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    Review: The War in Ukraine Looms Over an Orchestra’s Debut

    Utopia is the latest project from Teodor Currentzis, whose home ensemble has faced scrutiny over its ties to Russian state funding.HAMBURG, Germany — After Claude Debussy heard a young Igor Stravinsky’s “Firebird,” he was said to have quipped, “One has to start somewhere.”That start turned out to be auspicious. And Utopia — a new ensemble that has assembled some top performers from groups throughout Europe and abroad — has similar potential. It debuted this week, with a slight but superbly executed program of, as it happens, “The Firebird” and works by Ravel that it is currently touring, with a stop at the Laeiszhalle here on Wednesday evening.Utopia’s name inspires eye rolls; but its sound, awe. Tensions like that always seems to attach themselves to its founder and conductor, Teodor Currentzis, who often appears to serve himself more than music yet at the same time reveals what can feel like a previously veiled truth.His already complicated artistry has been complicated further since the war in Ukraine began. Currentzis was born in Greece but has long been based in Russia, where he was given citizenship by presidential decree in 2014. The invasion brought fresh scrutiny to his ensemble there, MusicAeterna, and its funding from the state-owned VTB Bank. Currentzis, for his part, has been silent, caught an irreconcilable position between Russia and the West. Members of MusicAeterna, however, have been seen on social media championing the invasion.Some presenters in Europe have canceled MusicAeterna’s or Currentzis’ engagements over the war — most recently, the Philharmonie in Cologne, Germany this week — while others have stood by them, including the mighty Salzburg Festival in Austria.When the creation of Utopia was announced in August, its rollout — seeking little press, and with only brief tours of one program at a time — came off as a rushed reaction to MusicAeterna’s troubles. After all, it was billed as an independent orchestra with independent (a euphemism for Western) funding. But the ensemble has been in development for several years.The State of the WarRussia’s Retreat: After significant gains in eastern cities like Lyman, Ukraine is pushing farther into Russian-held territory in the south, expanding its campaign as Moscow struggles to mount a response and hold the line. The Ukrainian victories came as President Vladimir V. Putin of Russia illegally annexed four regions where fighting is raging.Dugina Assassination: U.S. intelligence agencies believe parts of the Ukrainian government authorized the car bomb attack near Moscow in August that killed Daria Dugina, the daughter of a prominent Russian nationalist. American officials said they were not aware of the plan ahead of time and that they had admonished Ukraine over it.Oil Supply Cuts: Saudi Arabia and Russia, acting as leaders of the OPEC Plus energy cartel, agreed to a large production cut in a bid to raise prices, countering efforts by the United States and Europe to constrain the oil revenue Moscow is using to pay for its war in Ukraine.Putin’s Nuclear Threats: For the first time since the Cuban Missile Crisis in 1962, top Russian leaders are making explicit nuclear threats and officials in Washington are gaming out scenarios should Mr. Putin decide to use a tactical nuclear weapon.Currentzis could have more control over the story of Utopia if he weren’t so reticent because of the war. Then, he might be able to offer a stronger argument for the group’s existence than what has been advertised: simply to bring together “the best musicians from all around the world” for the web3-like purpose of decentralizing classical music.That said, there is undeniable talent among Utopia’s ranks. Sure, the concertmaster on Wednesday was Olga Volkova, who holds the same post in MusicAeterna, but elsewhere there were ambassadors from the Staatskapelle Berlin, the Mahler Chamber Orchestra and the Paris Opera; plenty of players born in Europe, but also ones from Australia, Asia and the Americas.With little rehearsal time, they gave their first concert in Luxembourg on Tuesday. After Hamburg comes Vienna, then Berlin, where vast swaths of the Philharmonie remain unsold. That was not the case on Tuesday at the more intimate Laeiszhalle, which was nearly full with a warmly receptive audience. Outside there was nary a protester, as there have been at the Russian soprano Anna Netrebko’s recent recitals, and inside Currentzis was greeted with cheers surpassed by only the riotous applause that followed each piece.It’s not hard to see why. This was an evening that never sagged or lacked in interest, even if Currentzis’ style tipped toward the profane. He relished extremes, with hyperbolic readings of the scores that you could say reflect a lack of trust or taste — but that you