CALENDAR
15.07–14.08
2026
2026
SIRIUS Big summer music Festival
1.09–22.12
2026
2026
concerts of the season
1.06–31.08
2026
2026
Sirius – Rosa Khutor International Arts Festival
1.06–31.08
2026
2026
Sirius — Rosa Khutor International Arts Festival for Children and Youth
Musical Team of Russia
19.04–24.12
2026
2026
Educational events
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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Additional information
contacts
8 (862) 241-98-44 (5491)
THE NATURE OF ART
2026 © ALL RIGHTS RESERVED
"Sirius — Rosa Khutor International Arts Festival for Children and Youth"
As part of the "Sirius — Rosa Khutor" International Arts Festival, the Eifman Ballet of St. Petersburg will present its production of Anna Karenina, based on the novel by Leo Tolstoy and set to the music of Pyotr Ilyich Tchaikovsky.
The Eifman Ballet is one of Russia’s most recognizable dance companies, having forged its own unique language at the intersection of original choreography and the traditions of Russian psychological theater. Its productions delve into the world of human passions, aiming for a sharp, visceral connection with the audience. This brilliant fusion of sensuality, spectacle, and refined technique is a key reason behind the company’s international success, which has accompanied its performances on the world’s leading stages for decades.
In Anna Karenina, Eifman leaves aside many of the novel’s secondary plotlines to focus entirely on the love triangle between Anna, Karenin, and Vronsky. For the choreographer, the fate of Tolstoy’s heroine becomes a story of inner catastrophe triggered by passion — a passion that shatters the established order of life and the very foundation of her personality. Through body language, Eifman conveys the drama of a woman torn between her public social role and a secret life completely consumed by an overwhelming feeling.
The musical foundation of the performance is woven from fragments of Tchaikovsky’s symphonies, orchestral suites, overtures, symphonic poems, and other works. In this musical mosaic, the choreographer captured a pulse that closely aligns with Tolstoy’s drama, its confessional lyricism, and its ultimate tragic intensity.
This large-scale, bold, and spectacular production blends classical and contemporary dance to speak directly to modern audiences. Eifman brings to the stage the same agonizing questions that tormented Tolstoy, which remain just as powerful today: What happens to a person when passion supplants freedom? Can a feeling that demands sacrifices be justified by its sheer sincerity? And where is the line between one’s personal right to happiness and the guilt felt toward those whose lives are destroyed by that choice?
Age Category 12+
The Eifman Ballet is one of Russia’s most recognizable dance companies, having forged its own unique language at the intersection of original choreography and the traditions of Russian psychological theater. Its productions delve into the world of human passions, aiming for a sharp, visceral connection with the audience. This brilliant fusion of sensuality, spectacle, and refined technique is a key reason behind the company’s international success, which has accompanied its performances on the world’s leading stages for decades.
In Anna Karenina, Eifman leaves aside many of the novel’s secondary plotlines to focus entirely on the love triangle between Anna, Karenin, and Vronsky. For the choreographer, the fate of Tolstoy’s heroine becomes a story of inner catastrophe triggered by passion — a passion that shatters the established order of life and the very foundation of her personality. Through body language, Eifman conveys the drama of a woman torn between her public social role and a secret life completely consumed by an overwhelming feeling.
The musical foundation of the performance is woven from fragments of Tchaikovsky’s symphonies, orchestral suites, overtures, symphonic poems, and other works. In this musical mosaic, the choreographer captured a pulse that closely aligns with Tolstoy’s drama, its confessional lyricism, and its ultimate tragic intensity.
This large-scale, bold, and spectacular production blends classical and contemporary dance to speak directly to modern audiences. Eifman brings to the stage the same agonizing questions that tormented Tolstoy, which remain just as powerful today: What happens to a person when passion supplants freedom? Can a feeling that demands sacrifices be justified by its sheer sincerity? And where is the line between one’s personal right to happiness and the guilt felt toward those whose lives are destroyed by that choice?
Age Category 12+
Main Stage
PYOTR TCHAIKOVSKY. "ANNA KARENINA" BALLET
August
7:00
pm
pm
12
"Sirius Big summer
music Festival"
music Festival"
On August 13 and 14, as part of the Big Summer Music Festival in Sirius, the Eifman Ballet of St. Petersburg will present Rodin, Her Eternal Idol ballet, set to the music of Maurice Ravel, Camille Saint-Saëns, and Jules Massenet.
The Eifman Ballet is among the most recognizable Russian dance companies on the global stage. Its artistic style was forged at the intersection of original choreography and the traditions of Russian psychological theater, with intense emotions and complex human destinies invariably taking center stage in its productions.
The story of Auguste Rodin and Camille Claudel is one of the most dramatic narratives in turn-of-the-century art. As the great sculptor’s student, lover, and muse, Camille was his source of inspiration, a companion in his artistic discoveries, and a witness to the birth of his masterpieces. Their union lasted fifteen years, weaving together passion, jealousy, and agonizing rivalry—and alongside Rodin, Claudel experienced the rapid maturation of her own genius. However, their breakup proved fatal for her. Loneliness, poverty, mental illness, and thirty years in a psychiatric clinic became the terrible price of this love. Beauty, youth, genius — everything was sacrificed by her to the man she considered her eternal idol.
Eifman’s body language transforms this story into an intense choreographic drama about passion, inner struggle, and despair. The performance weaves together Rodin’s longing for his lost muse, his pangs of conscience, and Camille’s painful visions, in which her former teacher becomes the main culprit behind her downfall. What Rodin and Claudel embodied in bronze and marble turns on stage into an impetuous, utterly intense stream of movements.
Rodin, Her Eternal Idol is a meditation on the agony and mysteries of creation, the creative and destructive power of love, and the price an artist sometimes pays for the immortality of their creations.
Age Category 16+
The Eifman Ballet is among the most recognizable Russian dance companies on the global stage. Its artistic style was forged at the intersection of original choreography and the traditions of Russian psychological theater, with intense emotions and complex human destinies invariably taking center stage in its productions.
The story of Auguste Rodin and Camille Claudel is one of the most dramatic narratives in turn-of-the-century art. As the great sculptor’s student, lover, and muse, Camille was his source of inspiration, a companion in his artistic discoveries, and a witness to the birth of his masterpieces. Their union lasted fifteen years, weaving together passion, jealousy, and agonizing rivalry—and alongside Rodin, Claudel experienced the rapid maturation of her own genius. However, their breakup proved fatal for her. Loneliness, poverty, mental illness, and thirty years in a psychiatric clinic became the terrible price of this love. Beauty, youth, genius — everything was sacrificed by her to the man she considered her eternal idol.
Eifman’s body language transforms this story into an intense choreographic drama about passion, inner struggle, and despair. The performance weaves together Rodin’s longing for his lost muse, his pangs of conscience, and Camille’s painful visions, in which her former teacher becomes the main culprit behind her downfall. What Rodin and Claudel embodied in bronze and marble turns on stage into an impetuous, utterly intense stream of movements.
Rodin, Her Eternal Idol is a meditation on the agony and mysteries of creation, the creative and destructive power of love, and the price an artist sometimes pays for the immortality of their creations.
Age Category 16+
Main Stage
"RODEN, HER ETERNAL IDOL" BALLET
August
7:00
pm
pm
13
"Sirius Big summer
music Festival"
music Festival"
On August 13 and 14, as part of the Big Summer Music Festival in Sirius, the Eifman Ballet of St. Petersburg will present Rodin, Her Eternal Idol ballet, set to the music of Maurice Ravel, Camille Saint-Saëns, and Jules Massenet.
The Eifman Ballet is among the most recognizable Russian dance companies on the global stage. Its artistic style was forged at the intersection of original choreography and the traditions of Russian psychological theater, with intense emotions and complex human destinies invariably taking center stage in its productions.
The story of Auguste Rodin and Camille Claudel is one of the most dramatic narratives in turn-of-the-century art. As the great sculptor’s student, lover, and muse, Camille was his source of inspiration, a companion in his artistic discoveries, and a witness to the birth of his masterpieces. Their union lasted fifteen years, weaving together passion, jealousy, and agonizing rivalry—and alongside Rodin, Claudel experienced the rapid maturation of her own genius. However, their breakup proved fatal for her. Loneliness, poverty, mental illness, and thirty years in a psychiatric clinic became the terrible price of this love. Beauty, youth, genius — everything was sacrificed by her to the man she considered her eternal idol.
Eifman’s body language transforms this story into an intense choreographic drama about passion, inner struggle, and despair. The performance weaves together Rodin’s longing for his lost muse, his pangs of conscience, and Camille’s painful visions, in which her former teacher becomes the main culprit behind her downfall. What Rodin and Claudel embodied in bronze and marble turns on stage into an impetuous, utterly intense stream of movements.
