Verdi: Requiem (Live) M. Agresta, D. Barcellona, P. Beczala, I. Abdrazakov, Coro Teatro Regio Torino, Verbier Festival Orchestra & Gianandrea Noseda

• Giuseppe Verdi (1813 - 1901): Messa da Requiem:
• 1Verdi: Messa da Requiem: I. Requiem (Live)07:43
• 2Verdi: Messa da Requiem: IIa. Dies irae (Live)02:02
• 3Verdi: Messa da Requiem: IIb. Tuba mirum – IIc. Mors stupebit (Live)03:00
• 4Verdi: Messa da Requiem: IId. Liber scriptus (Live)04:09
• 5Verdi: Messa da Requiem: IIe. Quid sum miser (Live)02:47
• 6Verdi: Messa da Requiem: IIf. Rex tremendae (Live)03:07
• 7Verdi: Messa da Requiem: IIg. Recordare (Live)03:38
• 8Verdi: Messa da Requiem: IIh. Ingemisco (Live)03:18
• 9Verdi: Messa da Requiem: IIi. Confutatis (Live)04:52
• 10Verdi: Messa da Requiem: IIj. Lacrymosa (Live)05:14
• 11Verdi: Messa da Requiem: III. Offertorium (Live)09:10
• 12Verdi: Messa da Requiem: IV. Sanctus (Live)02:25
• 13Verdi: Messa da Requiem: V. Agnus Dei (Live)04:53
• 14Verdi: Messa da Requiem: VI. Lux aeterna (Live)05:24
• 15Verdi: Messa da Requiem: VII. Libera me (Live)13:53
• Total Runtime01:15:35

Info for Verdi: Requiem (Live)

Gianandrea Noseda’s 2013 account of Verdi’s transcendent Requiem marks one of the most electrifying moments in Verbier Festival history. Soloists Maria Agresta, Daniela Barcellona, Piotr Beczala, and Ildar Abdrazakov deliver spellbinding performances. As do the singers of the Coro Teatro Regio Torino, and musicians of the Verbier Festival Orchestra. Joining together – from the hushed tones of the ‘Introit’ to the radiant cadence of the ‘Libera me’ – these forces conjure a journey of monumental power under Noseda’s expert direction.

“It moved the writer to tears… One of our most talented and intelligent conductors, a quartet of first-class voices, a young orchestra that is increasingly enthusiastic about working with podium professionals from whom it can learn precious lessons, and the superb choir of the Regio di Torino.” (Luca Chierici, il Corriere Musicale)

Maria Agresta, soprano
Daniela Barcellona, mezzo-soprano
Piotr Beczała, tenor
Ildar Abdrazakov, bass
Coro del Teatro Regio di Torino
Verbier Festival Orchestra
Giandrea Noseda, conductor

Maria Agresta
Winner of several music competitions, she made her debut in 2007.

Her success came after a few years, in 2011, when she performed I Vespri Siciliani at Teatro Regio in Turin conducted by Gianandrea Noseda, with great reviews from public and critics. Since then, she has been invited to sing on the most important stages worldwide.

Highlights include Norma in Tel Aviv, La Bohème (Mimì) at Arena di Verona, in Munich, at San Carlo in Naples, at Teatro Regio in Turin and at Festival Puccini in Torre del Lago, Gemma di Vergy at Teatro Donizetti in Bergamo, Elvira in Don Giovanni at La Scala.

She then sang Il Trovatore in Valencia conduted by M° Zubin Mehta, Carmen in Masada and La Traviata at Berlin Staatsoper.

In 2012 she returned to La Scala with La Bohème, where she obtained a big personal success.

She was higly praised for her performance in the concert version of Giovanna d’Arco at Musikverein in Graz with ORT and she sang Simon Boccanegra in Rome with M° Muti, I Masnadieri and La Bohème in Venice, Verdi’s Messa da Requiem at San Carlo in Naples with M° Luisotti and at Staatsoper in Berlin conducted by M° Baremboim, Oberto Conte di San Bonifacio at La Scala, Otello in Valencia with M° Mehta, La Vestale in Dresden.

She performed La Traviata at Arena di Verona and in Guangzhou, Otello in Zurich and Genoa, a new production of I Puritani at Opéra Bastille in Paris, Il Trovatore at La Scala, La Bohème in Tel Aviv and at Opéra Bastille, Simon Boccanegra (new production) in Dresden conducted by M° Thielemann, the debut at the Royal Opera House, with I due Foscari, conducted by Antonio Pappano.