could also say are riveting from start to finish. Love or hate them, his performances make people truly care about music.If there were doubts that this pickup group wasn’t ready for the public, they were dispelled at the sound of the players’ sharp, decisive articulations and unison string downbows in the Stravinsky — his 1945 version of the “Firebird” suite — or their unwavering precision in the encore, Ravel’s “Boléro,” which on Wednesday began so softly, its patient, extended crescendo had the feel of a traveling band entering the scene from afar then boisterously announcing itself.On the program were three ballet scores, and Currentzis treated them with fitting sensuality and freedom. His Stravinsky breathed fire while also luxuriating in the winding tendrils of a flame. Ravel’s second suite from “Daphnis et Chloé” blossomed organically from a wispy opening’s gentle enchantment to a densely textured tableau that, even then, refrained from giving away too much too soon. But when the climax came, it was so powerful that I felt the nudging vibration of my watch warning me that the sound had pushed past 90 decibels.Throughout, the Utopia players were visibly pleased, and united. During Ravel’s “La Valse,” Currentzis didn’t keep time so much as swing his arms broadly from right to left and back again, yet the orchestra maintained controlled instability in this affectionate but darkly ambiguous tribute to Johann Strauss II and his symphonic treatments of Vienna’s signature dance.Ravel nearly named the piece after that city, with the German-language working title of “Wien.” Currentzis’ interpretation was largely one of entropy, but it also had transporting, whirlwind glimpses of a joyous ballroom. Those moments were a painful reminder of his current relationship with Vienna, where Utopia is welcome but MusicAeterna is not.These days, that kind of bitter aftertaste accompanies all of Currentzis’ performances, both the good and the bad — certainly on Wednesday, and who knows for how long.UtopiaPerformed on Wednesday at the Laeiszhalle, Hamburg, Germany. More

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    Star Maestro With Russian Ties to Depart German Orchestra

    Teodor Currentzis, who has faced scrutiny for his association with a Russian bank, will step down as chief conductor of the SWR Symphony Orchestra in 2025.The conductor Teodor Currentzis, who has been criticized since the start of the war in Ukraine because of his ties to a state-owned bank in Russia, will step down as chief conductor of a prominent German orchestra in 2025, the ensemble announced on Friday.Currentzis, who has led the ensemble, the SWR Symphony Orchestra in Stuttgart, since 2018, will leave his post when his contract expires at the end of the 2024-25 season, the orchestra said. He will be replaced by François-Xavier Roth, who leads the Gürzenich Orchestra in Cologne, Germany.The SWR Symphony Orchestra has faced pressure in recent months to cut ties with Currentzis because of his affiliation with VTB Bank, a Russian state-owned institution that has been sanctioned by the United States and other countries. VTB is the main sponsor of Currentzis’s longtime ensemble, MusicAeterna.In a statement to The New York Times, the SWR said Currentzis’s departure had been decided last year and had nothing to do with concerns about his Russia ties.“The announcement of today is not related to the discussion about the financing of MusicAeterna,” Matthias Claudi, a spokesman for SWR, said. He added that the orchestra hoped to continue to work with Currentzis after he steps down.A representative for Currentzis did not immediately respond to a request for comment.Currentzis, 50, is one of classical music’s most prominent conductors. Since the start of the war, his career has been complicated by questions about Russian support, with some presenters canceling or postponing engagements. He has been denounced for his silence on the war and criticized for working with associates of President Vladimir V. Putin of Russia, including some who sit on the board of MusicAeterna’s foundation. Putin awarded Currentzis, who was born in Greece, citizenship by presidential decree in 2014.Working to get beyond questions about his Russian benefactors, Currentzis announced in August that he would form a new international ensemble, called Utopia, with the support of donors outside Russia. The benefactors include a private foundation called Kunst und Kultur DM, which is affiliated with Dietrich Mateschitz, an Austrian businessman who is a founder of Red Bull. Beginning next month, Utopia will tour Europe, continuing through next year.Currentzis has continued to perform with MusicAeterna, which he founded in Siberia in 2004, often before sold-out crowds. More

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    5 Russian Bullets Dashed an Opera Singer’s Dreams. Then He Reclaimed His Voice.