Rodin, Her Eternal Idol is a meditation on the agony and mysteries of creation, the creative and destructive power of love, and the price an artist sometimes pays for the immortality of their creations.
Age Category 16+
The Eifman Ballet is among the most recognizable Russian dance companies on the global stage. Its artistic style was forged at the intersection of original choreography and the traditions of Russian psychological theater, with intense emotions and complex human destinies invariably taking center stage in its productions.
The story of Auguste Rodin and Camille Claudel is one of the most dramatic narratives in turn-of-the-century art. As the great sculptor’s student, lover, and muse, Camille was his source of inspiration, a companion in his artistic discoveries, and a witness to the birth of his masterpieces. Their union lasted fifteen years, weaving together passion, jealousy, and agonizing rivalry—and alongside Rodin, Claudel experienced the rapid maturation of her own genius. However, their breakup proved fatal for her. Loneliness, poverty, mental illness, and thirty years in a psychiatric clinic became the terrible price of this love. Beauty, youth, genius — everything was sacrificed by her to the man she considered her eternal idol.
Eifman’s body language transforms this story into an intense choreographic drama about passion, inner struggle, and despair. The performance weaves together Rodin’s longing for his lost muse, his pangs of conscience, and Camille’s painful visions, in which her former teacher becomes the main culprit behind her downfall. What Rodin and Claudel embodied in bronze and marble turns on stage into an impetuous, utterly intense stream of movements.
Rodin, Her Eternal Idol is a meditation on the agony and mysteries of creation, the creative and destructive power of love, and the price an artist sometimes pays for the immortality of their creations.
Age Category 16+
Main Stage
"RODEN, HER ETERNAL IDOL" BALLET
August
7:00
pm
pm
14
"Concerts of the season"
PROGRAM
Part 1
Dmitri Shostakovich (1906−1975)
Festive Overture
Concerto No. 1 for Piano, Trumpet, and String Orchestra in C minor, Op. 35
I. Allegro moderato
II. Lento
III. Moderato
IV. Allegro con brio
Soloists: Laureate of international competitions, soloist of the St. Petersburg House of Music Timofey Dolya (piano), Laureate of all-Russian and international competitions Ilya Lushnikov (trumpet)
Part 2
Modest Mussorgsky (1839−1881)
"Scene of the Revolt in the Forest of Kromy" from Boris Godunov (orchestrated by Dmitri Shostakovich)
Dmitri Shostakovich (1906−1975)
The Execution of Stepan Razin, cantata to the words by Yevgeny Yevtushenko for bass soloist, choir and orchestra, Op. 119
Soloist: Laureate of all-Russian and international competitions Viktor Kirillov (bass)
Part 1
Dmitri Shostakovich (1906−1975)
Festive Overture
Concerto No. 1 for Piano, Trumpet, and String Orchestra in C minor, Op. 35
I. Allegro moderato
II. Lento
III. Moderato
IV. Allegro con brio
Soloists: Laureate of international competitions, soloist of the St. Petersburg House of Music Timofey Dolya (piano), Laureate of all-Russian and international competitions Ilya Lushnikov (trumpet)
Part 2
Modest Mussorgsky (1839−1881)
"Scene of the Revolt in the Forest of Kromy" from Boris Godunov (orchestrated by Dmitri Shostakovich)
Dmitri Shostakovich (1906−1975)
The Execution of Stepan Razin, cantata to the words by Yevgeny Yevtushenko for bass soloist, choir and orchestra, Op. 119
Soloist: Laureate of all-Russian and international competitions Viktor Kirillov (bass)
Program subject to change.
Concert Duration: 1 hour 30 minutes with an intermission.
Dmitri Shostakovich is one of the most prominent domestic composers of the 20th century. According to UNESCO, he, alongside Sergei Prokofiev, ranks among the most frequently performed classical Russian composers of the past century.
The composer’s work encompasses not only all musical forms and genres — from symphonies and concertos to opera, ballet, and film scores — but also the entire moral experience of an era defined by grand turnarounds and historical cataclysms. In 20th-century music, it is difficult to find an artist who heard his time with such acuity and embodied its tragedy with such power.
The program presents Shostakovich in several dimensions. The Concerto No. 1 for Piano, Trumpet, and String Orchestra captures Shostakovich in his early years: daring, witty, and fond of musical games and challenging tradition. He approaches the classical concerto genre with complete freedom, weaving in references to Bach, Haydn, Beethoven, and early 20th-century urban life. The composer himself spoke of the right to laugh in serious music, and in this concerto, that right is brilliantly reclaimed.
Another narrative thread leads to Russian history. It is no coincidence that the program features Mussorgsky, whom Shostakovich called "an entire academy" in a human sense, in art, and in the understanding of historical drama. The "Scene of the Revolt in the Forest of Kromy" from Boris Godunov, performed in Shostakovich's orchestral revision, naturally leads into The Execution of Stepan Razin — a vocal-symphonic poem set to the poetry of Yevgeny Yevtushenko. Here, the historical plot becomes a discourse on the people: on that fine line where a faceless, inert mass gains individual faces, a voice, and the capacity for compassion. Yevtushenko’s sharp words and Shostakovich’s biting, characterful style complement each other perfectly.
The composer’s work encompasses not only all musical forms and genres — from symphonies and concertos to opera, ballet, and film scores — but also the entire moral experience of an era defined by grand turnarounds and historical cataclysms. In 20th-century music, it is difficult to find an artist who heard his time with such acuity and embodied its tragedy with such power.
The program presents Shostakovich in several dimensions. The Concerto No. 1 for Piano, Trumpet, and String Orchestra captures Shostakovich in his early years: daring, witty, and fond of musical games and challenging tradition. He approaches the classical concerto genre with complete freedom, weaving in references to Bach, Haydn, Beethoven, and early 20th-century urban life. The composer himself spoke of the right to laugh in serious music, and in this concerto, that right is brilliantly reclaimed.
Another narrative thread leads to Russian history. It is no coincidence that the program features Mussorgsky, whom Shostakovich called "an entire academy" in a human sense, in art, and in the understanding of historical drama. The "Scene of the Revolt in the Forest of Kromy" from Boris Godunov, performed in Shostakovich's orchestral revision, naturally leads into The Execution of Stepan Razin — a vocal-symphonic poem set to the poetry of Yevgeny Yevtushenko. Here, the historical plot becomes a discourse on the people: on that fine line where a faceless, inert mass gains individual faces, a voice, and the capacity for compassion. Yevtushenko’s sharp words and Shostakovich’s biting, characterful style complement each other perfectly.
Preparations for the concert began over a year ago, as the complex repertoire demanded rigorous work with the orchestra, choir, and soloists. This grand evening dedicated to Shostakovich's anniversary will mark the debut performance of the Chelyabinsk Opera and Ballet Theatre at Sirius.
Age Rating: 6+
Main Stage
TO THE 120TH ANNIVERSARY OF DMITRY SHOSTAKOVICH
September
7:00
pm
pm
11
"Concerts of the season"
Concept by: Vladimir Dosaev, Honored Cultural Worker of Russia
Music Director: Evgeny Volynsky
Libretto by: Nikolai Denisov, Honored Artist of Russia
Stage Director: Irkin Gabitov, Honored Art Worker of Russia
Set and Costume Designer: Vyacheslav Okunev, People’s Artist of Russia
Choreographer: Igor Kolb, Honored Artist of Russia
Lighting Designer: Irina Vtornikova, Honored Cultural Worker of Russia
Video Designer: Viktoria Zlotnikova
Music Director: Evgeny Volynsky
Libretto by: Nikolai Denisov, Honored Artist of Russia
Stage Director: Irkin Gabitov, Honored Art Worker of Russia
Set and Costume Designer: Vyacheslav Okunev, People’s Artist of Russia
Choreographer: Igor Kolb, Honored Artist of Russia
Lighting Designer: Irina Vtornikova, Honored Cultural Worker of Russia
Video Designer: Viktoria Zlotnikova
Running time: 2 hours 15 minutes with two intermissions.
An Opera in Three Acts by Mikhail Bogdanov
Peter the Great is, without exaggeration, one of the most grand-scale projects undertaken by the Chelyabinsk Opera and Ballet Theatre in recent years. The world premiere of the production took place in Chelyabinsk on March 22, 2025; now, the staging will be presented at Sirius for the very first time.
Less than two years before the premiere, Vladimir Dosaev — Director of the Chelyabinsk Opera and Ballet Theatre and Honored Cultural Worker of Russia — came up with the idea to create a brand-new Russian historical opera at the theatre. At first, the idea seemed audacious: it required building an opera completely from scratch — costume-heavy, visually spectacular, with an engaging plot, special effects, and beautiful, memorable music. At the same time, it had to be an opera in the truest sense of the word: featuring choruses, ensembles, recitatives, and orchestral episodes tied together by a continuous dramatic narrative.
