The Moscow Philharmonic the first concert venues opened to the public and musicians. Concert cycle “the Return of live sound” was opened by Denis Matsuev and the Russian national youth orchestra, and then took the first tour of: the orchestra, chorus and soloists of the Mariinsky theatre with Valery Gergiev at the console sounded Rusticana Mascagni with the star participation of mezzo-soprano Ekaterina Semenchuk. Says Julia Bederova.The emblem of the Italian verismo Opera, “Cavalleria Rusticana” Mascagni, narrating the events of a single village Easter morning — of passion, jealousy and murder, was written for a competition of one-act operas. The initial version of the libretto on the novel of Giovanni Verga was redone so that the two parts of the drama was made up for the dense design without intermission, premiere, 1890 in Rome was accompanied by deafening success, although, in fact, the era of one-act operas were still to come. The official time of opening and flowering of the one-act form has become the twentieth century, and operatic verismo, with its thick letter, spring-detective drama and exaggerated emotion is the precursor to the European expressionism.In the Moscow performance of Ekaterina Semenchuk in the party of Santuzza seemed to have concentrated in itself all the crazy tension and tragedy of her character, all the energy longing for the audience, musicians, all the beauty of decorative and religious interludes (which Mascagni imposed on domestic storm of emotions on the principle of double exposure, as it will be in the film), the expertise of the ensemble, so other characters, including a violent Najmiddin Mavlyanova (Turiddu) and imposing Roman Burdenko (Alfio), seemed additional. And the “Cavalleria Rusticana” — the forerunner of not only one act, but and monologue dramas of the twentieth century.Probably, the restrictive measures in the halls (duration, number of people on stage and in the audience the principle of distance) can cause one-act operas, monologues, music, verismo and expressionism in the theatre and concert schedule will become more and late romantic giants — less. At least for a while.Earlier in the tour programs Gergiev gave preference to hypnosis lush late romanticism, Wagner, Mahler, Verdi and Russian music with their blatant subtext, the pandemic presented the Mariinsky musicians like partial interpreters of verismo who appreciate clear articulation and dramatic directness. What, judging by the long ovation, the audience a single second regretted. The hall was full at 50 (in the old terminology — 100) percent, among students sat invisible “acoustic angels” (reported by the sign on the chairs that are empty for sanitary reasons). Now I understand WHabout SPC — also one of Russia’s best scenes in anti-epidemic circumstances: there is a lot of air, and the choir you can pick up on “choirs” (the balcony above the stage), as did malinzi, and only a dozen people (not only with the help of angels acoustic) give the impression of choral waves.”The return of live sound” with the festival’s elegance opened the season earlier than usual September. The new schedule for the August series of other experiments in “anti-virus” concert Opera is not listed. But it is not less unique and brilliant: the new principles of acoustic and artistic collaboration, ensemble and balance will be explored by large orchestras (Svetlanov Symphony orchestra with Vasily Petrenko and Alexander Ramm — August 19, the Moscow Philharmonic orchestra with Yuri Simonov and Ekaterina Mechetina — 24 August), chamber ensembles (“Academy of ancient music” by Vladimir Martynov, the ensemble Questa musica with Boris Andrianov, Yevgeny Subbotin, Peter, IDA, Olga and other Ivusheykova — August 13) and chamber ensembles. Among them, several collaborations debut: for the first time together in one piano duet was made by Philip Kopachevsky and Dmitry Makeev and the Oistrakh Quartet and Andrey Gugnin will play quintets of Faure and Brahms ‘ (20 August). Tenor Bogdan Volkov immediately after the debut in Salzburg will sing on 25 August in Moscow, the Russian Lieder program of romances of Tchaikovsky with pianist Alexander Gindin.Repertory appearance of the “Return…” all the hits looks exquisite and extraordinary: next to the indispensable Tchaikovsky and Rachmaninoff rare Schumann (the state orchestra and unexpectedly from Matsuev), Millau, Giovanni sollima, and Schubert: with Petrenko at the console will sound “unfinished”, the ensemble of soloists headed by Valentin Uryupina — Octet in f major, a textbook, a rare but devastating music on the Russian scene, like many other chamber music masterpieces. Close the August series Denis Matsuev (August 28), this time solo, and with two concerts in a row — at 18:00 and 21:00.4 September will open the season in traditional forms and calendar framework. If all goes as planned, among the first events can prove to be a Big festival RNO and rescheduled concerts quarantine time. However, in the appearance on the stage in early September a foreign guest artists, which is, for example, Lucas Debargue, while hard to believe, but Beethoven’s orchestra program Musica Viva on instruments of the era c Ninth Symphony and the Cantata on death of Emperor Joseph II may take place. At least because of the historically correct interpretation of Beethoven is not as crowded as it is in romantic performance practice.