Programme

Concert

12.06 fr
19:00

Concert of musicAeterna. Beethoven, Mozart
symphony concert

The Great Hall of the Perm Philharmonic

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12.06 fr
23:00

Harmonie du soir | Harmony of the Evening
chamber concert

Private Philharmonic Triumph

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13.06 sa
18:00

Dusha grustit o nebesakh | The Soul is Sad about Heaven
concert of the Perm Opera and Ballet Theatre Choir

Perm Philharmonic Organ Concert Hall

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14.06 su
17:00

The mystery from time immemorial
sacred music concert

Perm Philharmonic Organ Concert Hall

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The Great Hall of the Perm Philharmonic

Concert of musicAeterna. Beethoven, Mozart
symphony concert

musicAeterna Orchestra
Conductor Teodor Currentzis

Ludwig van Beethoven (1770–1827)
Symphony No. 4 in B-flat Major, Op. 60 (1806)

Adagio – Allegro vivace
Adagio
Allegro vivace
Allegro ma non troppo

Wolfgang Amadeus Mozart (1756–1791)
Symphony No. 41 in C Major, 'Jupiter', KV 551 (1788)

Allegro vivace
Andante cantabile
Menuetto: Allegretto
Molto allegro

12+

Teodor Currentzis and the musicAeterna Orchestra will perform symphonies No. 4 by Beethoven and No. 41 'Jupiter' by Mozart. In this programme, classical composers will appear in unusual 'guises'. The dramatic rebel Beethoven will appear as a gentle lyricist and master of idyllic genre paintings, while the graceful Mozart will reveal himself as a strong-willed monumentalist.

Ludwig van Beethoven's Symphony No. 4 still remains overshadowed by his 'Heroic' Symphony No. 3 and the dramatic No. 5. Robert Schumann deemed it 'a slender Hellenic maiden between two northern giants,' Romain Rolland compared it to 'a pure flower that preserves the fragrance of the clearest days' in the composer's life. Romantic composers especially favoured this cycle, perhaps because of the remarkable introduction to the first movement: languid wanderings in the gloomy B-flat minor — the dark key of death — that gradually bring the 'hero' into the light: a major sonata allegro. The second melodious Adagio resembles a chamber romantic song. The cheerful Menuetto and impetuous finale seem to bridge the gap from the symphonies of the late Haydn to the fantastic scherzos of Mendelssohn and Berlioz.

Mozart's 'Jupiter' symphony, instead of pre–romantic awe — as in the famous Symphony No. 40, which was created simultaneously with the No. 41 — embodies the heroic and epic element in the most Beethovenian sense of the word. The solemn elevatedness of the music, combined with exquisite contrapuntal workmanship and complex compositional techniques, turn this largest of Mozart's symphonic cycles into a hymn to classicism with its clarity of mind and cheerfulness of spirit.

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Private Philharmonic Triumph

Harmonie du soir | Harmony of the Evening
chamber concert

French chamber vocal music of the late 19th – early 20th centuries

Performers:
Anton Rubinstein Academy artists
Tatiana Bikmukhametova, soprano
Yulia Vakula, mezzo-soprano
Ksenia Dorodova, soprano
Diana Nosyreva, soprano
Iveta Simonyan, soprano

Kirill Pavlov, piano
Luisa Mintsayeva, harp
Margarita Galkina, flute

Stage Director – Elizaveta Moroz
Vocal mentors of the Rubinstein Academy – Jennifer Larmore, Irini Tsirakidis
Vocal coach – Andrey Nemzer

The musical director of the programme – Evgeny Vorobyov

16+

The turn of the 19th–20th centuries in European music is an amazing time when a variety of styles and ways of expression meet and exist on equal terms in the same concert field. In a concert by the artists of the Anton Rubinstein Academy, this effect will manifest itself in the field of French classical song – mélodie.

Ranging from the late romantic songs of Camille Saint-Saëns, Gabriel Fauré and the almost forgotten composer of a tragic fate Henri Duparc to the impressionism of Claude Debussy, from the neoclassical graphics of Maurice Ravel to the sly games of Éric Satie, the French chamber vocal music at that time was especially difficult to perform, but not to perceive.

This subtle, charming musical world built on semitones and hints will be embodied in the form of a performance concert staged by Elizaveta Moroz. The artists of the Anton Rubinstein Academy tell an atmospheric story about love, beauty and transience, which will also include works by Debussy and Satie for piano and harp solo.

On the programme:

Henri Duparc (1848–1933)
L'invitation au voyage for voice and piano set to the verses by Charles Baudelaire (1870)
Soloist – Diana Nosyreva

Maurice Ravel (1875–1937)
Chanson de la mariée, No. 1 from the cycle Cinq mélodies populaires grecques for voice and piano, folk poems, M. A 4 (1904–1906)
Soloist – Ksenia Dorodova

Maurice Ravel
Vocalise-étude en forme de habanera for voice and piano, M. 51 (1907)
Soloist – Yulia Vakula

Camille Saint-Saëns (1835–1921)
Guitares et mandolines for voice and piano set to his own verses (1890), version for voice, harp and flute
Soloist – Tatiana Bikmukhametova

Claude Debussy (1862–1918)
Nuits d'étoiles for voice and piano set to the verses by Théodore de Banville, L. 4 (1880), version for voice and harp
Soloist – Iveta Simonyan

Claude Debussy
Clair de lune, No. 3 from Suite bergamasque for piano, L. 75 (1890-1905)
Soloist – Kirill Pavlov, piano

Maurice Ravel
La flûte enchantée, No. 2 from the cycle Shéhérazade for voice and piano set to the verses by Tristan Klingsor, M. 41 (1903), version for voice, piano and flute
Soloist – Julia Vakula

Claude Debussy
Rondel chinois for voice and piano set to the verses by Marius Dillard, L. 17
(1881)
Soloist – Iveta Simonyan

Henri Duparc
Lamento for voice and piano based on poems by Théophile Gautier (1883)
Soloist – Diana Nosyreva

Maurice Ravel
Kaddisch, No. 1 from the cycle Deux mélodies hébraïques for voice and piano, traditional text in Aramaic, M. A 22 (1914)
Soloist – Ksenia Dorodova

Maurice Ravel
L'énigme éternelle, No. 2 from the cycle Deux mélodies hébraïques for voice and piano, traditional text in Yiddish
Soloist – Tatiana Bikmukhametova

Éric Satie (1866–1925)
Gymnopédie No. 1 from the cycle Trois Gymnopédies for piano, ES. 10 (1888), solo harp version
Soloist – Louisa Mintsaeva, harp

Claude Debussy
La Romance d'Ariel for voice and piano set to the verses by Paul Bourget, L. 58 (54) (1884)
Soloist – Iveta Simonyan

Ernest Chausson (1855–1899)
Le temps des lilas for voice and piano set to the verses by Maurice Bouchor (1877)
Soloist – Diana Nosyreva

Gabriel Fauré (1845–1924)
Après un rêve, No. 1 from the cycle Trois Mélodies for voice and piano set to the verses by an unknown author in French translation by Romain Bussin, Op. 7 (1877)
Soloist – Tatiana Bikmukhametova