The creators' enthusiasm was so immense that the concept was brought to life in just one year. The result is a lavish, spectacular production that unites the full forces of the opera and ballet companies, the choir, and the orchestra.
Peter the Great spans one of the most decisive periods in Russian history: from the defeat at Narva to the Battle of Poltava and the naval Battle of Gangut. Wars, court intrigues, betrayal, and pressure from European powers do not weaken Peter; instead, they reinforce his conviction in his own cause. Yet, the ruler and military commander remains deeply human. Peter’s love for Catherine serves as a continuous thread throughout the opera, with the score weaving in excerpts from his authentic letters, which are filled with warmth and tenderness.
The scenic realization of Mikhail Bogdanov’s opera follows the grand opéra tradition. The stage is filled with choir and ballet artists, while the action incorporates video projections and the sounds of artillery cannonades.
Peter the Great is, without exaggeration, one of the most grand-scale projects undertaken by the Chelyabinsk Opera and Ballet Theatre in recent years. The world premiere of the production took place in Chelyabinsk on March 22, 2025; now, the staging will be presented at Sirius for the very first time.
Less than two years before the premiere, Vladimir Dosaev — Director of the Chelyabinsk Opera and Ballet Theatre and Honored Cultural Worker of Russia — came up with the idea to create a brand-new Russian historical opera at the theatre. At first, the idea seemed audacious: it required building an opera completely from scratch — costume-heavy, visually spectacular, with an engaging plot, special effects, and beautiful, memorable music. At the same time, it had to be an opera in the truest sense of the word: featuring choruses, ensembles, recitatives, and orchestral episodes tied together by a continuous dramatic narrative.
The creators' enthusiasm was so immense that the concept was brought to life in just one year. The result is a lavish, spectacular production that unites the full forces of the opera and ballet companies, the choir, and the orchestra.
Peter the Great spans one of the most decisive periods in Russian history: from the defeat at Narva to the Battle of Poltava and the naval Battle of Gangut. Wars, court intrigues, betrayal, and pressure from European powers do not weaken Peter; instead, they reinforce his conviction in his own cause. Yet, the ruler and military commander remains deeply human. Peter’s love for Catherine serves as a continuous thread throughout the opera, with the score weaving in excerpts from his authentic letters, which are filled with warmth and tenderness.
The scenic realization of Mikhail Bogdanov’s opera follows the grand opéra tradition. The stage is filled with choir and ballet artists, while the action incorporates video projections and the sounds of artillery cannonades.
At the same time, the opera is packed with vivid, expressive melodies — a feature that Vladimir Dosaev, the author of the idea, insisted upon from the very beginning. Created under his leadership, Peter the Great was designed to be accessible and engaging for a wide variety of audiences, including those visiting an opera house for the first time. The composer fully embraced this approach. "While composing this opera, I was once again convinced of the truth in the simple words of my teacher, Tikhon Khrennikov: 'You need a beautiful melody,'" says Mikhail Bogdanov. "I strove to make my music accessible and understandable to any modern listener."
Age Rating: 12+
Main Stage
MIKHAIL BOGDANOV. "PETER THE GREAT" OPERA
September
6:00
pm
pm
12
"Concerts of the season"
Choreography: Marius Petipa, Alexander Gorsky
Choreographer (New Production): Yuri Vyskubenko
Music Director: Evgeny Volynsky
Conductor: Vyacheslav Gubanov
Set Designer: Sergei Barkhin, People’s Artist of the Russian Federation
Costumes: based on designs by Vasily Dyachkov
Video Designer: Dmitry Ivanchenko
Lighting Designer: Ekaterina Dolinina
Choreographer (New Production): Yuri Vyskubenko
Music Director: Evgeny Volynsky
Conductor: Vyacheslav Gubanov
Set Designer: Sergei Barkhin, People’s Artist of the Russian Federation
Costumes: based on designs by Vasily Dyachkov
Video Designer: Dmitry Ivanchenko
Lighting Designer: Ekaterina Dolinina
Running time: 2 hours 10 minutes with one intermission.
A Ballet in Two Acts by Ludwig Minkus
The masterpiece of Ludwig Minkus well deserves "the most joyful and sparkling of all ballets" title. Don Quixote transports the audience to sun-drenched Spain — a land of toreros and street dancers, guitars and tambourines, fandangos and boleros. High-spirited dances, virtuoso tricks, humor, and romance turn the performance into a true celebration, not only for ballet enthusiasts but for the dancers themselves.
The premiere of Don Quixote at the Chelyabinsk Opera and Ballet Theatre took place on February 13th, 2021. The production is staged using the sets, costumes, and props from the Bolshoi Theatre of Russia, originally created for its 1999 production. The works of outstanding designers Sergei Barkhin and Vasily Dyachkov have found a second life on the Chelyabinsk stage: hundreds of costume elements, hats, fans, capes, ballet tutus, stage props, and massive scenic structures.
The new choreographic version was created by the Chief Choreographer of the Chelyabinsk Theatre, Yuri Vyskubenko. For him, Don Quixote is tied to a powerful personal impression left by Alexei Fadeyechev’s production at the Bolshoi Theatre. It is this very feeling of joy and delight that he has brought to life in his own version.
The choreographer carefully preserves the roles of Kitri and Basilio, including the famous Grand Pas de Deux, without which this ballet is unimaginable. At the same time, new details have been introduced into the performance: a vibrant jig, a humorous scene in the tavern, and a romantic adagio for the main characters. Rather than disrupting the classical nature of Don Quixote, these episodes only add to the production’s scenic charm.
The masterpiece of Ludwig Minkus well deserves "the most joyful and sparkling of all ballets" title. Don Quixote transports the audience to sun-drenched Spain — a land of toreros and street dancers, guitars and tambourines, fandangos and boleros. High-spirited dances, virtuoso tricks, humor, and romance turn the performance into a true celebration, not only for ballet enthusiasts but for the dancers themselves.
The premiere of Don Quixote at the Chelyabinsk Opera and Ballet Theatre took place on February 13th, 2021. The production is staged using the sets, costumes, and props from the Bolshoi Theatre of Russia, originally created for its 1999 production. The works of outstanding designers Sergei Barkhin and Vasily Dyachkov have found a second life on the Chelyabinsk stage: hundreds of costume elements, hats, fans, capes, ballet tutus, stage props, and massive scenic structures.
The new choreographic version was created by the Chief Choreographer of the Chelyabinsk Theatre, Yuri Vyskubenko. For him, Don Quixote is tied to a powerful personal impression left by Alexei Fadeyechev’s production at the Bolshoi Theatre. It is this very feeling of joy and delight that he has brought to life in his own version.
The choreographer carefully preserves the roles of Kitri and Basilio, including the famous Grand Pas de Deux, without which this ballet is unimaginable. At the same time, new details have been introduced into the performance: a vibrant jig, a humorous scene in the tavern, and a romantic adagio for the main characters. Rather than disrupting the classical nature of Don Quixote, these episodes only add to the production’s scenic charm.
Don Quixote will serve as the grand finale of the Chelyabinsk Opera and Ballet Theatre’s tour at Sirius.
Age Rating: 12+
Main Stage
LUDWIG MINKUS. "DON QUIXOTE" BALLET
September
6:00
pm
pm
13
"Sirius — Rosa Khutor International Arts Festival for Children and Youth"
From August 24th to 28th, the Sirius — Rosa Khutor International Arts Festival for Children and Youth will host GITIS Residency, dedicated to the 90th anniversary of Academician Lyudmila Alekseevna Verbitskaya’s birth. It will bring together GITIS Faculty of New Directions in Performing Arts students from the workshop of People's Artist of Russia Natalia Blagikh and young participants of Sirius. Russian literature will serve as a starting point for their theatrical practice — working with words, voice, body, imagination, and partner interaction specifics.
Lyudmila A. Verbitskaya is an outstanding philologist, Russian linguist, and a Doctor of Philology. Her professional work has made an invaluable contribution to preserving the purity of the Russian language, whilst her selfless service to own native culture turned into a benchmark for many generations. The residency, dedicated to her memory, explores Russian poetry and prose from the 1940s to the present day.
The classes will focus on working with texts by various authors: searching for living meanings and adapting literary material for the theatrical space. Over the course of several days, project participants will practice acting, stage movement, and stage speech under the guidance of experienced instructors from the institute.
The residency will culminate in a "Devotion" Musical and Literary Performance — an outcome of collaboration between GITIS students and Sirius participants. It will merge commemoration of Lyudmila Verbitskaya with one of Sirius' key ideas: supporting the continuity of generations and creating a space where art and culture open up new professional opportunities for the youth.