Maria sang Norma in Zurich conducted by M° Luisi, Turandot at La Scala conducted by M° Riccardo Chailly, Norma in Turin and at the Champs Elysées , Verdi’s Requiem at La Scala under the baton of M° Mehta, La Traviata in Munich, Norma and Il Trovatore in Madrid, her debut at Metropolitan Opera in La Bohème, directed by Zeffirelli, where she came back with Turandot, Turandot at Lyric Opera of Chicago.

She recently made her debut in Don Carlo at Teatro Real de Madrid, opera which she reprised in Venice. Another important debut is in Tosca at Opéra de Paris and Teatro Real de Madrid.

Future engagements include: her upcoming debut in Adriana Lecouvreur at Teatro La Scala, Manon Lescaut at Opéra de Montecarlo, her house debut at ABAO Olbe with Madama Butterfly.

Maria has won the important prize “Franco Abbiati” in 2014: Italian national critics gave her the prize for Best Soprano.

Besides, she won the prestigious international prize “Luigi Illica”.

Daniela Barcellona
is a “much appreciated singer who can count on a broad phrasing, supported by a solid, robust and consistent technique. The silkiness of her voice is heightened by a fascinating timbre and her coloratura remains today unparalleled”. Daniela Barcellona was born in Trieste, where she completed her musical studies under the guidance of Alessandro Vitiello. After winning numerous prestigious international competitions like the “Adriano Belli” award in Spoleto, “Iris Adami Corradetti” in Padua, and the “Pavarotti International Voice Competition” in Philadelphia, she made her debut in the title role of Tancredi at the Rossini Opera Festival in Pesaro in 1999, establishing herself as a reference interpreter for “en travesti” roles, which have brought her to walk the most prestigious opera houses worldwide, from New York’s Metropolitan Opera to La Scala in Milan, from the Royal Opera House in London to the Théâtre des Champs Elysées in Paris, from the Bayerische Staatsoper in Munich to the Teatro Real in Madrid, from the Salzburg Festival to the Gran Teatre del Liceu in Barcelona, to name a few.

Prized with the “Premio Abbiati”, she has worked with such conductors as Claudio Abbado, Daniel Baremboim, Riccardo Muti, Myung-whun Chung, Riccardo Chailly, James Levine, Antonio Pappano, Gianandrea Noseda, Alberto Zedda, Roberto Abbado, Valery Gergiev, Bruno Campanella, Sir Colin Davis, Gianluigi Gelmetti, Lorin Maazel, Michele Mariotti, Kent Nagano, Georges Prêtre, Wolfgang Sawallisch, Juraj Valčuha, Zubin Mehta and with such stage directors as David McVicar, Robert Carsen, Luca Ronconi, Damiano Michieletto, Pierluigi Pizzi, Mario Martone, Hugo De Hana, Paul Curran, David Alden, Yannis Kokkos, and Emilio Sagi.

In Italy she has been acclaimed numerous times at La Scala in Milan (Lucrezia Borgia, Iphigénie en Aulide, Il viaggio a Reims, La donna del lago, Luisa Miller, Falstaff, Les Troyens) where she also sang Europa Riconosciuta conducted by Riccardo Muti on 7 December 2004 for the Opera House’s historical re-opening, at the Rossini Opera Festival in Pesaro (Tancredi, La donna del lago,Semiramide, Bianca e Falliero, Adelaide di Borgogna, Maometto II, Sigismondo, Stabat Mater, Petite messe solennelle marking the 150th anniversary of the composer’s death), at the Teatro Regio di Torino (Anna Bolena, Tancredi, Don Carlo, Samson et Dalila, Verdi’sRequiem, Rossini’s Stabat Mater), at the Teatro dell’Opera di Roma (Il barbiere di Siviglia, La fiamma, Cenerentola, L’Italiana in Algeri, Tancredi, Semiramide), at the Comunale in Bologna (Giulio Cesare) and Florence (Il barbiere di Siviglia, L’Italiana in Algeri, Tancredi,Orfeo ed Euridice), at the Accademia Nazionale di Santa Cecilia (Verdi’s Requiem, Il viaggio a Reims, Petite messe solennelle), at the Festival dei Due Mondi in Spoleto, at the Sferisterio in Macerata (Norma and Verdi’s Requiem), at the Arena and Teatro Filarmonico in Verona (Verdi’s Requiem, Aida, L’Italiana in Algeri), at the Teatro Regio in Parma (Norma), at the San Carlo in Napoli (Anna Bolena, Orfeo ed Euridice), at the Carlo Felice in Genoa (Cenerentola, Verdi’s Requiem, La Favorite), at the Teatro Massimo in Palermo (Stabat Mater, Norma), at the Teatro Verdi in Trieste (Ginevra di Scozia by Simon Mayr, Tancredi, L’Italiana in Algeri), at the Teatro del Maggio Musicale Fiorentino (Paisiello’s Missa defunctorum) and she made her debut at the opening concert of the Donizetti Opera 2018 festival. ....

