SIRIUS FEDERAL TERRITORY, 5
CHAMPIONOV STREET

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

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.

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Sirius Concert
Center

SIRIUS FEDERAL
TERRITORY, 5
ChampionOV Street

"Russian National Youth Symphony Orchestra"

Opening of the Russian National Youth Symphony Orchestra SIRIUS Residency

The first day of summer at Sirius will mark the beginning of a new musical story: the Russian National Youth Symphony Orchestra will open its residency with a vibrant program aimed at young listeners and anyone discovering the world of classical music.

The RNYSO is a unique ensemble and the largest youth project in Russian orchestral culture, bringing together young performers from across the country. The orchestra was founded in 2018 with the support of the Presidential Grants Fund and the Ministry of Culture of the Russian Federation; the project is curated by the Moscow Philharmonic. The RNYSO combines artistic, educational, and outreach goals, and collaboration with leading conductors, soloists, and teachers offers young musicians unprecedented professional experience.

The evening’s program is designed as a fascinating introduction to various genres of symphonic music. The concert will feature an overture, an opera suite, a virtuoso piece for soloist and orchestra, an instrumental concerto, and a musical guide created especially for young listeners. Each genre will be represented by exemplary pages from Russian and foreign classics.
Mozart, Tchaikovsky, Rimsky-Korsakov, and, of course, the ultimate classic — Bach — will set the stage for a fascinating conversation about the orchestra for both those new to the classics and the well-versed ones. The evening will be narrated by Yaroslav Timofeev, the Master of Ceremonies at the Moscow Philharmonic and author of concert cycles, a professional speaking about the classics clearly, precisely, and engagingly.

Age Category 6+

PROGRAM

Felix Mendelssohn (1809–1847)
“Ein Sommernachtstraum” (A Midsummer Night's Dream) concert overture, Oр. 21
 
Wolfgang Amadeus Mozart (1756–1791)
Piano Concerto No. 20 in D minor, КV 466
I. Allegro
Soloist – Kirill Rogovoy

Nikolai Rimsky-Korsakov (1844–1908)
“Skazka o Tsare Saltane ” (The Tale of Tsar Saltan) opera
Act 1 intro: “Proshchaniye I Otyezd Tsarya Saltana” (The Tsar's Farewell and Departure)– Act 3: “Polyot Shmelya” (Flight of the Bumblebee) orchestral interlude – Act 4 intro: “Tri Chuda” (The Three Wonders)
 
Pyotr Ilyich Tchaikovsky (1840–1893)
Valse-Scherzo in C major for violin and orchestra, Oр. 34
Soloist – Elena Tarosyan

Johann Sebastian Bach (1685–1750) Toccata and Fugue in D minor, BWV 565  
Benjamin Britten (1913–1976) “The Young Person's Guide to the Orchestra”Variations and Fugue on a Theme of Henry Purcell, Oр. 34

Concert Duration 1 hour 30 min

Program subject to change

MAIN STAGE

June

7:00
pm

1

"Russian National Youth Symphony Orchestra"

RNYSO soloists and artists

Performer lineup:
Nikolay Konakov (percussion)
Vladislav Shumikhin (percussion)
Mikhail Lavrenyuk (percussion)
Alexey Bruni (percussion)
Maria Vasilyeva (percussion)

Naina Kobzareva (violin)
Ivan Kuznetsov (violin)
Semyon Pakhomovich (viola)
Anna Kucherova (viola)
Vladislav Almakayev (cello)
Matvey Sobolev (cello)

Master of Ceremonies — Ilya Repenak


The Russian National Youth Symphony Orchestra’s residency at Sirius will continue with a chamber concert, "A Hopscotch of the Classics". This time, the focus will be on the orchestra’s soloists and small ensembles.
The RNYSO brings together young musicians from across Russia. It is a rare example of an orchestra-academy, where rehearsals, creative sessions, and master classes become part of a unified professional process. The musicians work with mentors from leading Russian ensembles—from the Svetlanov State Symphony Orchestra to the Bolshoi and Mariinsky Theaters. Today, over a hundred RNYSO alumni are already working in the country’s best orchestras, upholding the prestige of the orchestral musician profession.