Residency Teachers
Tatyana B. Morozova — Acting
Actress, Director, Teacher, and Senior Lecturer at GITIS Acting Department
Tatyana graduated from GITIS Acting Department in 2003 (workshop of People’s Artist of Russia Boris A. Morozov), joining the Russian Army Theater the same year. Over the years, Ms. Morozova has created many characters for a wide range of roles. She’s back at GITIS since 2015, teaching classes in various workshops, leading master classes and international schools. In 2026, Tatyana will start teaching a course at the GITIS branch in Blagoveshchensk.
Robert A. Elkibaev — Stage Movement
Associate Professor at VGIK Gerasimov Institute of Cinematography, Senior Lecturer at GITIS, Theater and Film Fight Choreographer, Movement Director, Actor, and Stuntman.
Robert annually leads master classes at international and national festivals and works as a teacher at GITIS Schools.
Tatyana I. Vasilyeva — Stage Speech
Senior Lecturer at GITIS Stage Speech Department, Film and Television Actress
In 2008, Tatyana graduated from the GITIS Acting Department (workshop of People’s Artist of the USSR Vladimir A. Andreyev). In 2014, Ms. Vasilyeva completed her postgraduate studies at GITIS and has since taught Stage Speech at the Acting, Directing, Theater Studies, Musical Theater, and New Trends in Performing Arts departments. Tatyana is a mentor at GITIS Schools, leads master classes at national and international festivals, and teaches at the GITIS Center for Continuous Education.
Age Rating: 17+
Lyudmila A. Verbitskaya is an outstanding philologist, Russian linguist, and a Doctor of Philology. Her professional work has made an invaluable contribution to preserving the purity of the Russian language, whilst her selfless service to own native culture turned into a benchmark for many generations. The residency, dedicated to her memory, explores Russian poetry and prose from the 1940s to the present day.
The classes will focus on working with texts by various authors: searching for living meanings and adapting literary material for the theatrical space. Over the course of several days, project participants will practice acting, stage movement, and stage speech under the guidance of experienced instructors from the institute.
The residency will culminate in a "Devotion" Musical and Literary Performance — an outcome of collaboration between GITIS students and Sirius participants. It will merge commemoration of Lyudmila Verbitskaya with one of Sirius' key ideas: supporting the continuity of generations and creating a space where art and culture open up new professional opportunities for the youth.
Residency Teachers
Tatyana B. Morozova — Acting
Actress, Director, Teacher, and Senior Lecturer at GITIS Acting Department
Tatyana graduated from GITIS Acting Department in 2003 (workshop of People’s Artist of Russia Boris A. Morozov), joining the Russian Army Theater the same year. Over the years, Ms. Morozova has created many characters for a wide range of roles. She’s back at GITIS since 2015, teaching classes in various workshops, leading master classes and international schools. In 2026, Tatyana will start teaching a course at the GITIS branch in Blagoveshchensk.
Robert A. Elkibaev — Stage Movement
Associate Professor at VGIK Gerasimov Institute of Cinematography, Senior Lecturer at GITIS, Theater and Film Fight Choreographer, Movement Director, Actor, and Stuntman.
Robert annually leads master classes at international and national festivals and works as a teacher at GITIS Schools.
Tatyana I. Vasilyeva — Stage Speech
Senior Lecturer at GITIS Stage Speech Department, Film and Television Actress
In 2008, Tatyana graduated from the GITIS Acting Department (workshop of People’s Artist of the USSR Vladimir A. Andreyev). In 2014, Ms. Vasilyeva completed her postgraduate studies at GITIS and has since taught Stage Speech at the Acting, Directing, Theater Studies, Musical Theater, and New Trends in Performing Arts departments. Tatyana is a mentor at GITIS Schools, leads master classes at national and international festivals, and teaches at the GITIS Center for Continuous Education.
Age Rating: 17+
PROGRAM
August 24
Master classes by disciplines:
"Acting"
Attention, imagination, and fantasy training. Teamwork on stage.
Participants will focus on the foundations of stage presence. Particular attention will be paid to the acting ensemble work: a sense of partnership and the creation of a harmonious stage space.
"Stage Movement"
Individual and paired movement training
Participants will focus on their body’s capabilities: coordination, control, and expressiveness. In paired interaction, participants will learn to sense and support their partner, adapt, and trust them in the space of onstage interaction.
"Stage Speech"
Tension Relief is the Foundation of Confident Performance
During the class, participants will work with active body freedom and the release of physical and psychological tension. As part of the speech and voice training, special attention will be paid to relieving tension in the muscles of the pharyngeal articulation, sound production, as well as external articulation and diction.
August 25−27
Rehearsals
August 28
August 24
Master classes by disciplines:
"Acting"
Attention, imagination, and fantasy training. Teamwork on stage.
Participants will focus on the foundations of stage presence. Particular attention will be paid to the acting ensemble work: a sense of partnership and the creation of a harmonious stage space.
"Stage Movement"
Individual and paired movement training
Participants will focus on their body’s capabilities: coordination, control, and expressiveness. In paired interaction, participants will learn to sense and support their partner, adapt, and trust them in the space of onstage interaction.
"Stage Speech"
Tension Relief is the Foundation of Confident Performance
During the class, participants will work with active body freedom and the release of physical and psychological tension. As part of the speech and voice training, special attention will be paid to relieving tension in the muscles of the pharyngeal articulation, sound production, as well as external articulation and diction.
August 25−27
Rehearsals
August 28
Presenting "Devotion" Musical and Literary Performance, dedicated to the 90th anniversary of Lyudmila Verbitskaya’s birth.
Sirius Concert Center
GITIS Russian Institute of Theatre Arts Residency at SIRIUS
August
24-28
"Sirius — Rosa Khutor International Arts Festival for Children and Youth"
The Summer Academy of the Saint Petersburg Music House is a unique program where young Russian soloists prepare for international competitions, honing their mastery under the guidance of world-class mentors and performing in concerts.
The Academy takes place from July to August and features three two-week sessions. This year, masterclasses are being held for violin, cello, piano, flute, oboe, clarinet, and trombone. According to Sergei Roldugin, the Artistic Director of the St. Petersburg Music House, they select exceptionally talented young people who go on to win international competitions as early as autumn.
A special highlight of this milestone 10th Summer Academy is its engagement with the public. Performances take place at the chamber venues of the Sirius Concert Center and the Rosa Hall Concert Complex. For these young musicians — most of whom are alumni of the Sirius Educational Center’s Arts Programs — this is an opportunity to show their achievements. Some of them are already familiar with the stage of the new Concert Center. For the evening’s guests, it is a unique chance to hear the very artists who are set to conquer the leading Russian and international stages in the coming years.
The Summer Academy is truly a place where future stars are born.
The Academy takes place from July to August and features three two-week sessions. This year, masterclasses are being held for violin, cello, piano, flute, oboe, clarinet, and trombone. According to Sergei Roldugin, the Artistic Director of the St. Petersburg Music House, they select exceptionally talented young people who go on to win international competitions as early as autumn.
A special highlight of this milestone 10th Summer Academy is its engagement with the public. Performances take place at the chamber venues of the Sirius Concert Center and the Rosa Hall Concert Complex. For these young musicians — most of whom are alumni of the Sirius Educational Center’s Arts Programs — this is an opportunity to show their achievements. Some of them are already familiar with the stage of the new Concert Center. For the evening’s guests, it is a unique chance to hear the very artists who are set to conquer the leading Russian and international stages in the coming years.
The Summer Academy is truly a place where future stars are born.
Age Rating: 6+
Rosa Hall Small Hall
GALA CONCERT OF YOUNG SOLOISTS: FLUTE, CELLO, PIANO
August
6:30
pm
pm
12
"Sirius — Rosa Khutor International Arts Festival for Children and Youth"
The Summer Academy of the Saint Petersburg Music House is a unique program where young Russian soloists prepare for international competitions, honing their mastery under the guidance of world-class mentors and performing in concerts.
The Academy takes place from July to August and features three two-week sessions. This year, masterclasses are being held for violin, cello, piano, flute, oboe, clarinet, and trombone. According to Sergei Roldugin, the Artistic Director of the St. Petersburg Music House, they select exceptionally talented young people who go on to win international competitions as early as autumn.
A special highlight of this milestone 10th Summer Academy is its engagement with the public. Performances take place at the chamber venues of the Sirius Concert Center and the Rosa Hall Concert Complex. For these young musicians — most of whom are alumni of the Sirius Educational Center’s Arts Programs — this is an opportunity to show their achievements. Some of them are already familiar with the stage of the new Concert Center. For the evening’s guests, it is a unique chance to hear the very artists who are set to conquer the leading Russian and international stages in the coming years.
The Summer Academy is truly a place where future stars are born.
The Academy takes place from July to August and features three two-week sessions. This year, masterclasses are being held for violin, cello, piano, flute, oboe, clarinet, and trombone. According to Sergei Roldugin, the Artistic Director of the St. Petersburg Music House, they select exceptionally talented young people who go on to win international competitions as early as autumn.
