CALENDAR
23.02–9.05
2026
2026
COMMEMORATIVE CONCERTS
15.07–14.08
2026
2026
SIRIUS Big summer music Festival
The "Sirius" Concert Center is a landmark cultural venue in Russia, a stage for large-scale festivals and performances by the GREATEST artists.
The "Sirius" Concert Center is a creative laboratory for experimentation and a workshop for classical art.
The "Sirius" Concert Center is a creative laboratory for experimentation and a workshop for classical art.
Talent and Success Educational Foundation CEO,
Sirius Federal Territory Council Chairwoman
Sirius Federal Territory Council Chairwoman
GREETING SPEECH by
E. V. SHMELEVA,
E. V. SHMELEVA,
THE GREAT MISSION
The organic nature of the Concert Center’s forms and volumes echoes the eco-friendly landscape of this unique territory. The architecture of the center is a metaphor for the silhouette of mountains and the sea, the high and the deep, a dialogue between art and nature
ARCHITECTURE
UNIQUE
The tempo and rhythm are expressed not only in the geometry of architectural forms but also in the acoustics. All spaces within the Concert Center are designed to serve a high musical culture.
The main stage, with a hall seating 1,200, features a unique, seamless orchestra shell and a transformable stage, ideal for symphony orchestra performances, festivals, and theatrical productions.
THE CHAMBER HALL, WITH 500 SEATS, IS DESIGNED FOR CONCERTS BY SMALL ENSEMBLES, CHAMBER GROUPS, AND SOLOISTS.
The center was designed and constructed following the recommendations of an international team of acoustical engineers, which includes the legendary Japanese engineer Yasuhisa Toyota, the mastermind behind the acoustic designs of the world’s finest concert venues.
The main stage, with a hall seating 1,200, features a unique, seamless orchestra shell and a transformable stage, ideal for symphony orchestra performances, festivals, and theatrical productions.
THE CHAMBER HALL, WITH 500 SEATS, IS DESIGNED FOR CONCERTS BY SMALL ENSEMBLES, CHAMBER GROUPS, AND SOLOISTS.
The center was designed and constructed following the recommendations of an international team of acoustical engineers, which includes the legendary Japanese engineer Yasuhisa Toyota, the mastermind behind the acoustic designs of the world’s finest concert venues.
ACOUSTICS
impeccable
(Mon-Fri: 9AM – 6PM)
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THE NATURE OF ART
2026 © ALL RIGHTS RESERVED
"Commemorative Concerts"
On April 12, Academic Symphony Orchestra of the Safonov North-Caucasian State Philharmonic will perform on the Main Stage of the Sirius Concert Center. It is one of the oldest symphony ensembles in Russia, dating back to 1895. Founded by the outstanding musician and educator Vasily Safonov, the orchestra has maintained the continuity of the Russian performing tradition for over a century, collaborating with leading conductors and soloists.
The concert program is structured around a comparison of two major lines of Russian musical culture—the St. Petersburg and Moscow symphonic schools. The differences between them are not only geographical but also profoundly artistic. They embody two types of musical thinking, two approaches to imagery, thematics, and orchestration.
The first half will feature works by St. Petersburg composers Nikolai Rimsky-Korsakov and his student Igor Stravinsky. Their music develops the artistic tenets of the "Mighty Handful"—a reliance on folk intonation and a nationally charged figurative structure, as well as a special attention to orchestral color and the vividness of the musical fabric.
The Svetly Prazdnik (lit. Bright Festival, Russian Easter Festival Ouverture), written on authentic themes from Orthodox hymns, embodies a complex and multilayered image of the Easter celebration. As the composer himself noted, it combines memories of Gospel events and ancient prophecies with a sense of the popular joy of the Easter service. The music clearly conveys the transition from the mysterious silence of Holy Saturday to the irrepressible joy of the Resurrection Sunday.
Suite from Stravinsky’s L’Oiseau de feu (The Firebird) ballet represents a different stage in the development of the same tradition. Created in collaboration with Sergei Diaghilev for a season of the Ballets Russes (Russian Ballets), this music became one of the first striking manifestations of the new thinking of the early 20th century. Even contemporaries noted its "fiery" sound—a pulsating energy, brightness, and astonishing richness of orchestral texture. In "Firebird," the St. Petersburg school reaches a new level: orchestral palette becomes an active formative principle, and the sound texture itself is tense and multilayered, anticipating further explorations of 20th-century music.