Camille Saint-Saëns
Tournoiement (Songe d'opium), No. 6 from the cycle Mélodies Persanes for voice and piano set to the verses by Armand Renaud, Op. 26 (1870)
Soloist – Ksenia Dorodova

Claude Debussy
Beau soir for voice and piano based on poems by Paul Bourget, L. 6 (1880/1890–1891), version for voice and harp
Soloist – Yulia Vakula

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Perm Philharmonic Organ Concert Hall

Dusha grustit o nebesakh | The Soul is Sad about Heaven
concert of the Perm Opera and Ballet Theatre Choir

Chief Choirmaster and Conductor of the Perm Opera and Ballet Theatre Choir Valeria Safonova
Programme Author Vitaly Zhdanov
Choirmaster Konstantin Pogrebovsky

12+

The Perm Opera and Ballet Theatre Choir, conducted by Chief Choirmaster Valeria Safonova, presents a programme encompassing Russian music from Alexey Lvov to Georgy Sviridov.
The concert will feature mostly sacred music compositions. Next to fragments from Sergei Rachmaninoff's All-Night Vigil, traditional Russian and Georgian chants are sung based on the same prayer texts. The programme also includes a spiritual chant by Baroque violinist and composer Alexey Lvov.

The secular works of Valery Gavrilin and Georgy Sviridov naturally merge into the sound palette of the concert. Their musical structure and soulful texts are filled with the same stingy but poignant colours, the same lofty aspirations that make up the essence of the compositions intended for performance in the church. It is no coincidence that the programme is titled after Sviridov's choir The Soul is Sad about Heaven.

On the programme:

Valery Gavrilin (1939–1999)
Bely bely sneghi | White, White Snows, No. 16 from choral symphony-performance Perezvony | Chimes for soloists, large choir, oboe, percussion, and reciter (1982)
Priidite, poklonimsya | O Come, Let Us Worship, a Georgian chant for a male choir

Sergei Rachmaninoff (1873–1943)
Priidite, poklonimsya | O Come, Let Us Worship, No. 1 from Vsenoschnoye bdeniye | All-Night Vigil, Op. 37 (1915)
Bogoroditse devo radujsya | Hail Mary Full of Grace, a chant of the Voznesensky (Kremlin) Monastery for women's choir

Sergei Rachmaninoff
Bogoroditse devo radujsya | Hail Mary Full of Grace
Blagosloven yesi, Gospodi | Blessed art Thou, O Lord, No. 6 and No. 9 from the All-Night Vigil, Op. 37

Georgy Sviridov (1915–1998)
Dusha grustit o nebesakh | The Soul is Sad about Heaven set to the verses by Sergei Yesenin (1967)

Alexey Lvov (1798–1870)
Vecheri Tvoyeya tainyya | The Supper of Thy Mystery, the hymn for the Holy Thursday Liturgy

Georgy Sviridov
U berega zelyonogo | Off the Coast of Green
Chasovaya strelka blizitsya k polnochi | The Hour-hand is Nearing Midnight...
Lyubov | Love, No. 2, No. 3 and No. 4 from the cantata Nochnye oblaka | Night Clouds set to the verses of Alexander Blok (1981)
Prechistaya Devo | O Most Pure Virgin, a traditional Christmas carol

Sergei Rachmaninoff
V molitvakh neusypauschuyu Bogoroditsu | The Theotokos, Ever-Vigilant in Prayer, choral concert, TN 61 (1893)
Tebe poyom | We Sing to Thee, No. 12 from the Liturgy of St. John Chrysostom, Op. 31 (1910)

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Perm Philharmonic Organ Concert Hall

the mystery from time immemorial
sacred music concert

On the programme:
Sacred music of Russia and Europe of the 15th-17th centuries

Performers:
Uzorika vocal ensemble

Varvara Kotova
Varvara Sinitsina
Polina Terentyeva
Evgeniya Savina
Anastasia Kotova
Vasilisa Proshina

12+

The Uzorika vocal ensemble was founded in 2008, and it focuses on performing Russian sacred music from pre-Petrine era and juxtaposing it to European music of the Middle Ages and Renaissance. The ensemble has formed its own sound aesthetics based on the combination of academic professionalism with folk vocal culture. The timbre astringency and peculiar vocal techniques return the music created before the emergence of classical singing schools to its natural sound. The uniformity of the ensemble of female voices makes it possible to harmoniously perform works from those eras when men and women did not sing together in public. The ensemble constantly collaborates with musicologists specializing in medieval music, performing unpublished transcriptions and reconstructions, and pays special attention to the Word, which is of paramount importance in both European and Russian sacred music.

At the Diaghilev Festival, Uzorika will perform a programme dedicated to the spiritual chants of Russia and Europe of the 15th-17th centuries. In both cultures, this is the heyday of vocal polyphony. The European part of the programme consists of works written mainly during the Renaissance in the technique of strict style polyphony, which is both complex and transparent. After a century of fascination with exceptionally sophisticated compositional techniques, the composers, performers and listeners returned to the word, clarity and light.

Russian music is represented by the chants of the 17th century, an era of unprecedented stylistic diversity of liturgical music. In churches and at solemn festive liturgies, harsh dissonant masculine and lowercase polyphony was juxtaposed with the latest, European-influenced part-singing arrangements of Znamenny Chant and multi-part polyphonic concerts. In the 17th century, the harmonization of ancient chants reached its peak, but disappeared from liturgical practice during the era of Peter the Great's reforms.

Today, the hymnography of Ancient Russia is very rarely heard in churches and concert venues. Thus, the concert of the Uzorika ensemble, one of the few ensembles dedicated to the study of ancient Russian singing art, is an unusual, rare, and valuable listening experience.

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14.06 su
22:15

Tenebrae | Twilight

Khokhlovka Architectural and Ethnographic Museum

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15.06 mo
18:00

David Lang. the writings (Russian premiere)
choral cycle

Private Philharmonic Triumph

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15.06 mo
22:00

Concert of the musicAeterna Choir: Kurtag. Pärt

House of Music

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15.06 mo
23:55

Hexagram 31
performance by Vladimir Martynov and Tatyana Grindenko and ensemble INDEX III

Private Philharmonic Triumph

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Khokhlovka Architectural and Ethnographic Museum

Tenebrae | Twilight

Author Peter Aidu
Project Curator Gleb Glonti
Artists — Sasha Mikhalkova, Maria Dementyeva

Please pay attention:
A free shuttle bus is provided for the audience.
Meeting spot: Soldatov Palace of Culture (79 Komsomolsky Prospekt)
Pick-up time: 21:15

Duration: 60 min

12+

The Diaghilev Festival includes the Khokhlovka in its orbit, the open-air architectural and ethnographic museum 40 kilometers from Perm. The museum of wooden architecture will host a musical performance by Peter Aidu, Tenebrae.

Tenebrae is a musical piece and liturgy that reconciles a human being of the Anthropocene epoch with the surrounding biosphere. The sound here is extracted from silence and breathing and fills the entire space with a dense sonorous cloud. Tenebrae is also a musical pop art assembled from hundreds of mundane objects ranging from a baby rattle to a mobile phone and a grocery bag.