The concert’s title aptly conveys its concept. "A Hopscotch of the Classics" invites us to reflect, with a smile, on a serious matter: what do we even call classical music, and why do some works become firmly established in the repertoire, while others remain on its fringes? Would Ravel sound "classical" in a marimba arrangement? Can Tchaikovsky, Koshinsky, Broström, Xenakis, and Psathas be placed side by side—and hear between them not a gap, but a vibrant musical dialogue?

The witty juxtaposition of the two sections will allow us to see classical music not as a closed list of names, but as a fluid territory where tradition, experimentation, recognizable beauty, and the excitement of performance coexist. Listeners will explore where classical music ends and performance begins with the concert’s host, Ilya Repenak, artistic director of the Russian National Music Society.

Age Category 6+

PROGRAM

Part 1

Maurice Ravel (1875−1937)
Introduction and Allegro for Harp, Flute, Clarinet and String Quartet

Pyotr Ilyich Tchaikovsky (1840−1893)
"Souvenir de Florence" string sextet in D minor, Oр. 70
 

Part 2

Maurice Ravel (1875−1937)
"Alborada del gracioso" (The Jester’s Aubade) from Mirroir suite for piano (arranged for two marimbas)

GeneKoshinski (born 1980)
"Song and Dance" for percussion duo

Tobias Broström (born 1978)
"Twilight" for quartet of marimbas

Iannis Xenakis (1922−2001)
"Rebonds B" for solo percussion

John Psathas (born 1966)
"Kyoto" for percussion quintet

 

Concert Duration 1 hour 40 min.

Program subject to change

Chamber Hall

"A HOPSCOTCH OF THE CLASSICS"

June

7:00
pm

2

"Musical Team of Russia"

"Musical Team of Russia" series is continued by "Tribute to Tchaikovsky" Chamber Concert of soloists from Saint Petersburg Music House presenting a new generation of Russian performers—winners of international competitions and participants in major musical projects.

The name of Pyotr Ilyich Tchaikovsky occupies a special place in world culture. His music is remarkably universal: the composer created works that have become pinnacles in virtually every genre—from opera and ballet to chamber and piano music.

Young performers will have to offer their own interpretations of his works—a challenging task that requires not only mastery but also inner sincerity. Tchaikovsky’s music abhors external effects; it is no coincidence that his letters contain the words: "I have always written and continue to write with love and sincerity, never caring how the public will react."
The program will feature instrumental arrangements of famous works by Tchaikovsky, including excerpts from "Swan Lake" and "The Nutcracker" ballets, pieces from "Children's Album" and "The Seasons" piano cycles, and excerpts from "Eugene Onegin" opera.

Chamber Hall

Musical Team of Russia. “Tribute to Tchaikovsky” Chamber Concert

FEATURED IN THE PROGRAM:

Part I

Pyotr Ilyich Tchaikovsky (1840−1893) — Кsenia Erdeli (1878−1971)
"Valse sentimentale"from "6 Pieces for Piano", Oр. 51 No. 6 (arranged for harp and piano)

Pyotr Ilyich Tchaikovsky (1840−1893) — Ekaterina Walter-Kühne (1870−1930)
Fantasy on themes from "Eugene Onegin" opera for solo harp

Performed by international competitions laureate Olga Kraskovskaya (harp)

Piano part performed by international competitions laureate Alexey Shpakov


Pyotr Ilyich Tchaikovsky (1840−1893) — Simeon Bellison (1883−1953)
"Russian Dance" from the "Swan Lake" ballet (arranged for clarinet and piano)

Pyotr Ilyich Tchaikovsky (1840−1893) — Leopold Auer (1845−1930) — Andrey Rubtsov (b. 1982)
Lensky’s Aria from "Eugene Onegin" opera (arranged for clarinet and piano)

Pyotr Ilyich Tchaikovsky (1840−1893) — Alexander Shabo (b. 1976)
Fantasy on themes from "The Nutcracker" for clarinet and piano

Performed by the international competitions laureate Vazgen Yusupov (clarinet)