The second half will feature Pyotr Ilyich Tchaikovsky’s Symphony No. 5—one of the key works not only of the Moscow school but also of the world symphonic repertoire. While the first half focused on the timbre of musical thought, here the principle of symphonism, rooted in the Beethoven tradition, comes to the fore. Conflict and drama become the foundation of development: throughout the cycle, we observe the intense life of the theme and its internal transformations in collisions with contrasting images.
The symphony’s content extends beyond a specific plot and addresses fundamental questions of human existence—fate, struggle, faith, and inner transcendence. The continuous development of musical thought leads to the finale, yet its meaning remains open: is the theme of fate defeated or, on the contrary, asserts itself in the triumphant sound of the final movement?
By juxtaposing two artistic worlds, the program reveals the depth and richness of the Russian symphonic tradition—from its folk foundation and vibrant orchestral color to the culmination of the lyrical and psychological principles in Tchaikovsky's work.
The concert program is structured around a comparison of two major lines of Russian musical culture—the St. Petersburg and Moscow symphonic schools. The differences between them are not only geographical but also profoundly artistic. They embody two types of musical thinking, two approaches to imagery, thematics, and orchestration.
The first half will feature works by St. Petersburg composers Nikolai Rimsky-Korsakov and his student Igor Stravinsky. Their music develops the artistic tenets of the "Mighty Handful"—a reliance on folk intonation and a nationally charged figurative structure, as well as a special attention to orchestral color and the vividness of the musical fabric.
The Svetly Prazdnik (lit. Bright Festival, Russian Easter Festival Ouverture), written on authentic themes from Orthodox hymns, embodies a complex and multilayered image of the Easter celebration. As the composer himself noted, it combines memories of Gospel events and ancient prophecies with a sense of the popular joy of the Easter service. The music clearly conveys the transition from the mysterious silence of Holy Saturday to the irrepressible joy of the Resurrection Sunday.
Suite from Stravinsky’s L’Oiseau de feu (The Firebird) ballet represents a different stage in the development of the same tradition. Created in collaboration with Sergei Diaghilev for a season of the Ballets Russes (Russian Ballets), this music became one of the first striking manifestations of the new thinking of the early 20th century. Even contemporaries noted its "fiery" sound—a pulsating energy, brightness, and astonishing richness of orchestral texture. In "Firebird," the St. Petersburg school reaches a new level: orchestral palette becomes an active formative principle, and the sound texture itself is tense and multilayered, anticipating further explorations of 20th-century music.
The second half will feature Pyotr Ilyich Tchaikovsky’s Symphony No. 5—one of the key works not only of the Moscow school but also of the world symphonic repertoire. While the first half focused on the timbre of musical thought, here the principle of symphonism, rooted in the Beethoven tradition, comes to the fore. Conflict and drama become the foundation of development: throughout the cycle, we observe the intense life of the theme and its internal transformations in collisions with contrasting images.
The symphony’s content extends beyond a specific plot and addresses fundamental questions of human existence—fate, struggle, faith, and inner transcendence. The continuous development of musical thought leads to the finale, yet its meaning remains open: is the theme of fate defeated or, on the contrary, asserts itself in the triumphant sound of the final movement?
By juxtaposing two artistic worlds, the program reveals the depth and richness of the Russian symphonic tradition—from its folk foundation and vibrant orchestral color to the culmination of the lyrical and psychological principles in Tchaikovsky's work.
FEATURED IN THE PROGRAM:
Part 1
Nikolai Rimsky-Korsakov (1844−1908)
Svetly Prazdnik (lit. Bright Festival, Russian Easter Festival Ouverture), Oр. 36
Igor Stravinsky (1882−1971)
1919 L’Oiseau de feu (The Firebird) suite
Part II
Pyotr Ilyich Tchaikovsky (1840−1893)
Symphony No. 5 in E minor, Oр. 64
I. Andante. Allegro con anima
II. Andante cantabile, con alcuna licenza
III. Allegro moderato
IV. Andante maestoso. Allegro vivace
Part 1
Nikolai Rimsky-Korsakov (1844−1908)
Svetly Prazdnik (lit. Bright Festival, Russian Easter Festival Ouverture), Oр. 36
Igor Stravinsky (1882−1971)
1919 L’Oiseau de feu (The Firebird) suite
Part II
Pyotr Ilyich Tchaikovsky (1840−1893)
Symphony No. 5 in E minor, Oр. 64
I. Andante. Allegro con anima
II. Andante cantabile, con alcuna licenza
III. Allegro moderato
IV. Andante maestoso. Allegro vivace
Concert duration: 1 hour 50 minutes
Program subject to change
MAIN STAGE
Safonov Academic Symphony Orchestra
Symphony Concert
Symphony Concert
April
6:00
pm
pm
12
"Music Masters"
An evening of chamber music at the Sirius Concert Center will be presented by Honored Artist of Russia Alexei Massarsky (cello) and international competitions laureate Andrey Telkov (piano). Alexei Massarsky is a representative of the internationally recognized St. Petersburg Cello School, frequently performing as a soloist and ensemble player in leading concert halls in Russia and abroad. His extensive repertoire includes works from various eras and styles, from classical to contemporary music; his performance style is distinguished by an expressive sound and impeccable technique.