Piotr Beczała
is one of the most sought-after tenors of our time and a constant guest in the world’s leading opera houses. The Polish-born artist is acclaimed by audiences and critics alike not only for the beauty of his voice, but also for his ardent commitment to each character he portrays.

Piotr Beczala´s 2016-17 season will feature returns to Chicago, New York, Berlin, Barcelona, Vienna, Zürich, and beyond. Following a recital with San Diego Opera, Piotr encores his signature portrayal of Edgardo in a new-to-Chicago production of Lucia di Lammermoor at the Lyric Opera of Chicago. From there, he heads to New York for a revival of La Bohème at the Metropolitan Opera. He also joins a star-studded lineup of colleagues on the Met stage to celebrate the company’s 50th anniversary at Lincoln Center. Rodolfo in Puccini’s bohemian masterwork is also the vehicle for Piotr’s return to the Deutsche Oper Berlin. Furthermore Piotr Beczala can be heard in Barcelona with a revival of Massenet’s Werther at the Gran Teatre del Liceu paired with a recital at the city’s Palau de la Música. The recitals continue with stops in Frankfurt, Graz, Berlin, and Hamburg. Returning to the Wiener Staatsoper stage, Piotr headlines a revival of Un ballo in maschera before joining Opernhaus Zürich for a new production of Léhar’s Das Land des Lächelns in the role of Prince Sou-Chong.

“The kind of voice you want to hang medals on.” OPERA NEWS Since his debut as Duca in Rigoletto in 2006, Piotr Beczala is a regular guest at the Metropolitan Opera New York. Here he has performed in a new production of Tchaikovsky’s Eugene Onegin opposite Anna Netrebko, Prince in Dvorak’s Rusalka, Edgardo in Donizetti’s Lucia di Lammermoor, Rodolfo (La Bohème), as well as in the title roles of Gounod’s Roméo et Juliette and Faust. In 2011 he accompanied the MET on a tour to Japan, singing Rodolfo and Edgardo. 2012 saw Piotr Beczala make his role debut as Chevalier des Grieux in Laurent Pelly’s new production of Manon, alongside Anna Netrebko as the eponymous heroine, conducted by Fabio Luisi. The production was part of the “HD live” series by the MET and was broadcast live in cinemas throughout the US and over 50 countries world-wide. It was released on DVD, as was his interpretation of the Duke in a new production of Rigoletto, alongside Diana Damrau in January 2013, for which he received the ECHO Klassik Award “Singer of the Year” in 2014. In the 2015/16 season he was making his highly acclaimed debut in the title role of Wagner´s Lohengrin opposite Anna Netrebko at the Semperoper Dresden.

At Teatro alla Scala in Milan Piotr Beczala made his debut in 2006 singing Duca in Rigoletto, returning later as Rodolfo in La Bohème. The tenor also opened the 13/14 season for the first time, singing Alfredo in a new production of Verdi’s La Traviata. Piotr Beczala also regularly sings at the State Operas in Munich and in Vienna. On the stage of the National Theatre in Munich, he interpreted the Prince, Alfredo, the Italian Singer in Der Rosenkavalier, and the title role of Massenet’s Werther. During the Munich Opera Festival, Piotr Beczala was heard as Alfredo in La Traviata. In Vienna he performed Roméo in Jürgen Flimm’s production of Roméo et Juliette, under the baton of Plácido Domingo. Since his Die Zauberflöte and Rodolfo in La Bohème. Piotr Beczala sang guest performances at the Nederlandse Opera, Théâtre de la Monnaie/de Munt, Staatsoper Hamburg, Deutsche Oper Berlin, Staatsoper Berlin, Grand Théâtre de Genève, Teatro Comunale di Bologna, Teatr Wielki (Warsaw), and the Mariinsky Theatre, amongst many others.