A special highlight of this milestone 10th Summer Academy is its engagement with the public. Performances take place at the chamber venues of the Sirius Concert Center and the Rosa Hall Concert Complex. For these young musicians — most of whom are alumni of the Sirius Educational Center’s Arts Programs — this is an opportunity to show their achievements. Some of them are already familiar with the stage of the new Concert Center. For the evening’s guests, it is a unique chance to hear the very artists who are set to conquer the leading Russian and international stages in the coming years.
The Summer Academy is truly a place where future stars are born.
Age Rating: 6+
Chamber Hall
GALA CONCERT OF YOUNG SOLOISTS: VIOLIN, PIANO, CLARINET, OBOE
August
7:00
pm
pm
27
"Sirius — Rosa Khutor International Arts Festival for Children and Youth"
The Summer Academy of the Saint Petersburg Music House is a unique program where young Russian soloists prepare for international competitions, honing their mastery under the guidance of world-class mentors and performing in concerts.
The Academy takes place from July to August and features three two-week sessions. This year, masterclasses are being held for violin, cello, piano, flute, oboe, clarinet, and trombone. According to Sergei Roldugin, the Artistic Director of the St. Petersburg Music House, they select exceptionally talented young people who go on to win international competitions as early as autumn.
A special highlight of this milestone 10th Summer Academy is its engagement with the public. Performances take place at the chamber venues of the Sirius Concert Center and the Rosa Hall Concert Complex. For these young musicians — most of whom are alumni of the Sirius Educational Center’s Arts Programs — this is an opportunity to show their achievements. Some of them are already familiar with the stage of the new Concert Center. For the evening’s guests, it is a unique chance to hear the very artists who are set to conquer the leading Russian and international stages in the coming years.
The Summer Academy is truly a place where future stars are born.
The Academy takes place from July to August and features three two-week sessions. This year, masterclasses are being held for violin, cello, piano, flute, oboe, clarinet, and trombone. According to Sergei Roldugin, the Artistic Director of the St. Petersburg Music House, they select exceptionally talented young people who go on to win international competitions as early as autumn.
A special highlight of this milestone 10th Summer Academy is its engagement with the public. Performances take place at the chamber venues of the Sirius Concert Center and the Rosa Hall Concert Complex. For these young musicians — most of whom are alumni of the Sirius Educational Center’s Arts Programs — this is an opportunity to show their achievements. Some of them are already familiar with the stage of the new Concert Center. For the evening’s guests, it is a unique chance to hear the very artists who are set to conquer the leading Russian and international stages in the coming years.
The Summer Academy is truly a place where future stars are born.
Age Rating: 12+
Rosa Hall Small Hall
GALA CONCERT OF YOUNG SOLOISTS: VIOLIN, PIANO, CLARINET, OBOE
August
6:30
pm
pm
28
"Educational events"
Countries: Norway, Spain
Year: 2023
Running Time: 55 minutes
Languages: Spanish, Norwegian, English
Translation: Russian subtitles
Genres: Documentary
Age Rating: 12+
Director: Morrosko Vila-San-Juan
Through the story of the construction of the new Munch Museum in Oslo, carried out for over twelve years by a small Spanish architecture studio, estudioHerreros, we discover the astonishing transformation of the Norwegian capital. What should museums of the future be like? And cities? And how should we live in them?
The film’s central character is the new Munch Museum in Oslo, which opened in 2021 and sparked heated debate with its unconventional and ambitious architecture. Now a cultural hub, it has transformed the shores of the Oslofjord from an industrial port into a magnet for locals and tourists alike; a building filled with masterpieces and permeated with light thanks to the use of glass and recycled perforated aluminum. The project’s architects, Juan Herreros and Jens Richter; sculptor Tracey Emin, who created a colossal female figure symbolically representing Munch’s mother; and all the staff, from the cashiers to the director, are passionate about a common idea: to create a museum of the future in Norway's capital that will touch people’s hearts as much as the Edvard Munch paintings it houses.
Link to the original text: https://api.coolconnections.ru/films/more-than-a-museum
Age Rating: 12+
Year: 2023
Running Time: 55 minutes
Languages: Spanish, Norwegian, English
Translation: Russian subtitles
Genres: Documentary
Age Rating: 12+
Director: Morrosko Vila-San-Juan
Through the story of the construction of the new Munch Museum in Oslo, carried out for over twelve years by a small Spanish architecture studio, estudioHerreros, we discover the astonishing transformation of the Norwegian capital. What should museums of the future be like? And cities? And how should we live in them?
The film’s central character is the new Munch Museum in Oslo, which opened in 2021 and sparked heated debate with its unconventional and ambitious architecture. Now a cultural hub, it has transformed the shores of the Oslofjord from an industrial port into a magnet for locals and tourists alike; a building filled with masterpieces and permeated with light thanks to the use of glass and recycled perforated aluminum. The project’s architects, Juan Herreros and Jens Richter; sculptor Tracey Emin, who created a colossal female figure symbolically representing Munch’s mother; and all the staff, from the cashiers to the director, are passionate about a common idea: to create a museum of the future in Norway's capital that will touch people’s hearts as much as the Edvard Munch paintings it houses.
Link to the original text: https://api.coolconnections.ru/films/more-than-a-museum
Age Rating: 12+
Sirius University Atom Hall
"More than a museum"
August
6:00
pm
pm
15
"Educational events"
Countries: Italy
Year: 2021
Running Time: 53 minutes
Languages: Italian, French, English
Translation: Russian subtitles
Genres: Documentary
Age Rating: 12+
Directors: Claudia Adragnia, Davide Fois, Francesca Molteni
This is a meditative journey into the world of one of the most renowned architectural firms of our time. Shot with the same love for beauty with which Renzo Piano speaks about architecture, the film immerses the viewer in the atmosphere of studios in Genoa and Paris, as well as construction sites around the world — in Europe, Asia, and America.
However, this is not a portrait of a person, but a living chronicle of the life and work of an entire team. Renzo Piano appears rarely on screen — the center stage is taken by the team, for whom architecture is a constant movement, exploration, and dialogue. The film consistently reveals the RPBW method, observing the firm’s projects at various stages of their implementation. Five locations, three continents, different social and environmental contexts, united by a single philosophy: to create spaces in which you want to live and work. Inside the studios we observe the reign of a surprising calm and tranquility, uncharacteristic of large companies — the spirit that inspires creativity.
Overall this film is not so much about architecture, but rather on how harmony is born — in details, in dialogues, in the silence of workshops where thought turns into form.
Link to the original text: https://api.coolconnections.ru/films/inside-renzo-piano-building-workshop
Age Rating: 12+
Year: 2021
Running Time: 53 minutes
Languages: Italian, French, English
Translation: Russian subtitles
Genres: Documentary
Age Rating: 12+
Directors: Claudia Adragnia, Davide Fois, Francesca Molteni
This is a meditative journey into the world of one of the most renowned architectural firms of our time. Shot with the same love for beauty with which Renzo Piano speaks about architecture, the film immerses the viewer in the atmosphere of studios in Genoa and Paris, as well as construction sites around the world — in Europe, Asia, and America.
However, this is not a portrait of a person, but a living chronicle of the life and work of an entire team. Renzo Piano appears rarely on screen — the center stage is taken by the team, for whom architecture is a constant movement, exploration, and dialogue. The film consistently reveals the RPBW method, observing the firm’s projects at various stages of their implementation. Five locations, three continents, different social and environmental contexts, united by a single philosophy: to create spaces in which you want to live and work. Inside the studios we observe the reign of a surprising calm and tranquility, uncharacteristic of large companies — the spirit that inspires creativity.
Overall this film is not so much about architecture, but rather on how harmony is born — in details, in dialogues, in the silence of workshops where thought turns into form.
Link to the original text: https://api.coolconnections.ru/films/inside-renzo-piano-building-workshop
Age Rating: 12+
Sirius University Atom Hall
"Inside Renzo Piano Building Workshop"
August
6:00
pm
pm
16
"Educational events"
Discussion Topics
The work of the French composer Claude Debussy is one of the pinnacles of world musical culture. Debussy embodies the spirit of France: it would be difficult to find an artist who is more French. All the essential traits of the national character coalesce here. He was like a fragrant flower, the embodiment of a charming, refined, feminine form of creativity with its inherent qualities: capriciousness, elusiveness, changeability… And at the same time, Debussy is a great musical figure; his work, with a purely French touch, gives a sad synopsis of a beautiful and tragic period in the history of Western European music, which reached its lowest point after the First World War. New rhythms, ideas, and emotions were about to come on stage, and Debussy allowed us to enjoy the old culture, its former beauty and charm, for the last time.
The leading Russian musicologist and critic Leonid Sabaneyev wrote of him: "In Debussy, the old culture freezes in pre-sunset contemplation…" Indeed, Debussy’s French volatility is a manifestation of the "fatigue" of Western European culture. The end is near… and we must embrace it with dignity, gazing into the last rays of the orange sun.