The program features works by three of the greatest masters of the German Romantic tradition: Felix Mendelssohn, Robert Schumann, and Johannes Brahms.
In the 19th century, the cello gradually established itself in chamber music. While in the Classical era it mainly served as the bass foundation of an ensemble, composers of the Romantic era increasingly entrusted it with leading melodic parts. Its warm, rich timbre and wide expressive range made the cello one of the most characteristic instruments of the chamber repertoire.
In the history of chamber music, the works of Mendelssohn, Schumann, and Brahms mark important stages in the genre’s development. Mendelssohn actively engaged with chamber ensembles throughout his life, continuing the classical tradition dating back to Mozart and early Beethoven; his music is distinguished by clarity of form, transparency of texture, and a subtle balance between virtuosity and ensemble interaction. With Schumann, chamber music takes on a more personal, emotionally charged character: inspired melodicism and vivid thematic expression are combined with a rich harmonic language that anticipates many discoveries of the second half of the century. In Brahms’s work, chamber genres occupy a central place and become a creative laboratory where the composer refined the principles of composition—in particular, contrapuntal thinking and developing variation of motives. His sonatas, trios, quartets, and quintets are distinguished by the scale of their conception, dense, polyphonic texture, and exceptional meticulous attention to detail.
By combining works by three composers from different generations, the program allows us to hear the evolution of chamber music—from a clear classical foundation to a profound and mature artistic form.
The program features works by three of the greatest masters of the German Romantic tradition: Felix Mendelssohn, Robert Schumann, and Johannes Brahms.
In the 19th century, the cello gradually established itself in chamber music. While in the Classical era it mainly served as the bass foundation of an ensemble, composers of the Romantic era increasingly entrusted it with leading melodic parts. Its warm, rich timbre and wide expressive range made the cello one of the most characteristic instruments of the chamber repertoire.
In the history of chamber music, the works of Mendelssohn, Schumann, and Brahms mark important stages in the genre’s development. Mendelssohn actively engaged with chamber ensembles throughout his life, continuing the classical tradition dating back to Mozart and early Beethoven; his music is distinguished by clarity of form, transparency of texture, and a subtle balance between virtuosity and ensemble interaction. With Schumann, chamber music takes on a more personal, emotionally charged character: inspired melodicism and vivid thematic expression are combined with a rich harmonic language that anticipates many discoveries of the second half of the century. In Brahms’s work, chamber genres occupy a central place and become a creative laboratory where the composer refined the principles of composition—in particular, contrapuntal thinking and developing variation of motives. His sonatas, trios, quartets, and quintets are distinguished by the scale of their conception, dense, polyphonic texture, and exceptional meticulous attention to detail.
By combining works by three composers from different generations, the program allows us to hear the evolution of chamber music—from a clear classical foundation to a profound and mature artistic form.