The form of the piece's performance refers us both to archaic rituals and to the 'collective actions' of the Moscow conceptualists of the 1970s, but at the same time the work remains within the framework of modern academic music: the score is precisely written, detailed timbre work is carried out, and it is distinguished by clear constructiveness. The piece is conceived as a single, continuously transforming sound, a fluid structure in which change becomes the main principle of form.

According to the author of the play, Kazimir Malevich described the constructive foundations of this work as accurately as possible in a letter to composer Mikhail Matyushin a hundred years ago: ‘modern music should go in the direction of developing expressive musical layers and should possess the length and thickness of moving musical masses in time, and that the dynamism of musical masses should be replaced by staticism, i.e. holding back musical sonorous masses from temporal evolution.’

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Private Philharmonic Triumph

David Lang. the writings
choral cycle
Russian premiere

the Diaghilev Festival and the SOUND UP Festival Collaboration

Performers:
Intrada Vocal Ensemble
Artistic Director Ekaterina Antonenko
Conductor Gleb Kardasevich

On the programme:

David Lang (b. 1957)
the writings
a cycle for mixed choir a capella (2019)

I. again (after ecclesiastes) (2005) https://davidlangmusic.com/music/again-after-ecclesiastes
II. if I am silent (2019)
III. for love is strong (2008)
IV. where you go (2015)
V. solitary (2016)
VI. again changed return https://davidlangmusic.com/music/again-after-ecclesiastes

Duration: approx. 60 min.

12+

The Moscow-based vocal ensemble Intrada is known for its masterful interpretations of a wide repertoire ranging from European and Russian Baroque music to world premieres of works from the 20th and the 21st centuries. At the Diaghilev Festival, Intrada will perform the writings choral cycle by American postminimalist composer David Lang.

Being one of the most sought-after contemporary composers in the world, David Lang easily balances academic, pop, and rock music. His desire to make academic music accessible to a wide variety of audiences led him, along with like-minded composers, to create a Bang on a Can community that takes classical music beyond traditional concert venues. Lang is the author of music for films by Darren Aronofsky, Paolo Sorrentino, and Paul Dano, an Oscar nominee, a Grammy Award winner and a Pulitzer Prize winner for the oratorio The Little Match Girl Passion.
David Lang has been creating the writings for 15 years. First, in 2005, he became interested in The Book of Ecclesiastes — the composer poetically reworked the Old Testament lines about the eternal cyclicity of the world and the vanity of human life and wrote a 6-minute meditative choral composition. On the advice of his rabbi, Lang turned to other texts of The Tanakh (Hebrew Bible) from The Writings division, which play an important role during Jewish religious holidays. In 2008, the chorus for love is strong (https://davidlangmusic.com/music/for-love-is-strong),which interprets the motifs from The Song of Songs, became part of the oratorio The Little Match Girl Passion. In 2015 the composer wrote a chorus based on a fragment from The Book of Ruth, and a year later he compiled a choral catalogue of all types of retribution for human sins from The Lamentation of Jeremiah. Finally, in 2019 he turned to The Book of Esther — a new composition if I am silent (https://davidlangmusic.com/music/if-i-am-silent) became the second part of a full-length cycle, which premiered in the same year.

A refrain of the first part completes the choral fresco of the writings. The author explains his concept as follows, ‘Much of religion is mysterious and unknowable, but these books are all about people and their emotional lives – life and death, courage, love, companionship, regret. One way to think of these five writings together is as a catalogue of human emotions, repeating endlessly, year after year. The cycle begins and ends with the movement again (after ecclesiastes). The score instructs the performers to sing it differently, the second time it is sung. The cycle, like the year, may repeat, but never exactly.’

The Russian premiere of David Lang's cycle performed by the Intrada chamber choir takes place in collaboration with the SOUND UP festival. The SOUND UP Festival of extraordinary musical events is a series of concerts created for people interested in new sounds and ideas. It has become one of the most notable Moscow musical phenomena in the past ten years. SOUND UP positions itself as a kind of guide in the world of modern music, representing modern composers and musicians working in such fields as modern classical, instrumental and experimental music, and electronics. The project curators find unexpected performance spaces and prepare a unique set design for each of them. Special events of the festival include events prepared by SOUND UP curators and guest musicians, festival ideologists, music experts, as well as collaborative concerts by Russian and foreign musicians and multimedia artists.

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House of Music

Shpagin Factory, Building A

Concert of the musicAeterna Choir: Kurtag. Pärt

On the programme:

György Kurtág (b. 1926)
Songs of Despair and Sorrow for mixed choir with instrumental accompaniment, Op. 18 (1980–1994)
So weary, so wretched to the verses by Mikhail Lermontov (1840)
Night, an empty street, a lamp, a drug-store to the verses by Alexander Blok (1912)
Blue Evening to the verses by Sergei Yesenin (1925)
Where can I go to in this January? to the verses by Osip Mandelstam (1937)
The Crucifixion to the verses by Anna Akhmatova (1939)
It's time to the verses by Marina Tsvetaeva (1941)

Arvo Pärt (b. 1935)
Miserere for soloists, mixed choir, instrumental ensemble, and organ (1989)

Performers:

The musicAeterna ChoirOrchestra and choir musicAeterna

Conductor Teodor Currentzis

12+

The programme of the musicAeterna Orchestra and Choir soloists, conducted by Teodor Currentzis, consists of major works by two contemporary composers, Hungarian master György Kurtág and Estonian master Arvo Pärt.

György Kurtág is undeniably a major figure in European music of the 20th and the 21st centuries. Few of his contemporaries have managed to find the same degree of individuality of expression, as well as a similar balance of severe self-restraint and freedom in dealing with the entire legacy of European music from Machaut to Beethoven, and from Stravinsky to Stockhausen. György Kurtág's music is both expressive and ascetic, full of secret messages to friends and composers of the past, dramatic in a theatrical sense – that is the degree to which the gestures are so sharp and eloquent.

Among the composer's favourite genre titles are 'requiem', 'tombstone', 'dedication', 'farewell'. The work on the cycle Songs of Despair and Sorrow for choir and instruments was started in 1980 and completed only in 1994. Six poems by Russian poets from Lermontov to Tsvetaeva selected by Kurtág treat the same theme in different ways, but with equal desperation – a man (the author) in the face of impending non-existence. The score includes rare instrumental timbres – a celesta, two harmoniums, four bayans, and a huge percussion group.

Arvo Pärt is an Estonian classic of the 20th and the 21st centuries. Having abandoned the musical radicalism of his youth, the composer developed his own language, bringing him closer to the minimalists, but based on his own original compositional technique, which Pärt himself called tintinnabuli, 'the method of bells.'