    While on a rescue mission in Ukraine, Sergiy Ivanchuk was shot in the lungs, apparently ending his chance at opera stardom. His recovery is a marvel of medicine, chance and his own spirit.Listen to This ArticleTo hear more audio stories from publications like The New York Times, download Audm for iPhone or Android.ULM, Germany — It was the most pivotal performance of his 29 years. There were no costumes, no stage, no orchestra pit. Instead, a lone pianist hunched expectantly over her instrument. For an audience, a handful of doctors and nurses watched from a cool white hospital lobby.Sergiy Ivanchuk — his face patched with bandages, legs trembling beneath his trousers — began hesitantly. But as his deep baritone held, confidence grew. By the time he finished with a Ukrainian folk tune, his song soared with the passion of a man brought back from the dead, a man reveling in a voice reclaimed.

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    “For three months, I thought I would die,” he told those assembled. “And now, I can sing again.”Not long before, Mr. Ivanchuk had believed he was on his deathbed, his lungs punctured by bullets, his body attached to a tangle of tubes.On March 10, Mr. Ivanchuk, an aspiring opera singer, had been working with humanitarian volunteers helping civilians flee the besieged Ukrainian city of Kharkiv when Russian forces attacked, and he was shot.Even if he managed to survive, he remembered thinking, surely his singing days were over.But a string of chance encounters, committed doctors and the love of a mother all led to that unexpected performance in a German military hospital this summer, giving Mr. Ivanchuk a chance to transform a tragedy into an opportunity to salvage his longtime dream of opera stardom.“So many different circumstances had to happen,” said Mr. Ivanchuk, wondering if science and his own spirit were the only factors in his recovery. “There is something. God or an angel saved me. There is something there.”“For three months, I thought I would die,” said Mr. Ivanchuk, shown in his room at a military hospital in Ulm, Germany.Lena Mucha for The New York TimesIn 2020, Mr. Ivanchuk was studying opera in Italy, and he had big ambitions: to perform on the stages of the Metropolitan in New York and La Scala in Milan.Then the pandemic closed borders around the globe. His music school was closed, and Mr. Ivanchuk was stuck in Ukraine, struggling with severe depression.Two years later, as the world began reopening, Russia invaded, and Mr. Ivanchuk found himself trapped in Ukraine once more: Men of fighting age were banned from leaving the country.His dream was rapidly fading — opera singers should complete their training by their early 30s. No one could guess when the war would end.The State of the WarDramatic Gains for Ukraine: After Ukraine’s offensive in its northeast drove Russian forces into a chaotic retreat, Ukrainian leaders face critical choices on how far to press the attack.How the Strategy Formed: The plan that allowed Ukraine’s recent gains began to take shape months ago during a series of intense conversations between Ukrainian and U.S. officials.Putin’s Struggles at Home: Russia’s setbacks in Ukraine have left President Vladimir V. Putin’s image weakened, his critics emboldened and his supporters looking for someone else to blame.Southern Counteroffensive: Military operations in the south have been a painstaking battle of river crossings, with pontoon bridges as prime targets for both sides. So far, it is Ukraine that has advanced.Yet like so many of his compatriots, Mr. Ivanchuk wanted to join the fight. Not on the front lines — “I’d be useless for that,” he joked — but by using his 30-year-old blue Lada sedan to drive civilians out of Kharkiv, the embattled city in eastern Ukraine, a few hours from his hometown, Poltava, where he had grown up in a musical family.It was a grueling routine. Every morning at 6, he drove to Kharkiv, laden with medicine and groceries for those still inside. Every night, he picked up residents fleeing the siege, who could not afford a taxi out. He slept a few hours at home with his parents, then started again.His mother, Olena Ivanchuk, awaited his return each night in silent torment. But on the morning of March 10, his mother had to speak: While dusting, she noticed the family’s religious icons had all fallen from the table, which she perceived as a dark omen.