FEATURED IN THE PROGRAM:
Part 1
Robert Schumann (1810-1856)
Drei Phantasiestücke for Сello and Piano, Op.73
Johannes Brahms (1833-1897)
Sonata No. 2 for Cello and Piano in F major, Op.99
I. Allegro vivace
II. Adagio affettuoso
III. Allegro passionate
IV. Allegro molto
Part II
Robert Shumann (1810-1856)
Adagio and Allegro for Cello and Piano, Op. 70
Felix Mendelssohn (1809-1847)
Cello Sonata No. 2 in D major, Op. 58
I. Allegro assai vivace
II. Allegretto scherzando
III. Adagio
IV. Molto allegro e vivace
Performed by Honored Artist of Russia Alexei Massarsky (cello)
Piano part by international competitions laureate Andrei Telkov
Artistic Director of the St. Petersburg House of Music:
People's Artist of Russia, Professor Sergei Roldugin
Part 1
Robert Schumann (1810-1856)
Drei Phantasiestücke for Сello and Piano, Op.73
Johannes Brahms (1833-1897)
Sonata No. 2 for Cello and Piano in F major, Op.99
I. Allegro vivace
II. Adagio affettuoso
III. Allegro passionate
IV. Allegro molto
Part II
Robert Shumann (1810-1856)
Adagio and Allegro for Cello and Piano, Op. 70
Felix Mendelssohn (1809-1847)
Cello Sonata No. 2 in D major, Op. 58
I. Allegro assai vivace
II. Allegretto scherzando
III. Adagio
IV. Molto allegro e vivace
Performed by Honored Artist of Russia Alexei Massarsky (cello)
Piano part by international competitions laureate Andrei Telkov
Artistic Director of the St. Petersburg House of Music:
People's Artist of Russia, Professor Sergei Roldugin
Program subject to change
CHAMBER HALL
"Masters of Music" Chamber Concert
April
7:00
pm
pm
8
"Sirius Big summer music Festival"
FEATURED IN THE PROGRAM:
Part 1
Dmitri Shostakovich (1906−1975). Violin Concerto No. 2 in C-sharp minor, 1967, Op. 129
Soloist — Merited Artist of Russia Pavel Milyukov (violin)
Part 2
Sergei Rachmaninoff (1873−1943). Symphony No. 2 in E minor, 1907, Op. 27
Age category 6+
Part 1
Dmitri Shostakovich (1906−1975). Violin Concerto No. 2 in C-sharp minor, 1967, Op. 129
- Moderato — Piu mosso — Allegretto — Piu mosso
- Adagio
- Adagio — Allegro
Soloist — Merited Artist of Russia Pavel Milyukov (violin)
Part 2
Sergei Rachmaninoff (1873−1943). Symphony No. 2 in E minor, 1907, Op. 27
- Largo — Allegro moderato (ми минор)
- Allegro molto (ля минор)
- Adagio (ля мажор)
- Allegro vivace (ми мажор)
Age category 6+
MAIN STAGE
SIRIUS BIG SUMMER INTERNATIONAL MUSIC FESTIVAL OPENING
July
7:00
pm
pm
15
"Sirius Big summer music Festival"
FEATURED IN THE PROGRAM:
Pyotr Ilyich Tchaikovsky (1840−1893). "Romeo and Juliet", Ouverture-Fantasy for Orchestra based on eponymous play by Shakespeare, 1869/1870/1880, TH 42
Andante non troppo quasi moderato — Allegro — Molto meno mosso — Allegro giusto — Moderato assai
Pyotr Ilyich Tchaikovsky. "Introduction", "Panorama" and "Waltz" musicfrom 1890 ballet "Spyashchaya Krasavitsa" (The Sleeping Beauty), Op. 66
Pyotr Ilyich Tchaikovsky. Suite of music from 1877 ballet "Lebedinoye Ozero" (Swan Lake), Op. 20a
Aram Khachaturian (1903−1978). "Adagio of Spartacus and Phrygia", "Variation of Aegina" and "Bacchanalia" from 1956, 1958 and 1968 ballet "Spartak" (Spartacus), Op.82
Aram Khachaturian. 1944 Waltz from the incidental music to Mikhail Lermontov’s 1835 "Masquerade", Op.48a
Aram Khachaturian. "Lezginka" from 1941 and 1957 "Gayane" ballet music, Op.50
Age category 6+
Pyotr Ilyich Tchaikovsky (1840−1893). "Romeo and Juliet", Ouverture-Fantasy for Orchestra based on eponymous play by Shakespeare, 1869/1870/1880, TH 42
Andante non troppo quasi moderato — Allegro — Molto meno mosso — Allegro giusto — Moderato assai
Pyotr Ilyich Tchaikovsky. "Introduction", "Panorama" and "Waltz" musicfrom 1890 ballet "Spyashchaya Krasavitsa" (The Sleeping Beauty), Op. 66
Pyotr Ilyich Tchaikovsky. Suite of music from 1877 ballet "Lebedinoye Ozero" (Swan Lake), Op. 20a
Aram Khachaturian (1903−1978). "Adagio of Spartacus and Phrygia", "Variation of Aegina" and "Bacchanalia" from 1956, 1958 and 1968 ballet "Spartak" (Spartacus), Op.82
Aram Khachaturian. 1944 Waltz from the incidental music to Mikhail Lermontov’s 1835 "Masquerade", Op.48a