Miserere for soloists, choir and instrumental ensemble is one of the composer's fundamental works. The half an hour piece, completed in 1989, dramatically juxtaposes the texts of Psalm 51 and eight stanzas from the medieval sequence hymn Dies irae (Day of Wrath). Psalm 51 is performed slowly and quietly by an ensemble of soloists, with pauses separating each word from another. The composer explained this principle as follows, 'There is one breath for each word, as though after pronouncing each word one has to gather one’s strength for the next word. It's a chain that intertwines breaths and exhalations, hope and despair.' In the furious middle part of the composition, the Dies irae section, Pärt creates the effect of 'structured chaos' using the medieval technique of prolation canon, where the same theme is carried out at five different tempos. Following the question from the seventh stanza of Dies irae, 'What then shall I, unhappy man, allege? Whom shall I invoke as protector? When even the just shall hardly be secure?', the penitential psalm continues. In the finale, the eighth stanza of Dies irae sounds – contrary to the centuries-old tradition, the composer interprets it as an answered prayer, a promise of reconciliation with God.

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Private Philharmonic Triumph

Vladimir Martynov, piano
Tatyana Grindenko, violin
INDEX III
Arkady Pikunov, saxophone, live electronics
Pavel Pankovsky, live electronics

18+

Vladimir Martynov is a man of many dimensions: an outstanding composer who proclaimed the end of the age of composers, a paradoxical thinker, a connoisseur of Russian sacred music and ancient Chinese philosophy, and an indefatigable experimenter who jams with young electronic musicians.

His collaboration with the experimental neo-jazz ensemble INDEX III may be the least expected facet of a composer who turned 80 this year. Their new electroacoustic performance Hexagram 31, featuring legendary violinist Tatiana Grindenko — a longtime associate of the composer and, in his own words, the finest interpreter of his music — is an exciting sonic stream in which different musical currents converge: dark jazz, ambient, IDM, electroacoustic noise, minimalism, and modern academic music.

In the Chinese Book of Changes, the Hexagram 31 'Xian' — 'Interaction' — speaks of motivation for action, inspiration, and a sudden influx of energy aimed at bringing things together. The word 'xian' has many meanings: contact, influence, motivation, fusion, and connection — for example, the conjunction of planets in astronomy. In Ancient China, this was the name for a broken ceramic object whose matching halves functioned as a password of recognition between allies. All the shades of meaning of this hexagram accurately reflect the essence of the performance.

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16.06 tu
21:00

Vladimir Martynov. The Lamentations of Jeremiah
a book set to singing

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16.06 tu
23:30

Music for an Empty Room
chamber concert of musicAeterna soloists

Private Philharmonic Triumph

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18.06 th
18:00

SCHNITTKE LIVE (E+U). Loudspeakers Orchestra
multimedia concert with spatial audio

PERMM Museum of Modern Art

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18.06 th
21:00

SCHNITTKE LIVE (E+U). Loudspeakers Orchestra
multimedia concert with spatial audio

PERMM Museum of Modern Art

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Perm Philharmonic Organ Concert Hall

Vladimir Martynov. The Lamentations of Jeremiah
a book set to singing

Performers:
Festino Chamber Choir
Artistic Director and Conductor Alexandra Makarova

12+

Festino Chamber Choir, an independent vocal ensemble from Saint Petersburg, the winner of prestigious international competitions, has been performing early and modern music in academic concerts and theatrical productions for almost 20 years, often composed specifically for the choir. At the Diaghilev Festival, Festino will present one of the largest Russian choral works of the late 20th century, The Lamentations of Jeremiah by minimalist composer Vladimir Martynov.

The genre of the composition — a book set to singing — accurately reflects its essence. This is not just an oratorio, it is the text of The Book of Lamentations, traditionally attributed to the prophet Jeremiah, from the Old Testament, for the first time in history included in an entire musical composition. Vladimir Martynov wrote this composition for the early Russian music Sirin Ensemble counting on the non-academic voices and the specific sound culture of this legendary ensemble. In the oratorio there is nothing but melodies, the verticals are made up of a combination of melodic lines. The lines, in turn, are composed using the medieval technique of combining 'ready-made' intonation formulas — elements of Byzantine liturgical singing, Ancient Russian singing art, Balkan liturgical singing, and Gregorian chant.

The four chapters and the final prayer of The Lamentations of Jeremiah tell of the destruction of Jerusalem by the Babylonians. In the 'book set to singing', Jerusalem becomes a multi-level concept, it is the prototype of both the Christian Church and the modern world as a whole. The destruction of the world is the central idea of The Lamentations. The musical unification of various liturgical and singing traditions, symbolizing the stones of the destroyed Jerusalem, gives hope for the restoration of its integrity. ‘Tears are given to a person, as evidence of a fall, but also as a hope to regain the lost integrity someday,’ the composer explained.

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Private Philharmonic Triumph

Music for an Empty Room
chamber concert of musicAeterna soloists

On the programme:

Part 1

Cyrille Arkhipov (b. 1987)

Work of Time for violin, cello, and piano (2020)
Ekaterina Romanova – violin
Igor Botvin – cello
Nikolay Mazhara – piano

Only Changes are Not Changeable
for solo piano (2021)
Sasha Listova – piano

Distorted for two violins, viola, cello and piano (2021)
Vadim Teifikov – first violin
Ekaterina Romanova – second violin
Dinara Muratova – viola
Igor Botvin – cello
Nikolay Mazhara – piano

Alexey Retinsky (b. 1986)

Trio for violin, cello, and piano (2007)
Vadim Teifikov – violin
Igor Botvin – cello
Sasha Listova – piano

Part 2

Andreas Moustoukis (b. 1971)

Piano Quintet with voice (2006)
Evgeniya Kashirskaya – voice
Vadim Teifikov – first violin
Ekaterina Romanova – second violin
Dinara Muratova – viola
Igor Botvin – cello
Sasha Listova – piano

Duration: approx. 120 minutes, with an
intermission

16+

The concert of the musicAeterna soloists will feature chamber and instrumental music composed by three resident composers of musicAeterna and Dom Radio prior to their collaboration with musicAeterna.

The author of the idea of the concert, Andreas Moustoukis, decided to present to the public works for academic instrumentation – piano solo, piano trio, and piano quintet. The programme includes three compositions by Cyrille Arkhipov, as well as a piano trio by Alexey Retinsky, and a piano quintet written by Andreas Moustoukis in memory of Alfred Schnittke.

In such a strict field as modern academic music, not only radically different compositional strategies, stylistic and linguistic features of each of the authors become particularly clear, but also what unites them. The title of the programme contains a question that will help the audience to discover the subtle settings that bring the work of the three composers closer together, 'Does music sound when there is no one else in the room?'

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PERMM Museum of Modern Art

SCHNITTKE LIVE (E+U). Loudspeakers Orchestra
multimedia concert with spatial audio

Artistic Director and Project Author – Oleg Nesterov
Creative Producer – Sasha Ahmadshina
Director Evgeny Potapenko
Conductor of the acousmonium – Ilya SymphoCat
Video installation and set design – Dina Karaman
Designer – Arina Zhuravleva

12+

SCHNITTKE LIVE (E+U). Loudspeakers Orchestra is an audiovisual journey through the world of film music by Alfred Schnittke, one of the greatest composers of the 20th century, the author of the music for the legendary motion pictures I vsyo-taki ya veryu (And Still I Believe) by Mikhail Romm, Voskhozhdeniye (The Ascent) by Larisa Shepitko, Fantazii Faryateva (Faratyev's Fantasies) by Ilya Averbakh, Steklyannaya Garmonika (The Glass Harmonica) by Andrey Khrzhanovsky, and others. In the concerts, the music of Alfred Schnittke will be performed on the acousmonium — an orchestra of about fifty loudspeakers. Thanks to acousmonium, music begins to live in space — sound moves around listeners, creating a sense of depth and presence. The acousmonium will be conducted by a composer Ilya SymphoCat.