Piotr Beczala is a regular guest at the Salzburg Festival. Since his debut as Tamino in 1997 he has sung the cantata Rinaldo by Johannes Brahms under the baton of Sir Elliott Gardiner at the Whitsun Festival as well as Prince in Rusalka, Roméo in Roméo et Juliette, the title role in Gounod´s Faust and Rodolfo in Damiano Michieletto’s new production of La Bohème opposite Anna Netrebko during the Summer Festival. This production was broadcasted on TV and released on DVD by Deutsche Grammophon. Piotr Beczala also sang with Anna Netrebko in concert performances of Tchaikovsky’s Iolanta in 2011. In 2013 he was heard in Verdi’s Requiem with the Wiener Philharmoniker and Riccardo Muti conducting.

In addition to his operatic work, he has sung many of the great choral and orchestral vocal works with the world’s most distinguished orchestras and maestri. Celebrating his 20th stage anniversary Piotr Beczala gave a concert at Theatre Wielki in Warsaw in 2012. Also in 2012 he sang the New Year’s Eve concerts at the Semperoper Dresden for the second consecutive year. The concerts, which were led by Christian Thielemann, were broadcast on TV and released on CD and DVD by Deutsche Grammophon. In 2014 he joined a spectacular group of colleagues for Le Concert de Paris, an annual concert event and celebration at the Eiffel Tower with an estimated live audience of more than half a million people.

Piotr Beczala was born in Czechowice-Dziedzice in Southern Poland and received his initial vocal training at the Katowice Academy of Music, where he was given instruction by such illustrious singers as Pavel Lisitsian and Sena Jurinac. His first engagement was at the Landestheater Linz and in 1997 he became a company member of the Zürich Opera. The Zurich audience could hear him as Alfredo in La traviata, Edgardo in Lucia di Lammermoor, the title role of Faust, Tamino in Die Zauberflöte, Elvino in La Sonnambula, and also as the soloist in orchestral songs by Richard Strauss, Riccardo in Un Ballo in maschera as well as Rodolfo in La Bohème.

Piotr Beczala’s is represented on dozens of CDs in a vast array of works, ranging from staples of the repertory, including Faust live from Vienna (Orfeo) and La Traviata from Munich (Farao), which was nominated for a 2008 Grammy Award, to such rarely-heard works as Szymanowski’s Król Roger and Offenbach’s Rheinnixen (Accord) and Johann Strauss II’s Simplicius (EMI). In addition, Piotr Beczala sings on a recording of Lucia di Lammermoor with Natalie Dessay in the title role and Valery Gergiev leading the Mariinsky Opera on the Company’s own label.

Three solo aria CDs have been released on the Orfeo label. “Salut”, featuring French and Italian arias (2008), was followed by “Slavic Opera Arias”, with repertoire by Borodin, Tchaikovsky, Rimsky-Korsakov, Rachmaninoff, Moniuszko, Źeleński, Nowowiejski, Smetana and Dvořák. Opera News declared it #1 on its list of 2011’s “Twelve Best Recital Discs” & it received Classica’s coveted “Choc de l’année 2011”. In 2013 a Verdi album was released. Since 2012 Piotr Beczala is an exclusive artist of Deutsche Grammophon and released his second album “The French Collection” with the yellow label in February, 2015.

Ildar Abdrazakov
has established himself as one of opera’s most sought-after basses. Since making his debut at the Teatro alla Scala in Milan in 2001 at 25, the Russian native has become a mainstay at leading houses worldwide, including New York’s Metropolitan Opera, Paris National Opera, the Vienna State Opera and Munich’s Bavarian State Opera. His powerful yet refined voice coupled with his compelling stage presence have prompted critics to hail him as a “sensational bass … who has just about everything – imposing sound, beautiful legato, oodles of finesse” (The Independent). Being also an active concert artist, he has performed at London’s BBC Proms and at New York’s Carnegie Hall, as well as with leading international orchestras, including the Chicago Symphony Orchestra and the Vienna Philharmonic.

