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 The ensemble constantly collaborates with musicologists specializing in medieval music, performing unpublished transcriptions and reconstructions, and pays special attention to the Word, which is of paramount importance in both European and Russian sacred music.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.

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.’

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.

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.

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.

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.

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?'

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.

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.

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.

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.

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.

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.