A journey through the world of film music for the audience will begin with a video installation with stills from films containing the music by Alfred Schnittke. The author of the video installation is Dina Karaman, a video artist and director, participant of the Venice Biennale, as well as the MIEFF, Poslaniye k Chelovyeku (The Message to Man) and Zerkalo (The Mirror) festivals.

For Schnittke, film music became a laboratory of style, a testing ground for ideas, 'One of my life's goals is to overcome the gap between 'E' (Ernste Musik, serious music) and 'U' (Unterhaltungsmusik, music for entertainment), even if I break my neck in doing so!' The composer managed to bridge this gap indeed — Schnittke used the most successful finds in film music in his academic works. The project Schnittke Live (E+U). Loudspeakers Orchestra reflects the process of cross-fertilisation between to music spheres.

In his works, Alfred Schnittke often turned to spatial audio, whether it was layered textures or varied echoes. Back in 1970, he spoke about multi-channel sound as the most important discovery that brought the live play of musical space into the sounding matter and thereby freed it from the deadness of a one-dimensional sound track.

SCHNITTKE LIVE (E+U). Loudspeakers Orchestra is the first part of Oleg Nesterov's large research project Three Degrees of Freedom: Music > cinema > USSR, focused on the phenomenon of Soviet film music. The heroes of the project are three composers — Alfred Schnittke, Oleg Karavaychuk, and Alexander Knaifel.

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PERMM Museum of Modern Art

SCHNITTKE LIVE (E+U). Loudspeakers Orchestra
multimedia concert with spatial audio

12+

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19.06 fr
20:00

Rameau. The Sound of Light. Vol. 2
Ceremony

House of Music

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19.06 fr
23:00

Ethnic music concert

Private Philharmonic Triumph

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20.06 sa
20:00

Rameau. The Sound of Light. Vol. 2
Ceremony

House of Music

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20.06 sa
23:00

The Mechanical Dog
alternative music concert

Private Philharmonic Triumph

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House of Music

Shpagin Factory, Building A

Rameau. The Sound of Light. Vol. 2
Ceremony

Musical Director and Conductor Teodor Currentzis
Stage Director Elizaveta Moroz
Choirmaster Vitaly Polonsky

Assistant Conductor Evgeny Vorobyov
Sound Engineer Marat Bariev

Choreographer Anastasia Peshkova
Production Designer Sergey Illarionov
Lighting Designer Alexander Romanov
Makeup Artist Marya Kozlova
Translator and Language Coach Anita Polikarpova
Stage Managers: Yulia Broydo
Producer Katya Karlysheva

Performers:
Artists of the Anton Rubinstein Academy
Tatiana Bikmukhametova, soprano
Ksenia Dorodova, soprano
Diana Nosyreva, soprano
Iveta Simonyan, soprano
Yulia Vakula, mezzo-soprano

Alexey Kursanov, tenor
Jak Martirosyan, baritone

musicAeterna Orchestra and Choir
musicAeterna Dance

16+

On the programme:
JEAN-PHILIPPE RAMEAU (1683–1764)

Prelude

Scene of the earthquake and choir of Incas Dans les abîmes
Opera-ballet Les Indes galantes, RCT 44 (1735)
Act II ('Les Incas du Pérou'), Scene 4

Duet of Shepherdess and Mercury Suivez les loi with the choir;
Tambourin en rondeau
Opera-ballet Les Fêtes d'Hébé, ou Les Talents lyriques, RCT 41 (1739)
Act III (La Danse), Scenes 6 and 7
The soloists:
Iveta Simonyan, soprano
Yulia Vakula, mezzo-soprano

A fragment of the overture to a musical comedy
Platée ou Junon Jalouse, RCT 53 (1745)

Air of La Folie Amour, lance tes traits
Comédie lyrique Platée ou Junon Jalouse
Act III, Scene 4
The soloist:
Yulia Vakula, mezzo-soprano

Rigaudons I and II;
contredanse and arietta of Thespis Chantons Bacchus with the choir
Comédie lyrique Platée ou Junon Jalouse
Prologue, Scene 3

Choir of the Spartans Que tout gémisse, que tout s'unisse
Tragédie en musique Castor et Pollux, RCT 32 (1737)
Act I, Scene 1

Thunderstorm scene; entrance of Mercury
Comédie lyrique Platée ou Junon Jalouse
Act I, Scene 1

Arietta of Cindor Zéphyrs, calmez la terre et l'onde with the choir
Ballet héroïque Zaïs, RCT 60 (1748)
Act II, Scene 4
The soloist:
Jak Martirosyan, baritone

The first gavotte of Graces, Pleasures and Arts; Arietta of Amour Renais plus brillante; The second minuet and tambourine of Graces, Pleasures and Arts
Tragédie en musique Castor et Pollux, RCT 32 (1737)
Prologue, scene 2
The soloist:
Alexey Kursanov, tenor

Entrance of HébéConnoissez notre puissance;
Scene of the Hébé’s suite, Pollux and Hébé’s Servant
Tragédie en musique Castor et Pollux
Act II, Scene 5
The soloists:
Tatiana Bikmukhametova, soprano
Jak Martirosyan, baritone

Passepieds of Happy Shadows I-II;
Ariette of The Other Happy Shadow Autant d'amours que de fleurs
Tragédie en musique Castor et Pollux
Act IV, Scene 2
The soloist:
Ksenia Dorodova, soprano

Arietta of the Castor Séjour de l'éternelle paix
Tragédie en musique Castor et Pollux
Act IV, Scene 1
The soloist:
Alexey Kursanov, tenor

Recitative and arietta of Phébé Castor revoit le jour, mercure le ramène / Soulevons tous les dieux
Tragédie en musique Castor et Pollux
Act V, Scene 1
The soloist:
Yulia Vakula, mezzo-soprano

Arietta of Phani Viens, Hymen
Opera-ballet Les Indes galantes
Act II ('Les Incas du Pérou'), Scene 2
The soloist:
Iveta Simonyan, soprano

Duet of Amour and Hébé Traversez les plus vastes mers with the choir
Opera-ballet Les Indes galantes
Prologue, Scene 5
The soloists:
Iveta Simonyan, soprano
Diana Nosyreva, soprano

Arietta of Hébé Musettes, résonnez with the choir; musette
Opera-ballet Les Indes galantes
Prologue, Scene 2
The soloist:
Ksenia Dorodova, soprano

Trio of Phébé, Pollux, and TélaïreSortez, sortez, d'esclavage with the choir; the scene with monsters and demons
Tragédie en musique Castor et Pollux
Act III, Scene 4
The soloists:
Tatiana Bikmukhametova, soprano
Yulia Vakula, mezzo-soprano
Andrey Nemzer, baritone

The First Gavotte of Graces, Pleasures and Arts;
ariette of Amour Renais plus brillante
Tragédie en musique Castor and Pollux, RCT 32 (1737)
Prologue, Scene 2
The soloist:
Alexey Kursanov, tenor

Minuets I and II; dances of madmen I and II
Comédie lyrique Platée ou Junon Jalouse
Act II, Scene 5

The Chaconne for Planets and Constellations;
the choir of stars Que les Cieux, que la Terre et l'Onde
Tragédie en musique Castor et Pollux
Act V, Scene 7

ChoirTendre Amour
Opera-ballet Les Indes galantes
Act III. ‘Les Fleurs, Fête persane’. Scene 7

The programme is subject to change.