Ildar Abdrazakov kicks off the 21-22 season as Don Basilio in a new production of Il Barbiere di Siviglia at the Vienna State Opera. He returns to Vienna later in the season in the title role of Boris Godunov and as Selim (Il Turco in Italia) alongside Cecilia Bartoli. The Russian bass appears as Banquo in the prestigious season opening production of Macbeth at the Teatro alla Scala, where he also appears in solo recital. Ildar Abdrazakov makes a notable role debut as Scarpia (Tosca) at the Teatro di San Carlo in Naples and and his house debut as Gremin (Eugene Onegin) at the Opera Royal de Wallonie. In addition, he returns to the Bolshoi Theatre as Don Giovanni, to the Opera de Monte-Carlo as Selim (Il Turco in Italia) and to Zurich Opera as Mustafa (L’Italiana in Algerie). Ildar Abdrazakov can be heard as Attila in concert performances at the Royal Opera House and at the Stavanger Konserthus, where he performs Mussorgsky’s Songs and Dances of Death.

Highlights of the 20-21 season include a new production of Boris Godunov at the Opera de Monte-Carlo, the globally televised season opening concert at the Teatro alla Scala, first appearances at the summer festivals of Choregies d’Orange and Sopot Classical Festival and his return to the Salzburg Festival with concerts of Beethoven’s Missa Solemnis and Berlioz’s La Damnation de Faust. Scheduled performances as Filippo II (Don Carlo) at the Vienna State Opera, Deutsche Oper and Munich Gasteig, as Frère Laurent (Romeo et Juliette) and Don Basilio (Il Barbiere di Siviglia) at the Metropolitan Opera, as well as concerts of Shostakovich’s 13th Symphony with Boston Symphony Orchestra, solo recitals at the Erkel Theatre and the Pierre Boulez Saal, and Verdi’s Requiem at the Berlin State Opera in 2020/21 were cancelled due to the Covid-pandemic.

Ildar Abdrazakov has appeared with virtually every major opera company in the United States and Europe such as Madrid’s Teatro Real, the Gran Teatro del Liceu in Barcelona, the San Francisco Opera, the Washington National Opera and the Los Angeles Opera.

Since his house debut in Don Giovanni (2004) Ildar Abdrazakov has become a mainstay at the Metropolitan Opera. He headlined the gala opening of the company’s 2015-16 season in the title role in a new Sir Richard Eyre production of Le nozze di Figaro. Previously, he sang the title role in a new Dmitry Tcherniakov’s staging of Borodin’s Prince Igor – a performance captured on DVD and Blu-ray by Deutsche Grammophon. Other notable Met productions include his role debut as Henry VIII opposite Anna Netrebko in Anna Bolena, Dosifey in Mussorgsky’s Khovanshchina, Escamillo in two productions of Carmen, the title role of Attila under the baton of Riccardo Muti, the title role in Le Nozze di Figaro, Assur in Rossini’s Semiramide, Leoporello in Don Giovanni and most recently Banquo in Verdi’s Macbeth and Mephistopheles in Berlioz’s La Damnation de Faust.

Ildar Abdrazakov is a frequent guest at Teatro alla Scala in Milan, where he joined Riccardo Muti in concert for the reopening of the theatre in 2004-05 and sang Moses in a production of Rossini’s Moïse et Pharaon that was recorded and released on CD and DVD. In the 18-19 season, he starred as Verdi’s Attila in a season opening new production televised globally. He has also sung three solo recitals and Don Ruy da Silva in Verdi’s Ernani at the famous house. His many triumphant performances on one of the most prestigious opera stages has resulted in the award of the Franco Abbiati in the category “Best Singer”.

The bass made his Salzburg Festival debut in 2009 in a new production of Rossini’s Moïse et Pharaon. Since then, he has returned regularly, singing amongst others Méphistophélès in a new production of Faust, Mustafà alongside Cecilia Bartoli in the Festival’s new production of Rossini’s L’Italiana in Algeri and performances of Verdi’s Messa da Requiem conducted by Riccardo Muti.