Aram Khachaturian. "Lezginka" from 1941 and 1957 "Gayane" ballet music, Op.50
Age category 6+
Open Stage of the Medalnaya Square
"BALLET SYMPHONY"
July
8:00
pm
pm
16
"Commemorative Concerts"
Saint Petersburg State Academic Capella Symphony Orchestra
Soloist — Merited Artist of Russia Miroslav Kultyshev (piano)
Conductor — People’s Artist of Russia Aleksandr Chernushenko
Age category 6+
Soloist — Merited Artist of Russia Miroslav Kultyshev (piano)
Conductor — People’s Artist of Russia Aleksandr Chernushenko
Age category 6+
FEATURED IN THE PROGRAM:
Part 1
Pyotr Ilyich Tchaikovsky (1840−1893). Symphony No. 5 in E minor, Or. 64 (1888)
Part 2
Pyotr Ilyich Tchaikovsky (1840−1893). Piano Concerto No. 1 in B-flat minor, Op. s23 (1874−75/1876−79/1888−90)
Performed by the Saint Petersburg Music House soloist, Merited Artist of Russia Miroslav Kultyshev (piano)
Part 1
Pyotr Ilyich Tchaikovsky (1840−1893). Symphony No. 5 in E minor, Or. 64 (1888)
- Andante — Allegro con anima
- Andante cantabile con alcuna licenza
- Valse. Allegro moderato
- Finale. Andante maestoso — Allegro vivace
Part 2
Pyotr Ilyich Tchaikovsky (1840−1893). Piano Concerto No. 1 in B-flat minor, Op. s23 (1874−75/1876−79/1888−90)
Performed by the Saint Petersburg Music House soloist, Merited Artist of Russia Miroslav Kultyshev (piano)
MAIN STAGE
PYOTR ILYICH TCHAIKOVSKY BIRTHDAY COMMEMORATION CONCERT
May
7:00
pm
pm
7
"Sirius spring music festival"
Agripina Vaganova Academy of Russian Ballet is one of the oldest ballet schools in the world. It was established back in 1738 by the Empress Anna Ioanovna herself — and ever since it’s maintaining the reputation of being one of the world best.
It is named after the great Agrippina Vaganova, who codified Russian classical ballet, emphasizing strong technique, musicality and expressiveness. This approach fosters dancers with a perfect harmony of power, fluidity and artistry, preparing them for world-class stages.
Currently the Academy is being led by the legendary ballet dancer Nikolay Tsiskaridze, who places special emphasis on the institution’s touring activities.
Age category 6+
It is named after the great Agrippina Vaganova, who codified Russian classical ballet, emphasizing strong technique, musicality and expressiveness. This approach fosters dancers with a perfect harmony of power, fluidity and artistry, preparing them for world-class stages.
Currently the Academy is being led by the legendary ballet dancer Nikolay Tsiskaridze, who places special emphasis on the institution’s touring activities.
Age category 6+
MAIN STAGE
VAGANOVA BALLET ACADEMY. WORLDWIDE PREMIERE OF THE BALLET “BALLADS” BY F. CHOPIN and THE SUITE FROM THE BALLET “DIE PUPPENFEE” (The Fairy Doll) BY J. BAYER
"Sirius spring music festival"
Agripina Vaganova Academy of Russian Ballet is one of the oldest ballet schools in the world. It was established back in 1738 by the Empress Anna Ioanovna herself — and ever since it’s maintaining the reputation of being one of the world best.
It is named after the great Agrippina Vaganova, who codified Russian classical ballet, emphasizing strong technique, musicality and expressiveness. This approach fosters dancers with a perfect harmony of power, fluidity and artistry, preparing them for world-class stages.
Currently the Academy is being led by the legendary ballet dancer Nikolay Tsiskaridze, who places special emphasis on the institution’s touring activities.
Age category 6+
It is named after the great Agrippina Vaganova, who codified Russian classical ballet, emphasizing strong technique, musicality and expressiveness. This approach fosters dancers with a perfect harmony of power, fluidity and artistry, preparing them for world-class stages.
Currently the Academy is being led by the legendary ballet dancer Nikolay Tsiskaridze, who places special emphasis on the institution’s touring activities.
Age category 6+
MAIN STAGE
VAGANOVA BALLET ACADEMY. WORLDWIDE PREMIERE OF THE BALLET “BALLADS” BY F. CHOPIN and THE SUITE FROM THE BALLET “DIE PUPPENFEE” (The Fairy Doll) BY J. BAYER