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Private Philharmonic Triumph

On the programme:
Compositions by Naseer Shamma

Performers:
Naseer Shamma – Arabic oud
Carlos Piñana – flamenco guitar
Hussein Zahawy – daf, percussion

Naseer Shamma, an outstanding master of playing the classical Arabic oud, returns to the Diaghilev Festival with the ensemble. Together with colleagues from different cultural backgrounds, the musician will present his own compositions, which, like the members of the ensemble, easily cross the borders of countries and styles.

Naseer Shamma is one of the world's most famous solo performers on the al oud, an Arabic lute. He was born and educated in Iraq, but has long been a true citizen of the world. In her compositions, Shamma brings together classical Arabic traditions with the harmonies and rhythms of Spanish folk music and European classical music. His poetic pieces, often inspired by Sufi ideas, are full of thematic contrasts and incredible virtuosity. Expanding the technical possibilities of the oud, Shamma developed a new type of instrument with additional strings.

Together with Naseer Shamma, musicians who are close to him in performing skills and aesthetic beliefs will perform in Perm. Born to musical families with deep national roots – Jordanian singer, and flamenco guitarist Carlos Piñana from Cartagena, Spain – often penetrate into neighbouring musical territories in their own projects, ranging from European classics to Arabic pop music. Kurdish percussionist Hussein Zahawy owns traditional percussion instruments of many nations. He is convinced that the music of Kurdistan is part of a much wider musical world stretching from Southern Spain through North Africa, the Balkans, Greece, Anatolia, the Caucasus, and Iran all the way to India.

The concert programme is to be announced.

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House of Music

Shpagin Factory, Building A

Rameau. The Sound of Light. Vol. 2
Ceremony

Musical Director and Conductor Teodor Currentzis
Stage Director Elizaveta Moroz
Choirmaster Vitaly Polonsky

Assistant Conductor Evgeny Vorobyov
Sound Engineer Marat Bariev

Performers:
Artists of the Anton Rubinstein Academy
Tatiana Bikmukhametova, soprano
Ksenia Dorodova, soprano
Diana Nosyreva, soprano
Iveta Simonyan, soprano
Yulia Vakula, mezzo-soprano

Alexey Kursanov, tenor
Jak Martirosyan, baritone

musicAeterna Orchestra and Choir
musicAeterna Dance

16+

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Private Philharmonic Triumph

18+

Dolphin (Andrey Lysikov) has been a prominent figure in Russian music for more than 30 years, maintaining a willingness to constantly change the sound, style, and even the very form of artistic statement. His portfolio lists experiments with sound and words, concept albums, and projects that reveal themselves as sound worlds with their own atmosphere.

One of these parallel worlds is the electronic side project The Mechanical Dog. Here, Andrey Lysikov returned to the rhythms of electro, industrial, and early hip-hop music, to which he performed breakdance on the Arbat in the late 1980s and which was the beginning of his musical career. As part of this project, Dolphin has already released three full-scale albums of action-packed electronics with a cinematic atmosphere and dystopian overtones, and has also repeatedly become a headliner at major Russian electronic music festivals.

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Performance

15.06 mo
21:15

The Thicket
performance

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16.06 tu
21:15

The Thicket
performance

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17.06 we
18:00

Branko Dušić's Hypnotheatre
phantasmagoric performance

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17.06 we
21:15

The Thicket
performance

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The Thicket
performance

Directors: Anton Adasinsky, Nikita Vasiliev

Please pay attention:

• The only way to reach the venue of the performance is a free shuttle bus.
Departure time: 21:15
Meeting spot: Festival Club (Perm Art Gallery, 1 building 5 Sovetskaya Street)

• We recommend bringing warm, protective clothing, treating your clothes with tick and mosquito repellents, and wearing comfortable, waterproof shoes.

... Watching a snail on the slope...

A magical journey through an unfathomable Forest.

A small group of spectators will leave the city of Perm and travel to the unknown. It is just south of the old quarry, towards the Nizhniye Vyselki. It is an hour trip by bus. As the crow flies is much faster. The audience will witness and participate in ancient rituals. The rules are known. The words are written down. The actions are specified. Yet one doesn't know what is going to happen.

Anton Adasinsky is a stage director, theatre and film actor, musician, choreographer, member of the AVIA rock band. He performed in Vyacheslav Polunin's Litsedei theatre company, starred in films by Alexander Sokurov, and interpreted the role of Drosselmeyer in the Mariinsky Theatre's The Nutcracker directed by Mikhail Shemyakin. In 1988, Anton Adasinsky founded the physical theatre Derevo (the Tree), in which the principles of Japanese buto dance are mixed with elements of modern dance, pantomime, clowning, and many others. The theatre company stages performances and artistic actions at the most famous venues in the world, in the open air, in circuses, on the streets of cities, releases its own music albums, photo books and films.

Nikita Vasiliev is an actor and director, a graduate of the Nizhny Novgorod Theatre College and Andrey Moguchy's directing course at the Russian State Institute of Performing Arts. As an actor, he interprets the role of Kurnosy (the Pug-nosed) in Andrey Moguchy's production The Mother's Heart (BDT, St Petersburg). As a director, he has been staging performances on the BDT Educational Stage since 2021. In 2024 he directed episodes of the The Old Woman's Route project in Saint Petersburg based on Daniil Kharms's creative work, and in 2025 he worked as the main director of the project. In 2025, he staged the play The Quarter Hidden in the Foliage at the Specific Festival in Nizhny Novgorod. From 2025 to 2026, he directed episodes in the Kharms Christmas Tree project (St. Petersburg, Museum of Theatrical and Musical Art).

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Branko Dušić's Hypnotheatre
phantasmagoric performance

Stage Director Nikita Vasiliev
Artist Lyubov Polunovskaya
Playwright Yulia Kleiman,
Creative Producer Denis Cheremisinov
Producer Anna Petrova
Tour Producer Alisa Latysheva

Performers:
Vladimir Antipov (TRU Theatre, Organismy Theatre)
Egor Averin (Maly Drama Theatre, St Petersburg)
Valeria Kasyanova (graduate of Russian State Institute of Theatre Arts)
Dmitry Ryzhov (graduate of Russian State Institute of Performing Arts)

Musical accompaniment:
mader nort Creative Association

Duration: 1 hour and 45 minutes

For anyone who may be affected, please be advised that this content contains strobe effects or bright flashing lights.