His first appearance at London’s Royal Opera House in 2009 was made with Verdi’s Requiem in concert with Sir Antonio Pappano. Since then he returned there to sing Don Basilio in Rossini’s Il Barbiere di Siviglia and Filippo II in Verdi’s Don Carlo. The title role in Le Nozze di Figaro was the vehicle for Abdrazakov’s 1998 house debut at St. Petersburg’s Mariinsky Theatre. Among his other signature roles are both the title role and Leporello in Mozart’s Don Giovanni, Méphistophélès in Gounod’s Faust and Berlioz’s La damnation de Faust, Oroveso in Bellini’s Norma; Selim in Rossini’s Il Turco in Italia and Assur in his Semiramide. The Russian bass is noted for Verdi roles including Walter in Luisa Miller and the title character in Oberto and Attila, as well as Banquo in Macbeth and Filippo II in Don Carlo. The French version of this role took Ildar Abdrazakov to the Paris National Opera in 17-18, where he also made his triumphant debut in the title role of Mussorgsky’s Boris Godunov, broadcast live in cinemas all over the world and sang Prince Igor in a new production by Barrie Kosky.

In 2018-19, Ildar Abdrazakov made his debut as a stage director in a production of Attila for Bashkir State Opera in which he also performed the title role.

On the concert stage, he has given recitals in Russia, Italy, Japan and the United States, and has performed with orchestras including the Orchestre Metropolitain, the Leipzig Gewandhaus Orchestra, Deutsches Symphony Orchester, the Bavarian Radio Symphony, the Rotterdam Philharmonic, the Orchestre National de France, the Orchestra Filarmonica della Scala and Rome’s Accademia Nazionale di Santa Cecilia. Among the noted conductors with whom he has collaborated are Riccardo Muti, Valery Gergiev, Sir Antonio Pappano, James Levine, Yannick Nézet-Séguin, Gianandrea Noseda, Bertrand de Billy, Riccardo Frizza and Riccardo Chailly. In November and December 2017 Ildar Abdrazakov toured Europe with Rolando Villazón. The concerts in Prague, Berlin, Baden-Baden, Stuttgart, Munich, Paris and Vienna presented the repertoire of their first joint album “Duets”, featuring duets from Italian and French operas. The album was launched in September 2017 by Deutsche Grammophon.

Ildar Abdrazakov’s debut solo album Power Players, a celebration of the great Russian bass roles, was released in early 2014 on Delos, to great critical acclaim. His recording of Verdi’s Messa da Requiem with Riccardo Muti and the Chicago Symphony Orchestra won a Grammy Award. He also has recorded unpublished arias by Rossini with Riccardo Chailly and the Symphony Orchestra of Milan, as well as Giuseppe Verdi for Decca, and Cherubini’s Mass with Muti and the Bayerischer Rundfunk for EMI Classics. For Chandos he has recorded Shostakovich’s Suite on Verses of Michelangelo and Rachmaninoff’s The Miserly Knight, both with Gianandrea Noseda and the BBC Philharmonic. In early 2017 Abdrazakov signed an exclusive contract with Deutsche Grammophon. His first solo album Verdi was released in summer 2019. The bass’s DVD releases include Moïse et Pharaon from La Scala, Oberto from Bilbao, Norma from Parma and Lucia di Lammermoor from the Metropolitan Opera. Marking the Verdi bicentennial, May 2013 saw Abdrazakov’s star turn in the title role of Attila immortalized on the Mariinsky label’s first DVD/Blu-ray release.

Abdrazakov was born in Ufa, the today’s capital of the republic of Bashkiria in Russia. Both of his parents were artists: his mother was a painter and his late father a director. At age four Abdrazakov began acting in his father’s stage and film productions, and these early experiences inspired him to pursue a career in the arts. Upon graduating from the Ufa State Institute of Arts, he joined the Bashkirian Opera and Ballet Theatre. In the late 1990s he won a string of prestigious vocal competitions: the Moscow Grand Prix named after Irina Arkhipova, the Glinka International Vocal Competition, the Rimsky-Korsakov International Competition, and the International Obraztsova competition. His 2000 win at the Maria Callas International Television Competition in Parma thrust him into the international spotlight and led to his debut at La Scala the following year.

Ildar Abdrazakov has his own foundation, created to support and promote young talented musicians. Since 2018 he is annually organizing festivals in Russia, inviting renowned singers to give concerts and masterclasses there. Since 2014, Ildar Abdrazakov is also Artistic Director of the Elena Obraztsova International Academy of Music.

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