During the lecture, attendees will be introduced to Claude Debussy’s famous works — Preludes for piano, Pelléas et Mélisande opera, La Mer symphonic sketches, and the Violin Sonata (violin and piano, FL 148).
Age Rating: 6+
The work of the French composer Claude Debussy is one of the pinnacles of world musical culture. Debussy embodies the spirit of France: it would be difficult to find an artist who is more French. All the essential traits of the national character coalesce here. He was like a fragrant flower, the embodiment of a charming, refined, feminine form of creativity with its inherent qualities: capriciousness, elusiveness, changeability… And at the same time, Debussy is a great musical figure; his work, with a purely French touch, gives a sad synopsis of a beautiful and tragic period in the history of Western European music, which reached its lowest point after the First World War. New rhythms, ideas, and emotions were about to come on stage, and Debussy allowed us to enjoy the old culture, its former beauty and charm, for the last time.
The leading Russian musicologist and critic Leonid Sabaneyev wrote of him: "In Debussy, the old culture freezes in pre-sunset contemplation…" Indeed, Debussy’s French volatility is a manifestation of the "fatigue" of Western European culture. The end is near… and we must embrace it with dignity, gazing into the last rays of the orange sun.
During the lecture, attendees will be introduced to Claude Debussy’s famous works — Preludes for piano, Pelléas et Mélisande opera, La Mer symphonic sketches, and the Violin Sonata (violin and piano, FL 148).
Age Rating: 6+
Chamber Hall
"Claude Debussy: In Pre-Sunset Contemplation"
August
1:00
pm
pm
23
"Educational events"
Discussion Topics
Alexander Konstantinovich Glazunov (1865−1936) was one of the last representatives of the Russian symphonic school. He was influenced by two of the greatest symphonists of the 19th century: Alexander Porfiryevich Borodin and Pyotr Ilyich Tchaikovsky. For many years, Glazunov was part of the famous "triumvirate of professors" at the St. Petersburg Conservatory: Nikolai Rimsky-Korsakov, Anatoly Lyadov, and himself. Glazunov’s style as a composer was based on classical canons, and the priority of melodic development was unwavering for him. Glazunov led a measured and unhurried life; he composed music in a blissful mood; creativity was not a means of earning a living. He loved classical art and admired poetry and literature. His favorite musical genre was symphony — the grand Russian symphony. During the lecture, listeners will learn about the central works of Alexander K. Glazunov: Symphony No.5, Symphony No.6, Symphony No.8, and the "Raymonda" ballet.
Age Rating: 6+
Alexander Konstantinovich Glazunov (1865−1936) was one of the last representatives of the Russian symphonic school. He was influenced by two of the greatest symphonists of the 19th century: Alexander Porfiryevich Borodin and Pyotr Ilyich Tchaikovsky. For many years, Glazunov was part of the famous "triumvirate of professors" at the St. Petersburg Conservatory: Nikolai Rimsky-Korsakov, Anatoly Lyadov, and himself. Glazunov’s style as a composer was based on classical canons, and the priority of melodic development was unwavering for him. Glazunov led a measured and unhurried life; he composed music in a blissful mood; creativity was not a means of earning a living. He loved classical art and admired poetry and literature. His favorite musical genre was symphony — the grand Russian symphony. During the lecture, listeners will learn about the central works of Alexander K. Glazunov: Symphony No.5, Symphony No.6, Symphony No.8, and the "Raymonda" ballet.
Age Rating: 6+
Chamber Hall
"Alexander Glazunov: The Spirit of Russia"
August
5:00
pm
pm
23
"Educational events"
Discussion Topics
How does art influence modern thinking? Can music actually enhance intelligence? Dina Kirnarskaya’s lecture explores innovative approaches to education, where artistic experience serves as a powerful tool for developing creativity and mental flexibility.
The discussion will focus on contemporary art practices. We will look at practical assignments that are not based on traditional spatial, logical, or mathematical approaches, relying instead on visual arts and music. It is precisely here — through engagement with artistic material — that students unlock their intellectual and creative potential, develop own intuition, associative thinking, and a sense of style.
We will explore what makes art practices a distinct alternative to conventional educational tasks and discuss how art can become an integral part of the modern learning process.
Age Rating: 6+
How does art influence modern thinking? Can music actually enhance intelligence? Dina Kirnarskaya’s lecture explores innovative approaches to education, where artistic experience serves as a powerful tool for developing creativity and mental flexibility.
The discussion will focus on contemporary art practices. We will look at practical assignments that are not based on traditional spatial, logical, or mathematical approaches, relying instead on visual arts and music. It is precisely here — through engagement with artistic material — that students unlock their intellectual and creative potential, develop own intuition, associative thinking, and a sense of style.
We will explore what makes art practices a distinct alternative to conventional educational tasks and discuss how art can become an integral part of the modern learning process.
Age Rating: 6+
About the lecturer
Dina Konstantinovna Kirnarskaya is one of the leading experts in the field of music psychology, with two Doctor of Sciences in Art History, as well as in Psychological Sciences, and later an Academic Professorship title.
Her research lies at the intersection of psychology and musical art, focusing on musical talent, its structure, and learning methods.
Dr. Kirnarskaya is the author of Classical Music for Everyone (featuring a preface by Vladimir Ashkenazy) and The Musical Ability (featuring a preface by Gennady Rozhdestvensky). She has dedicated a number of years to developing scientific and educational projects supported by the Russian Ministries of Culture and Education.
Dina Konstantinovna was also involved in setting up the UNESCO Chair and the Faculty of Production at the Gnesin Russian Academy of Music, which trains cultural sector specialists.
Dina Konstantinovna Kirnarskaya is one of the leading experts in the field of music psychology, with two Doctor of Sciences in Art History, as well as in Psychological Sciences, and later an Academic Professorship title.
Her research lies at the intersection of psychology and musical art, focusing on musical talent, its structure, and learning methods.
Dr. Kirnarskaya is the author of Classical Music for Everyone (featuring a preface by Vladimir Ashkenazy) and The Musical Ability (featuring a preface by Gennady Rozhdestvensky). She has dedicated a number of years to developing scientific and educational projects supported by the Russian Ministries of Culture and Education.
Dina Konstantinovna was also involved in setting up the UNESCO Chair and the Faculty of Production at the Gnesin Russian Academy of Music, which trains cultural sector specialists.
Chamber Hall
"Art and Music at the Service of Intellect and Creativity"
October
7:00
pm
pm
1
"Educational events"
Discussion Topics
The creative work of Dmitri Dmitriyevich Shostakovich represents a monumental chapter in the history of modern 20th-century Russian music. His introverted mind was capable of encompassing vast expanses, yet Shostakovich’s central theme was about relations of an individual and society — portrayed as an inexhaustible abyss filled with doubts, suffering, and fleeting, luminous memories. His works serves as a sort of the "diary" of the period, as he witnessed many of the terrifying events of the past century’s domestic history: revolutions, world wars, and severe social conflicts. Every single piece by Shostakovich is a "document of the era".
At the twilight of his creative journey, Shostakovich connected with the artistic worlds of Ludwig van Beethoven and Richard Wagner, as if cementing his own place in the "avenue of sphinxes" alongside the world’s greatest composers.
During the lecture, listeners will explore Dmitri Shostakovich’s most iconic works, including the Fourth Symphony, the Fifth Symphony, the famous Seventh "Leningrad" Symphony, the Fifteenth Symphony, the Sonata for Viola and Piano, and other major compositions.
Age Rating: 6+
The creative work of Dmitri Dmitriyevich Shostakovich represents a monumental chapter in the history of modern 20th-century Russian music. His introverted mind was capable of encompassing vast expanses, yet Shostakovich’s central theme was about relations of an individual and society — portrayed as an inexhaustible abyss filled with doubts, suffering, and fleeting, luminous memories. His works serves as a sort of the "diary" of the period, as he witnessed many of the terrifying events of the past century’s domestic history: revolutions, world wars, and severe social conflicts. Every single piece by Shostakovich is a "document of the era".
At the twilight of his creative journey, Shostakovich connected with the artistic worlds of Ludwig van Beethoven and Richard Wagner, as if cementing his own place in the "avenue of sphinxes" alongside the world’s greatest composers.
During the lecture, listeners will explore Dmitri Shostakovich’s most iconic works, including the Fourth Symphony, the Fifth Symphony, the famous Seventh "Leningrad" Symphony, the Fifteenth Symphony, the Sonata for Viola and Piano, and other major compositions.