World Premiere – Saint Petersburg, 2025

18+

The production staged by Nikita Vasiliev, a graduate of the Workshop of Andrey Moguchy, is a phantasmagoria based on Thomas Mann's short stories Mario and the Magician, The Clown, and Louisa. The audience finds themselves in a grotesque magical session by the Yugoslav hypnotist Branko Dušić, a cynic and a wit. He manipulates the audience's attention and his small troupe, which puts up a performance to tell the story of an unequal marriage and an unfulfilled hope.

Is it an accident or a pattern? Who is the victim and who is the aggressor? Reality turns out to be more complicated than moral constructs.

The stage director comments on the idea of the production, which balances genres between stand-up and thriller, 'In Thomas Mann's novels, I was most intrigued by the theme of will as such: lack of will or, conversely, its excess. In the directing profession, I have to manipulate other people to achieve the desired result, and I wonder if I have that right to do so. It seems that every person lives in two guises all the time – the abuser and the victim, and it depends on the circumstances what role exactly he plays.'

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17.06 we
22:00

Branko Dušić's Hypnotheatre
phantasmagoric performance

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18.06 th
21:15

The Thicket
performance

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Musical accompaniment:
mader nort Creative Association

Duration: 1 hour and 45 minutes

For anyone who may be affected, please be advised that this content contains strobe effects or bright flashing lights.

World Premiere – Saint Petersburg, 2025

18+

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Dance

13.06 sa
21:00

Diaghilev. Short Forms
modern dance programme

House of Music

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14.06 su
20:00

The Earthquake
dance performance

Soldatov Culture Palace

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15.06 mo
20:00

Francis Poulenc La Voix humaine
choreographic opera

Perm Opera and Ballet Theatre

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16.06 tu
19:00

Hora
performance

Soldatov Culture Palace

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House of Music

Shpagin Plant

Diaghilev. Short Forms
modern dance programme
world premieres

Choreographers:
Nurbak Batulla
Vladimir Varnava
Evgeny Kalachev
Ksenia Mikheyeva
Maxim Petrov
Igor Firsov

Composers:
Kirill Arkhipov
Teodor Currentzis
Andreas Moustoukis
Alexey Retinsky
Victoria Kharkevich

16+

The programme Diaghilev. Short Forms is one of the key events of the festival cycle dedicated to modern dance. This is an experiment in which modern dance has met new academic music. The experiment resulted in six world premieres: specifically for the Diaghilev Festival, well-known and aspiring Russian choreographers created six small dance performances to the music of the musicAeterna and Dom Radio resident composers.

The participants of the programme are choreographers with already formed creative style, as well as those who are at the beginning of their creative path.
Nurbak Batulla is the winner of the 2018 Golden Mask Award. He is a graduate of the Kazan Choreographic College and the Russian State Institute of Performing Arts (Saint Petersburg), a resident of the Kazan theatre MOÑ.

Vladimir Varnava has been awarded the Golden Mask twice. He made his debut as a choreographer in 2011 and since then has been actively working with state ballet theatres, independent contemporary dance companies, drama theatres, and private theatre companies in Russia and abroad.
Evgeny Kalachev is an artist of the musicAeterna Dance. He began his career at the Samara 'Scream' Dance Theatre and the Yekaterinburg 'Provincial Dances' troupe, and has staged synthetic art works for independent performers.

Ksenia Mikheyeva is a two-time winner of the Golden Mask Award in the nomination 'Best Modern Dance Performance'. A graduate from the Vaganova Academy of Russian Ballet as a choreographer, she has been a mentor and choreographer at the Boris Eifman Dance Academy since 2016, and is the founder of her own dance company, the Ksenia Mikheyeva Project.

Maxim Petrov is the artistic director of the Ural Ballet (Yekaterinburg). He is the winner of the Golden Mask Award for the ballet Russian Dead Ends-II. From 2012 to 2023, he was a dancer at the Mariinsky Theatre, and began his career as a choreographer at the Mariinsky Theatre in 2014. He has staged ballet, opera and experimental performances in state theatres and independent companies in Russia and around the world.
Igor Firsov graduated from the Moscow Provincial College of Arts with a degree in Modern Dance, participated in the 'Dance on TNT Channel' show (season 7), performs in productions by Marsel and Maria Nuriyev, the Context. Diana Vishneva Festival troupe and others.

The choreographers were invited to familiarize themselves with the music archive, which contains recordings of works created just a year or two ago within the framework of a single aesthetic union, the musicAeterna residency system, where composers create music for common projects and form a single aesthetic field. Each of the choreographers picked one of the proposed compositions by Teodor Currentzis and the resident composers of the Dom Radio — Kirill Arkhipov, Andreas Moustoukis, Alexey Retinsky, and Victoria Kharkevich — and stage a dance miniature for the performers of their choice.

The programme Diaghilev. Short Forms sets a far-reaching goal — to find an ideal synthesis of the two art forms, in which modern dance and modern academic music have equal weight and mutually enrich each other, in which there is neither a dictate of musical form, nor an applied approach to sound. The programme is also meant to answer the question of how exactly the musicAeterna sound code affects the individual creative mannerisms of different choreographers. Can it become a common language that unites not only music, but also modern dance?

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Soldatov Culture Palace

The Earthquake
dance performance
the music of Sergei Rachmaninoff

Assistant Choreographer Anastasia Peshkova
Producer Daria Tretyakova
Lighting Designer Natalia Tuzova
Costume Designer Serafima Chelina
Prop Designer Maria Filimonova
Makeup Artist Marya Kozlova
Assistant Director Alexander Shanin
musicAeterna Dance Manager Yana Murina
musicAeterna Dance Artistic Director Anna Guseva

Performers:

musicAeterna Dance
Aigulya Buzaeva
Timur Ganeyev
Evgeny Kalachev
Maxim Klochnev
Savva Korotych
Elena Lisnaya
Aisylu Mirhafizkhan
Alexey Slutsky
Daria Tagiltseva

Artists of the musicAeterna Orchestra and Choir
Sasha Listova, piano
Kirill Nifontov, tenor

16+

The musicAeterna Dance has created a new performance The Earthquake

No natural disaster, not even an earthquake, can prevent an encounter with fine art. However, gradually distortions, oddities, and absurd events creep into the familiar and understandable actions of those gathered for a traditional concert.… Will music be able to hold together the small world in which it sounds?

To ponder on this question, choreographer chose classical musical material – romances by Sergei Rachmaninoff, ‘Rachmaninoff wrote all his romances before leaving for America. After that, not a thing. Does this mean that romances point to something 'genuine' that has been lost? Do we all yearn for something 'genuine'? I don't know. I also often think about how dry and practical we are in everyday life, yet we become soft and emotional when we hear music, watch a movie, or see a dance. Turning to art is like remembering something good when life is difficult. It is not just a way to escape from reality. Memories of the 'genuine' give hope for the future.’