Piano part performed by the international competitions laureate Alexey Shpakov


Part II

Pyotr Ilyich Tchaikovsky (1840−1893) — Viktor Glinsky-Safronov (1883−1945)
"Mélodie" from "Souvenir d’un lieu cher" for violin and piano, Oр. 42 No. 3 (arranged for flute and piano)

Pyotr Ilyich Tchaikovsky (1840−1893) — Vladimir Tsybin (1877−1949)
"November: Troika" from "The Seasons" cycle, Op. 37a No. 11 (arranged for flute and piano)

Pyotr IlyichTchaikovsky (1840−1893) — Ludwig Sauer (1861−1940)
"October: Autumn Song" from "The Seasons" cycle, Op. 37a No. 10 (arranged for flute and piano)

Pyotr Ilyich Tchaikovsky (1840−1893) — Н. ПЛАТОНОВ (1894−1967)
"Waltz" from "Children’s Album" cycle, Op. 39 No. 8 (arranged for flute and piano)

Performed by the international competitions laureate Petr Khudonogov (flute)

Piano part performed by the international competitions laureate Alexey Shpakov


Pyotr Ilyich Tchaikovsky (1840−1893)
18 Pieces for Piano, Oр. 72
No. 1. "Impromptu" — No. 3. "Tendres reproches"— No. 14. "Chant élégiaque" — No. 18. "Scene dansante: Invitation au trépak"

Performed by "Sozvezdie" All-Russian Young Musicians' Competition Grand Prix Winner Mikhail PIROZHENKO (piano)
 

Artistic Director of Saint Petersburg Music House — People’s Artist of Russia, Professor Sergei Roldugin

May

7:00
pm

6

"Educational events"

What is the lecture about?

Is it possible to stage Chekhov without words? Rodion Shchedrin and Maya Plisetskaya were the first to give an affirmative answer to this question when they presented Chaika ballet at the Bolshoi Theater in 1980. Subsequently, it became the most widely performed title in Chekhov's ballet repertoire. John Neumeier (The Seagull), Boris Eifman (Chaika: Baletnaya Istoriya (The Seagull: A Ballet Story), and Yuri Possokhov (The Seagull) have all turned to Anton Chekhov's play, and their productions still grace theater bills today.

What will we discuss in the lecture:

• How are Treplev's innovation and Trigorin's traditionalism portrayed in these ballets?
• What Chekhovian images did Rodion Shchedrin and Ilya Demutsky use as the basis for their scores?
• Why did Shchedrin's ballet stop drawing the attention of choreographers?
• Why did Eifman, Neumeier, and Possokhov change the characters' professions?
• What compelled Neumeier to include music from Shostakovich's operetta "Moscow. Cheryomushki" in the production, and Eifman to include compositions by the rock band "Autograph"?

About the Lecturer

Svetlana Vitalievna Naborshchikova is a Doctor of Art History and a Professor. She specializes in opera, ballet, and drama theater, the history of art criticism, and the synthesis of the arts. Her research interests include the works of Balanchine, Stravinsky, Forsythe, and Grigorovich.

She is the author of "Balanchine and Stravinsky: Seeing Music, Hearing Dance" (2009) monograph, various format programs on ballet theater, and an invited speaker at international conferences. She has taught at the Moscow Conservatory since 1997, conducting courses in contemporary ballet, music criticism, and journalism.

Dr. Naborshchikova is a jury member of the "Zolotaya Maska" (Golden Mask) Award and an expert on theater festivals. She has authored over 2,000 articles, serves as a columnist at the Izvestia newspaper, regularly contributes to "Kultura" (Culture) and "Teatral" (The Theater-Goer).

Chamber Hall

"Chaika (The Seagull) — of the Cross and Faith"

April

7:00
pm

29

"Educational events"

What is the lecture about?

Beginning with "Chaika" (The Seagull), Rodion Shchedrin and Maya Plisetskaya continued Chekhov’s line with the ballet "Dama s Sobachkoy" (The Lady with the Dog). The theme was picked up by Vladimir Vasiliev in "Anyuta", based on "Anna na Sheye" (Anna on the Neck), and Kenneth MacMillan in "Winter Dreams", based on "Tri Sestry" (Three Sisters). Nacho Duato in "Jardín Infinito" (The Endless Garden) and Lin Hwai-min in "Huāyǔ" (Whisper of Flowers) addressed "Vishnevyy Sad" (The Cherry Orchard). Polina Rebel presented the wordless "Three Sisters" in the genre of plastic drama. The musical foundations of the performances were works by Shchedrin, Gavrilin, Tchaikovsky, Schnittke, Bach, and Shostakovich.

