It is commonly believed that Anton Chekhov had Perm in mind when creating the setting of Three Sisters. The writer did not specify the site of action, but in a letter to Gorky dated 16 October 1900, he reported: '... the action takes place in a provincial town like Perm.' According to Perm local historians, the prototypes of the heroines could be the three Zimmerman sisters — Ottilia, Margarita and Evelina, prominent town residents of the Chekhov era.

The opera takes place at the fictional railway station of the town of N (Perm).  Here, three sisters are stuck waiting for a train to Moscow that will never arrive. During the performance, the audience, together with Chekhov’s heroines, will relive four days from their past, each corresponding to one act of the play. Each day consists of three monologue memories.

The sisters reflect on happiness and lost opportunities. Masha ponders the mistakes of her youth, living with an unloved husband and the impossibility of happiness with someone she loves. Olga — her own loneliness and responsibility for her family. Irina — the search for her self, her destiny, and love.

Verbatim pieces are embedded in the musical text of the opera — the direct speech of real women whose names match the names of the three sisters. In these verbatim extracts, our contemporaries reflect on the same questions as Chekhov's heroines more than a hundred years ago. The past and the present enter into a dialogue in search of an answer to the question that occupied Tuzenbach and Vershinin: can a person be happy now or 'happiness is only for our distant descendants'?


The opera was created as part of the Union of Composers of Russia residence with the support of the Ministry of Culture of the Russian Federation. Project partner: The Kolobov Novaya Opera Theatre of Moscow

Synthetic Morphology is a choreographic performance in three acts. The authors pose questions about a time that can be described as 'no longer the present, not yet the future' — a moment poised on the boundary between the familiar and the unknown. This transitional state is captured and expressed in the choreography and the connections between the performers on stage.

The central figure is a performer equipped with robotic prostheses in the form of tentacles, which alter the architecture of the human body and deprive the performer of the usual means of controlling their hands, while simultaneously opening up new expressive possibilities for choreography. Different modes of interaction with this 'entity' generate a series of metaphors describing nonlinear, hybrid forms of life and thought emerging within networks permeated by symbiotic connections. The very ability to collaborate with the Other, the unfamiliar, turns out to be one of the themes of the performance, but it is not limited to it. The authors demonstrate how different types of living beings and abstract ideas, different morphologies and world views are able to develop and act together. In the music of composer Dmitry Mazurov, this idea is supported by the connection and interaction of electronics and a 'live' accordion in the hands of a musician on stage.

It is commonly believed that Anton Chekhov had Perm in mind when creating the setting of Three Sisters. The writer did not specify the site of action, but in a letter to Gorky dated 16 October 1900, he reported: '... the action takes place in a provincial town like Perm.' According to Perm local historians, the prototypes of the heroines could be the three Zimmerman sisters — Ottilia, Margarita and Evelina, prominent town residents of the Chekhov era.

The opera takes place at the fictional railway station of the town of N (Perm).  Here, three sisters are stuck waiting for a train to Moscow that will never arrive. During the performance, the audience, together with Chekhov’s heroines, will relive four days from their past, each corresponding to one act of the play. Each day consists of three monologue memories.

The sisters reflect on happiness and lost opportunities. Masha ponders the mistakes of her youth, living with an unloved husband and the impossibility of happiness with someone she loves. Olga — her own loneliness and responsibility for her family. Irina — the search for her self, her destiny, and love.

Verbatim pieces are embedded in the musical text of the opera — the direct speech of real women whose names match the names of the three sisters. In these verbatim extracts, our contemporaries reflect on the same questions as Chekhov's heroines more than a hundred years ago. The past and the present enter into a dialogue in search of an answer to the question that occupied Tuzenbach and Vershinin: can a person be happy now or 'happiness is only for our distant descendants'?


The opera was created as part of the Union of Composers of Russia residence with the support of the Ministry of Culture of the Russian Federation. Project partner: The Kolobov Novaya Opera Theatre of Moscow

Russian Beauty is a performance manifesto about the artist's freedom and faith in art, capable of transcending borders and creating points of contact where distance used to exist. The play offers an experience in which a personal statement becomes a collective feeling.

The performance unfolds as a series of memories from the heroine’s life, in which inner discipline confronts vulnerability, and control confronts the need for both physical and psychological transformation. At its core is a personal experience that becomes universal: a reflection on the mystery of the human soul, on difference and profound similarity, on fragility and strength of spirit. Through movement, action, and presence, the heroine explores states familiar to everyone, revealing the shared human emotions hidden beneath outward differences.
Valeria Vava's choreography combines experimental dance and extreme physics, builds intense dynamics through working with the body's ultimate capabilities and risky techniques such as interacting with stage structures, ice dance, and flying on hair.

Eike Stuckenbrock’s lighting environment creates a constantly shifting space and functions as an active partner, influencing perception and rhythm.