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Perm Opera and Ballet Theatre

Francis Poulenc
La Voix humaine
choreographic opera

Director and Choreographer Andrey Kaydanovskiy (Austria)
Conductor Karen Durgaryan, Honoured Artist of the Republic of Armenia
Set and Costume Design: Thomas Mika (Germany)
Lighting Designer Alex Brock (Netherlands)
Producer Ekaterina Barer

Performers:
Daria Pavlenko, ballerina
Yulia Matochkina, mezzo-soprano

The Perm Opera and Ballet Theatre Orchestra
Conductor Vladimir Tkachenko

Co-production by the JokerLab Company and the Alexander Spendiaryan National and Academic Opera and Ballet Theatre (Yerevan, Armenia)

World premiere – 26 April 2026

16+

The French classic of the 20th century Francis Poulenc composed the opera for a solo performer La Voix humaine in 1958. It is based on a libretto by Jean Cocteau adapted from his 1928 play of the same name. Like the dramatic mono-piece, the opera, which allows for a wide variety of stage interpretations, has become a repertory hit both in Europe and Russia.

Andrey Kaydanovskiy, one of the most notable choreographers of the 40-year-old generation, decided to combine the depth of the human voice with the desperate truth of the human body in Poulenc's opera. Trained at the junction of the Russian and European theatrical and ballet traditions, he has been working as a choreographer for more than ten years. In his productions, the grotesque harmoniously combines with tenderness, the aesthetics of theatre with the dynamics of cinema, and an understanding of traditions with a consistent search for his own idiom.

The choreographer and the director recognized two sides of the same soul in two Saint Petersburg artists — singer Yulia Matochkina and dancer Daria Pavlenko. Both are stars of the first magnitude at the international stage, each with her own unique image. Yulia Matochkina is a soloist of the Mariinsky Theatre, winner of the XV Tchaikovsky International Competition (Casta Diva Award), guest soloist of the Metropolitan Opera, the Bolshoi Theatre of Russia, La Scala Theatre, the Bavarian Opera, etc. Daria Pavlenko is an Honoured Artist of Russia, prima ballerina of the Mariinsky Theatre (until 2018), multiple winner of the Golden Mask, Golden Spotlight, as well as other awards, and a guest soloist at the Pina Bausch Tanztheater Wuppertal. What unites the two artists is an absolute lack of acting fear, a talent for sizzling frankness on stage, and a desire to get to the core.

Andrey Kaydanovskiy called his version a 'choreographic opera.' He split the recitative monologue of a woman who says goodbye to her lover on the phone, like a telephone cable, along two lines: the inner voice is given to movement, the outer to singing. As the author of the idea explains, ‘We have two characters in front of us who actually become one person. It's just like in life: after a painful separation, your heart breaks apart and pushes you into the abyss, while your head tries to make you pull yourself together. We see two views on the same story of an abandoned woman. We are witnessing a struggle between the heart and the mind. The stage action develops as an independent line and gives additional meanings to the drama by Jean Cocteau and Francis Poulenc.’

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Soldatov Culture Palace

Hora
performance by the Context. Diana Vishneva Festival dance troupe
dedicated to Sofia Naharin

Choreographer Ohad Naharin
Rehearsal Dance Coach Chen Agron
Guest Dance Coach Maria Zaplechnaya
Troupe Coach Artyom Khromykh
Lighting and Set Design: Avi Yona (Bambi) Bueno
Music, Arrangement and Performance: Isao Tomita

The performance features fragments from the compositions:
Modest Mussorgsky, In the Catacombs (No. 8 from the cycle Pictures at an Exhibition);
Joaquin Rodrigo, Concierto de Aranjuez;
Cosmic Fantasy from the film 2001: A Space Odyssey (Richard Strauss, Also sprach Zarathustra);
Richard Wagner, Walkürenritt;
Charles Ives, The Unanswered Question;
Edvard Grieg: Peer Gynt, Solveig's Song;
John Williams, Star Wars (Main Title);
Jan Sibelius: A World of Different Dimensions, Valse Triste;
Claude Debussy: Prélude à l'après-midi d'un faune, Clair de lune (No. 3 from the Suite bergamasque).

Audio visualization: Ryoji Ikeda
Sound Mastering: Nir Kleiman
Sound Design and Editing: Maxim Waratt
Costume Designer: Eri Nakamura
Bench design: Amir Raveh
Co-production of the Montpellier Dance Festival and Lincoln Center Festival, New York

World Premiere: 18 May 2009, Jerusalem Theatre, Batsheva Dance Company, Jerusalem, Israel.
Russian premiere: 6 March 2026, Yermolova Theatre, Context.Diana Vishneva Festival Moscow, Russia.

16+

The Context.Diana Vishneva Festival dance troupe presents Hora. This is a 2009 production that the renowned Israeli choreographer Ohad Naharin transferred to Moscow and staged with the dancers of the Context troupe in March 2026.

Horos is Greek for dance, round dance. For Israelis, this word has its own very important meaning: hora is a dance of the Jewish renaissance, a round dance that unites souls. Ohad Naharin's Hora is a paraphrase of this dance and his own special view on rebirth and creation.
Shira Vitali: 'In 1974, Japanese composer Isao Tomita released the album Snowflakes Are Dancing, which completely changed the canon of electronic music programming. 35 years later, Ohad Naharin presented the performance Hora, a piece for eleven dancers inspired by Tomita's music. Similar to the composer who reinterpreted familiar classical works by Claude Debussy using a synthesizer, Naharin places us between the familiar and the completely unknown. Hora is an evergreen bubble that exists outside of time and space, both natural and synthetic, permanent and continuously changing. The characters of the performance comprehend a new bodily language, which, however, is based on familiar plastic quotes. Eleven dancers embody all the beauty of the struggle for individuality, even when merging into absolute unity. Relying on folk dance, they destroy it by creating new choreographic codes; they explore the territories of the body, wanting to be manifested.'

Ohad Naharin is a choreographer and creator of Gaga movement language. Born in 1952 in Kibbutz Mizra in northern Israel, he began his dancing career with the Batsheva troupe in 1974, and made his debut as a choreographer in New York in 1980. Ten years later, Naharin was appointed Artistic Director of the Batsheva dance troupe and founded its youth company Batsheva Ensemble. He has created more than thirty works for both companies, as well as productions for other companies, including the Netherlands Dance Theatre, the ballet of the Paris Opera, Les Grands Ballets Canadiens in Montreal and many other dance troupes around the world. In addition to working on stage, Naharin developed the Gaga system, an innovative technique for studying the movements and daily training of Batsheva dancers, which has spread worldwide among both dancers and non-dancers. After almost 30 years of leading the troupe, Ohad resigned as Artistic Director in 2018, but continues to work with the company as a choreographer. Batsheva also continues to be a place for Naharin where he conducts the Gaga research, development, and teaching.

The Context dance troupe was established in 2022 on the initiative of the contemporary choreography festival Context. Diana Vishneva. The company brought together dancers who possess not only high performing technique and creative ambitions, but also a breadth of creative views and a willingness to develop and experiment. Over the four years of its existence, the dance company has presented many premieres on the stages of the Bolshoi Theatre, the Tovstonogov Bolshoi Drama Theatre, the Yermolova Theatre, the Stanislavsky Electrotheatre; and managed to work with such Russian choreographers as Pavel Glukhov, Olga Labovkina, Oleg Stepanov, Anna Shchekleina, Alexey Rukinov, Rima Pipoyan, Kirill Radev and others. The Artistic Director of the troupe is ballerina Diana Vishneva.

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