What will we discuss in the lecture:

• Why Chekhov’s subtexts and "undercurrents" are in ambiguous yet compelling harmony with the language of ballet?
• What features of Chekhov’s style did Valery Gavrilin have in mind when composing the music for "Anyuta"?
• How did Rodion Shchedrin come to invent a new ballet form: the five pas de deux?
• Why did Kenneth MacMillan fit the action of "Three Sisters" into one day?
• What did Pierre Cardin and Maya Plisetskaya agree on when discussing the costumes for "The Lady with the Dog"?
• Why did Lin Hwai Min strew the stage with rose petals, and why did Nacho Duato paint the characters' costumes with phrases from the play?

About the Lecturer

Svetlana Vitalievna Naborshchikova is a Doctor of Art History and a Professor. She specializes in opera, ballet, and drama theater, the history of art criticism, and the synthesis of the arts. Her research interests include the works of Balanchine, Stravinsky, Forsythe, and Grigorovich.

She is the author of "Balanchine and Stravinsky: Seeing Music, Hearing Dance" (2009) monograph, various format programs on ballet theater, and an invited speaker at international conferences. She has taught at the Moscow Conservatory since 1997, conducting courses in contemporary ballet, music criticism, and journalism.

Dr. Naborshchikova is a jury member of the "Zolotaya Maska" (Golden Mask) Award and an expert on theater festivals. She has authored over 2,000 articles, serves as a columnist at the Izvestia newspaper, regularly contributes to "Kultura" (Culture) and "Teatral" (The Theater-Goer).

Chamber Hall

“Living in Dreams. Chekhov on the Ballet Stage”

April

7:00
pm

30

"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.

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

Concert duration: 1 hour 50 minutes

Program subject to change

MAIN STAGE

Safonov Academic Symphony Orchestra
Symphony Concert

April

6:00
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.

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

Program subject to change

CHAMBER HALL

"Masters of Music" Chamber Concert

April

7:00
pm

8

"Musical Team of Russia. "

The chamber concert entitled "Japanese Spring," presented at the Sirius Concert Center, opens up a space for a unique musical approach that differs significantly from the European tradition. Throughout the evening, listeners will be immersed in an artistic philosophy that shapes a different perception of time and sound. Soloists from the St. Petersburg Music House will perform works by Japanese composers of the 20^th and 21^st centuries.

Contemporary Japanese music is characterized by a desire to combine Eastern sound philosophy with Western compositional principles. Timbre and a unique experience of musical time come to the fore — not as a dramatic process, but as a subtle shift in states.

The concert program defines two semantic vectors. The first is an appeal to Japan’s own artistic tradition—to images of nature, which occupy a special place in Japanese art: the sound of the sea, the chirping of birds, the fragile evanescence of blossoms. This figurative realm reveals one of the key characteristics of Japanese culture—the perception of nature as an independent, spiritual reality, not a backdrop to human experience. In the works of Takashi Yoshimatsu, Toru Takemitsu, and Michio Miyagi, the natural world becomes a source of subtle timbral associations that define the poetic structure of the music.

The second semantic vector is associated with the dialogue between Japanese composers and the European musical tradition. This manifests itself, in particular, in the reinterpretation of the sound of European instruments and the search for new expressive possibilities. For example, vibraphonist and composer Masayoshi Fujita reveals the unusual timbral colors of the instrument, using both traditional and unconventional sound production techniques—a bow, metal tubes, and strings of beads. In Ryo Noda’s work for solo saxophone, the instrumental language is imbued with special techniques that significantly expand conventional notions of the instrument’s sound. In the work of Keiko Abe, similar explorations lead to a significant enrichment of the technical and sonic range of the marimba, and the techniques she introduced have become mainstream performance practice.