Age Rating: 6+
Chamber Hall
"Dimitri Shostakovich: Witness of the Era"
September
7:00
pm
pm
23
"Educational events"
Discussion Topics
Masterpieces of Giuseppe Verdi are rich with Italian spirit…
Verdi is opera. Opera is Italy. These thoughts inevitably echo in the minds of the great Italian’s admirers all around the world. His music is played somewhere across the globe every single day, possibly even every hour, as he is one of the most frequently performed opera composers. For many music lovers, opera is first and foremost associated with Verdi. He did not become a performing artist as he once dreamed, but has attained genuine fame on a global scale. Generation after generation of musicians return to rediscovering his music anew again and again; herein lies his power and his extraordinary ability to touch even the most hardened of hearts. Verdi was a great humanist. His characters are ordinary people, full of passion and disillusionment, fervor and turmoil. Verdi’s worldview brings to mind the famous line of Alexander Pushkin, "…and calling mercy upon the fallen," for he believed in ultimate justice for everyone. His art is filled with kindness and compassion. During the lecture, listeners will discover Giuseppe Verdi’s most famous operas: Rigoletto, Il Trovatore, La Traviata, Un Ballo in Maschera, and Aida.
Age Rating: 6+
Masterpieces of Giuseppe Verdi are rich with Italian spirit…
Verdi is opera. Opera is Italy. These thoughts inevitably echo in the minds of the great Italian’s admirers all around the world. His music is played somewhere across the globe every single day, possibly even every hour, as he is one of the most frequently performed opera composers. For many music lovers, opera is first and foremost associated with Verdi. He did not become a performing artist as he once dreamed, but has attained genuine fame on a global scale. Generation after generation of musicians return to rediscovering his music anew again and again; herein lies his power and his extraordinary ability to touch even the most hardened of hearts. Verdi was a great humanist. His characters are ordinary people, full of passion and disillusionment, fervor and turmoil. Verdi’s worldview brings to mind the famous line of Alexander Pushkin, "…and calling mercy upon the fallen," for he believed in ultimate justice for everyone. His art is filled with kindness and compassion. During the lecture, listeners will discover Giuseppe Verdi’s most famous operas: Rigoletto, Il Trovatore, La Traviata, Un Ballo in Maschera, and Aida.
Age Rating: 6+
Chamber Hall
"Giuseppe Verdi: Calling Mercy Upon the Fallen"
October
5:00
pm
pm
18
"Educational events"
Discussion Topics
Georges Bizet’s Carmen is the only French opera ranked among the top ten most popular classical opera masterpieces in the world. It is known worldwide, even by people who have never set foot in a theater. And they don’t just know it — they love it. And for good reason.
On September 6, an hour and a half before the Nizhny Novgorod Opera and Ballet Theatre will start performing it on the Main Stage of the Sirius Concert Center, we will have the opportunity to delve into the details that explain this enduring love.
Music critic Artem Vargaftik will guide the audience through the literary source material of the story, the fate of its composer (which was closely intertwined with the destiny of his final and greatest opera), the circumstances surrounding its premiere, and the journey of how this masterpiece built its legendary reputation.
Naturally, the discussion will also cover the most famous production traditions — our Chamber Hall offers us a chance to project and view several stage and film adaptations of Carmen. All of this will be certainly done without jumping ahead or spoiling the secrets that the Nizhny Novgorod theatre production will unveil later that same evening, immediately following the introductory lecture.
Age Rating: 6+
Georges Bizet’s Carmen is the only French opera ranked among the top ten most popular classical opera masterpieces in the world. It is known worldwide, even by people who have never set foot in a theater. And they don’t just know it — they love it. And for good reason.
On September 6, an hour and a half before the Nizhny Novgorod Opera and Ballet Theatre will start performing it on the Main Stage of the Sirius Concert Center, we will have the opportunity to delve into the details that explain this enduring love.
Music critic Artem Vargaftik will guide the audience through the literary source material of the story, the fate of its composer (which was closely intertwined with the destiny of his final and greatest opera), the circumstances surrounding its premiere, and the journey of how this masterpiece built its legendary reputation.
Naturally, the discussion will also cover the most famous production traditions — our Chamber Hall offers us a chance to project and view several stage and film adaptations of Carmen. All of this will be certainly done without jumping ahead or spoiling the secrets that the Nizhny Novgorod theatre production will unveil later that same evening, immediately following the introductory lecture.
Age Rating: 6+
About the Speaker
Artem M. Vargaftik is a music critic, television and radio host, and cellist whose name for many is synonymous with classical music education. His voice is well known to listeners of "Mayak" and "Radio Rossii. Kultura" country-wide broadcasters, while TV viewers recognize him as the long-time creator and host of Partitury Ne Goryat (Scores Don’t Burn) and Orkestrovaya Yama (The Orchestra Pit)programs. The latter are the reason for Artem Vargaftik being twice awarded by Russia’s prestigious "TEFI" television prize.
Artem Mikhailovich possesses a rare gift for speaking about classical music clearly, engagingly, and without oversimplification. His vast experience as a music commentator and his long-standing collaboration with the Moscow State Philharmonic make him a key figure in any music education and outreach project.
Artem M. Vargaftik is a music critic, television and radio host, and cellist whose name for many is synonymous with classical music education. His voice is well known to listeners of "Mayak" and "Radio Rossii. Kultura" country-wide broadcasters, while TV viewers recognize him as the long-time creator and host of Partitury Ne Goryat (Scores Don’t Burn) and Orkestrovaya Yama (The Orchestra Pit)programs. The latter are the reason for Artem Vargaftik being twice awarded by Russia’s prestigious "TEFI" television prize.
Artem Mikhailovich possesses a rare gift for speaking about classical music clearly, engagingly, and without oversimplification. His vast experience as a music commentator and his long-standing collaboration with the Moscow State Philharmonic make him a key figure in any music education and outreach project.
Chamber Hall
BIZET'S CARMEN
September
4:30
pm
pm
6
"Educational events"
Discussion Topics
September 25 marks the 120th anniversary of the birth of Dmitri Shostakovich.
Dmitri Shostakovich is not only a recognized genius of the 20th century and a global classical master, but also — as he is often called — the "most quartet-oriented composer" of the entire century. How come? The composer has spent half his life writing his 15 string quartets, which form a completely distinct line in his creative destiny. We can also add to this that everything most precious, closest to his heart, and deeply personal that Shostakovich shared in his music can be found precisely in his quartets.
Those who compared them to the composer’s diaries were absolutely right — Shostakovich did not actually keep diaries, trusting only his music. Here we find dedications to friends, loved ones, and family, reflecting the special relationships that bound the author to these people, alongside his own inner struggles, confessions, pain, anxiety, and the search for peace.
More than half a century ago, the Taneyev Quartet of St. Petersburg (then Leningrad) lineup became the first to perform the Fifteenth Quartet that would later turn out to be Shostakovich’s final work in this genre.
September 25 marks the 120th anniversary of the birth of Dmitri Shostakovich.
Dmitri Shostakovich is not only a recognized genius of the 20th century and a global classical master, but also — as he is often called — the "most quartet-oriented composer" of the entire century. How come? The composer has spent half his life writing his 15 string quartets, which form a completely distinct line in his creative destiny. We can also add to this that everything most precious, closest to his heart, and deeply personal that Shostakovich shared in his music can be found precisely in his quartets.
Those who compared them to the composer’s diaries were absolutely right — Shostakovich did not actually keep diaries, trusting only his music. Here we find dedications to friends, loved ones, and family, reflecting the special relationships that bound the author to these people, alongside his own inner struggles, confessions, pain, anxiety, and the search for peace.
More than half a century ago, the Taneyev Quartet of St. Petersburg (then Leningrad) lineup became the first to perform the Fifteenth Quartet that would later turn out to be Shostakovich’s final work in this genre.
Who better than today’s generation of the Taneyev Quartet, in the year of their ensemble’s 80th anniversary, to remind us of selected pages from Dmitri Dmitrievich’s quartet masterpieces? These are precisely the nuances that elevate these scores to true masterpieces. The concert will feature pieces from Quartets No. 1, 8, 11, 12, 13, 14, and 15. Meanwhile, the Seventh Quartet — the shortest of all — will be performed in its entirety.
Age Rating: 6+
About the Speaker
Artem M. Vargaftik is a music critic, television and radio host, and cellist whose name for many is synonymous with classical music education. His voice is well known to listeners of "Mayak" and "Radio Rossii. Kultura" country-wide broadcasters, while TV viewers recognize him as the long-time creator and host of Partitury Ne Goryat (Scores Don’t Burn) and Orkestrovaya Yama (The Orchestra Pit)programs. The latter are the reason for Artem Vargaftik being twice awarded by Russia’s prestigious "TEFI" television prize.
Artem Mikhailovich possesses a rare gift for speaking about classical music clearly, engagingly, and without oversimplification. His vast experience as a music commentator and his long-standing collaboration with the Moscow State Philharmonic make him a key figure in any music education and outreach project.
About the Quartet
The Taneyev Quartet was founded in 1946 at the Leningrad Conservatory. In 1951, it became the official string quartet of the Leningrad Philharmonic, and in 1963, the ensemble was named after the prominent composer Sergei Ivanovich Taneyev.
Over the decades of its performance history the quartet has given more than 6,000 concerts and recorded over 150 works for radio and recording studios. The ensemble has shared the stage with such legendary musicians as David Oistrakh, Sviatoslav Richter, Mstislav Rostropovich, Eliso Virsaladze, Bella Davidovich, and many other outstanding artists.
Following the 2007 passing of its lifelong first violinist Vladimir Ovcharek, the quartet welcomed new members from Russia’s well-known Academic Symphony Orchestra of the St. Petersburg Philharmonia. Having studied under their predecessors, they proudly carry on the finest traditions of chamber music performance.
The current lineup of the Taneyev Quartet maintains an active concert schedule both in Russia and abroad. They are regular guests at major music festivals, including the Taneyev Festival, Muzykalnaya Ekspeditsiya (Musical Expedition) and La Folle Journée (Crazy Days), and continue to record a wide variety of chamber works.
Artem M. Vargaftik is a music critic, television and radio host, and cellist whose name for many is synonymous with classical music education. His voice is well known to listeners of "Mayak" and "Radio Rossii. Kultura" country-wide broadcasters, while TV viewers recognize him as the long-time creator and host of Partitury Ne Goryat (Scores Don’t Burn) and Orkestrovaya Yama (The Orchestra Pit)programs. The latter are the reason for Artem Vargaftik being twice awarded by Russia’s prestigious "TEFI" television prize.
Artem Mikhailovich possesses a rare gift for speaking about classical music clearly, engagingly, and without oversimplification. His vast experience as a music commentator and his long-standing collaboration with the Moscow State Philharmonic make him a key figure in any music education and outreach project.
About the Quartet
The Taneyev Quartet was founded in 1946 at the Leningrad Conservatory. In 1951, it became the official string quartet of the Leningrad Philharmonic, and in 1963, the ensemble was named after the prominent composer Sergei Ivanovich Taneyev.
Over the decades of its performance history the quartet has given more than 6,000 concerts and recorded over 150 works for radio and recording studios. The ensemble has shared the stage with such legendary musicians as David Oistrakh, Sviatoslav Richter, Mstislav Rostropovich, Eliso Virsaladze, Bella Davidovich, and many other outstanding artists.
Following the 2007 passing of its lifelong first violinist Vladimir Ovcharek, the quartet welcomed new members from Russia’s well-known Academic Symphony Orchestra of the St. Petersburg Philharmonia. Having studied under their predecessors, they proudly carry on the finest traditions of chamber music performance.
The current lineup of the Taneyev Quartet maintains an active concert schedule both in Russia and abroad. They are regular guests at major music festivals, including the Taneyev Festival, Muzykalnaya Ekspeditsiya (Musical Expedition) and La Folle Journée (Crazy Days), and continue to record a wide variety of chamber works.
*This material is sourced from the official website of the Shostakovich St. Petersburg Philharmonia.
Chamber Hall
DMITRI SHOSTAKOVICH
September
7:00
pm
pm
7
"Musical Team of Russia"
The "Musical Team of Russia" cycle introduces a new generation of performers from around the country — brilliant young soloists who are set to shape the future of the Russian school of performing arts. Since 2007, the project’s concerts have featured musicians preparing for major competitions as well as those already returning from them with victories. The stars of the September 16 evening will be violinist Ravil Islyamov and double bassist Arseniy Gazizov.
Ravil Islyamov is one of the most prominent young Russian violinists. A graduate of the Central Music School and the Moscow Conservatory, he is a winner of the All-Russian Music Competition, the Youth Delphic Games of Russia, and the Internationalen Beethoven-Violinwettbewerbs (International Beethoven Violin Competition) in Austria. In 2023, Islyamov was awarded the Second Prize at the 17th International Tchaikovsky Competition. The musician has been collaborating with the St. Petersburg Music House since 2017 and has performed at Sirius multiple times within its concert cycles.
Arseniy Gazizov is rightfully called one of the most brilliant and promising double bass players of his generation. He graduated from the Rimsky-Korsakov St. Petersburg State Conservatory and is continuing his education at the Hochschule für Musik Hanns Eisler Berlin. He plays in the Russian National Youth Symphony Orchestra under the direction of Yuri Bashmet and is a member of the St. Petersburg Philharmonic Orchestra. His accolades include the Platinum Prize at the London Young Musicians competition and the Second Prize at the Karl Ditters von Dittersdorf International Double Bass Competition. In 2022 at Sirius, he became the first in the world to perform the highly demanding cello part from Shostakovich’s Cello Concerto No. 1 on the double bass.
Ravil Islyamov is one of the most prominent young Russian violinists. A graduate of the Central Music School and the Moscow Conservatory, he is a winner of the All-Russian Music Competition, the Youth Delphic Games of Russia, and the Internationalen Beethoven-Violinwettbewerbs (International Beethoven Violin Competition) in Austria. In 2023, Islyamov was awarded the Second Prize at the 17th International Tchaikovsky Competition. The musician has been collaborating with the St. Petersburg Music House since 2017 and has performed at Sirius multiple times within its concert cycles.
Arseniy Gazizov is rightfully called one of the most brilliant and promising double bass players of his generation. He graduated from the Rimsky-Korsakov St. Petersburg State Conservatory and is continuing his education at the Hochschule für Musik Hanns Eisler Berlin. He plays in the Russian National Youth Symphony Orchestra under the direction of Yuri Bashmet and is a member of the St. Petersburg Philharmonic Orchestra. His accolades include the Platinum Prize at the London Young Musicians competition and the Second Prize at the Karl Ditters von Dittersdorf International Double Bass Competition. In 2022 at Sirius, he became the first in the world to perform the highly demanding cello part from Shostakovich’s Cello Concerto No. 1 on the double bass.
The soloists will showcase their instruments in both signature and unexpected repertoires. Ravil Islyamov will turn to the music of Sergei Slonimsky and virtuosic works by Karol Szymanowski and Henryk Wieniawski, while Arseniy Gazizov will perform César Franck’s famous Violin Sonata arranged for double bass. The piano accompaniment in both parts of the concert will be performed by international competition laureate Timofey Dolya.
Age Rating: 6+
CHAMBER HALL
MUSICAL TEAM OF RUSSIA
PROGRAM
Part 1
César Franck (1822−1890) — Iosif Gertovich (1887−1953)
Sonata for Violin and Piano in A major, FWV 8 (arranged for double bass)
I. Allegretto ben moderato
II. Allegro
III. Recitativo-Fantasia. Ben moderato
IV. Allegretto poco mosso
Performed by the international competitions laureate Arseniy GAZIZOV (double bass)
Piano accompaniment by the international competitions laureate Timofey DOLYA
Part 2
Sergei Slonimsky (1932−2020)
Sonata for Violin and Piano, Op. 1
I. Andante
II. Scherzo
III. Nocturne
IV. Finale
Concert Waltz for Violin and Piano
Karol Szymanowski (1882−1937)
Nocturne and Tarantella for Violin and Piano, Op. 28
Henryk Wieniawski (1835−1880)
Fantasia on Themes from Gounod’s Faust, Op. 20
Performed by the laureate of the 17th International Tchaikovsky Competition Ravil Islyamov (violin)
Piano accompaniment by the international competitions laureate Timofey Dolya
The Artistic Director of the St. Petersburg Music House is People’s Artist of Russia, Professor Sergei Roldugin
Part 1
César Franck (1822−1890) — Iosif Gertovich (1887−1953)
Sonata for Violin and Piano in A major, FWV 8 (arranged for double bass)
I. Allegretto ben moderato
II. Allegro
III. Recitativo-Fantasia. Ben moderato
IV. Allegretto poco mosso
Performed by the international competitions laureate Arseniy GAZIZOV (double bass)
Piano accompaniment by the international competitions laureate Timofey DOLYA
Part 2
Sergei Slonimsky (1932−2020)
Sonata for Violin and Piano, Op. 1
I. Andante
II. Scherzo
III. Nocturne
IV. Finale
Concert Waltz for Violin and Piano
Karol Szymanowski (1882−1937)
Nocturne and Tarantella for Violin and Piano, Op. 28
Henryk Wieniawski (1835−1880)
Fantasia on Themes from Gounod’s Faust, Op. 20
Performed by the laureate of the 17th International Tchaikovsky Competition Ravil Islyamov (violin)
Piano accompaniment by the international competitions laureate Timofey Dolya
The Artistic Director of the St. Petersburg Music House is People’s Artist of Russia, Professor Sergei Roldugin
Program subject to change.
Running time: 1 hour 40 minutes with an intermission.
September
7:00
pm
pm
16