A broader dialogue with 20th-century European musical culture also becomes an important part of the program. Makoto Shinohara, who studied at the Paris Conservatory under Olivier Messiaen, combines Japanese sonic subtlety with the achievements of European experimental writing in his piece "Obsession." Toshi Ichiyanagi, who studied at the Juilliard School and was influenced by John Cage, reveals another facet of Japanese musical modernism in his piece "Perspectives" for solo violin — its connection with the Western avant-garde, freedom of form, and a new understanding of the concept of musical gesture.

CHAMBER HALL

Japanese Spring
Musical Team of Russia. Chamber Concert

FEATURED IN THE PROGRAM:

Part I

Takashi Yoshimatsu (b. 1953)
"4 Little Dream Songs" for cello and piano (2024)

I. Spring. Dream Song on May.
II. Summer. Distorted Waltz on August.
III. Autumn. Dream Song on November.
IV. Winter. Lullaby.

Performed by international competitions laureate Maria Bolkonskaya (cello)
Piano: international competitions laureate Andrei Telkov

Toru Takemitsu (1930−1996)
"A Bird Came Down the Walk" for viola and piano (1994)
Performed by international competitions laureate Antonina Popras (viola)
Piano: international competitions laureate Ivan Koshcheev

Masayoshi Fujita (b. 1978)
"Tears of the Unicorn" for vibraphone solo (2015)

Keiko Abe (b. 1937)
"Dream of the Cherry Blossoms" for marimba solo (1990)
Performed by international competitions laureate Georgy Akimov (percussion instruments)

Toshi Ichiyanagi (1933−2022)
"Perspectives" for solo violin (1986)
Performed by international competitions laureate Sofia Devutskaya (violin)

Michio Miyagi (1894−1956)
"The Sea in Spring" for flute and piano (1929)
Performed by international competition laureate Sofya Zhilina (flute)
Piano: international competition laureate Andrei Telkov


Part II

Toru Takemitsu (1930−1996)
"Romance" for piano (1949)
Performed by international competitions laureate Ivan KOSHCHEEV (piano)

Ryo Noda (b. 1948)
"Dream" from the YUME cycle for solo saxophone (2017)
Performed by international competitions laureate Emilia Leshcheva (saxophone)

Makoto Shinohara (1931−2024)
"Obsession" for oboe and piano (1960)
Performed by international competitions laureate Anastasia Glamazdina (oboe)
Piano: international competitions laureate Andrei TELKOV

Toru Takemitsu (1930−1996)
"Orion" for cello and piano (1984)
Performed by international competitions laureate Maria Bolkonskaya (cello)
Piano: international competitions laureate Andrei TELKOV


Artistic Director of the St. Petersburg Music House — People’s Artist of Russia, Professor Sergei Roldugin

Concert duration: 1 hour 30 minutes

Program subject to change

April

7:00
pm

15

"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

1. Moderato — Piu mosso — Allegretto — Piu mosso
2. Adagio
3. 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

1. Largo — Allegro moderato (ми минор)
2. Allegro molto (ля минор)
3. Adagio (ля мажор)
4. Allegro vivace (ми мажор)

Age category 6+

MAIN STAGE

SIRIUS BIG SUMMER INTERNATIONAL MUSIC FESTIVAL OPENING

July

7:00
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+

main stage

"BALLET SYMPHONY"

July

7:00
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+

FEATURED IN THE PROGRAM:

Part 1

Pyotr Ilyich Tchaikovsky (1840−1893). Symphony No. 5 in E minor, Or. 64 (1888)

1. Andante — Allegro con anima
2. Andante cantabile con alcuna licenza
3. Valse. Allegro moderato
4. 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

7

"Commemorative Concerts"

Saint Petersburg State Academic Capella Symphony Orchestra

Soloist — Merited Artist of Russia Pavel Milyukov (violin)

Conductor — People’s Artist of Russia Aleksandr Chenushenko

Age category 6+

MAIN STAGE

May

6:00
pm

9

"Sirius spring music festival"

State Chamber Orchestra of Russia
Soloist – Merited Artist of Russia Pavel Milyukov (violin)

Age category 6+

MAIN STAGE

April

7:00
pm

13

"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+

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+

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