“When I told him, his face fell,” she said. “For the first time in my life, I told him: ‘My son, I fear maybe this time you won’t return.’”He left for Kharkiv anyway.Mr. Ivanchuk chose to aid the war effort by helping residents flee from Kharkiv. He was shot three weeks into the war.Tyler Hicks/The New York TimesThat night, Mr. Ivanchuk and his passengers packed his Lada to the brim with suitcases and pets. It was pitch black as they made their way out of town. Through the darkness, bullets suddenly whizzed past.In a terrifying game of cat and mouse, Mr. Ivanchuk sped along, trying to find the protection of a Ukrainian military checkpoint. But the Russian forces soon found their mark: 30 bullets hit the car. Five hit Mr. Ivanchuk.“I felt each and every bullet. First it hit one leg, then the leg once more. Then I saw my fingers destroyed,” he said. “After that, I felt a bullet in my side and back.”Four people and two cats were inside the car. Yet only Mr. Ivanchuk had been shot.He likely would not have survived if not for one of his passengers, Viktoria Fostorina — a doctor. With the help of the others in the car, she bandaged the wounds on his chest and back, preventing a collapsed lung.“At first, I was the one saving them,” he said. “But as it turned out, in the end, they saved me.”Somehow, he managed to drive the car to a Ukrainian military checkpoint before collapsing.The war was three weeks old; Mr. Ivanchuk had already rescued 100 people. As he felt himself losing consciousness in the hospital later, he prayed to God, and prepared to die.“I was thinking, ‘You’re only 29, and you’re dying,” he said, recalling his thoughts. “‘I could have lived longer. But I tried to help people, so maybe it’s a good thing.’”After searching for Mr. Ivanchuk for nearly two days, his mother found him at the Kharkiv hospital, where doctors warned he might not survive. She forced back tears, entering the room of her unconscious son with a smile.“I said, ‘Please, son, open your eyes.’ I told him: ‘One hundred percent, you’ll survive. You will live.’ I told him that several times.”An X-ray showing Mr. Ivanchuk’s hand injuries.Lena Mucha for The New York TimesMr. Ivanchuk remembers awakening to her smiling face. But he couldn’t speak: Tubes were coming out of his mouth. His body was in such pain, he could communicate only by twitching one finger.Ms. Ivanchuk recalled her son’s crying from the pain of his early operations. Later, his tears came from his realization he might never perform again.But fate stepped in once more.Mr. Ivanchuk’s story spread on social media, and a prominent Ukrainian opera singer convinced a talented surgeon in the country to operate on him. His lungs and liver began to heal.Though his recovery had begun, a dark struggle was still ahead, one he almost lost.For weeks, he lay among shellshocked young soldiers who sometimes jumped out of bed at night, throwing imaginary grenades, screaming at comrades to take cover.Mr. Ivanchuk grew paranoid that Russian spies lurked behind every door. And he grappled with the idea that rescuing people had cost him his dream.“It was a marathon of pain and psychological torment,” he said.He faced down those thoughts, thanks in part by drawing on lessons from his past struggle with depression. Psychotherapy during the pandemic had taught him to see his thoughts as brain chemistry, not his inner self. And he began to accept that faith alone could not heal him: “I still believe in the Creator — but a lot depends on us.”Mr. Ivanchuk playing the organ in the church hospital. The movement helps exercise his injured fingers.Lena Mucha for The New York TimesKeeping his goals confined to his hospital room, Mr. Ivanchuk and his mother celebrated even the tiniest step toward recovery. Taking life day by day, and forgetting his big ambitions, he was surprised to discover he felt more content than before the attack.“I used to think that without a dream, it was impossible to be a happy person,” he said. “But now, I see that happiness is actually just to live.”Once stable enough for travel, Mr. Ivanchuk was sent to Ulm, Germany, for advanced surgeries at a German military hospital.As a musician, he wanted to restore as much dexterity as possible to his mutilated fingers — he has played the bandura, a Ukrainian stringed folk instrument, since childhood.He tried not to think about opera until one night, on his third week in Ulm, when he began to sing in the shower. He chose Valentin’s aria from “Faust” — and was astounded to hear his old voice.Mr. Ivanchuk soon realized that not only were his dreams still possible — but that, in a wholly unanticipated twist to his nearly fatal injury, he was now better placed to pursue them.If not for the attack, he would have remained stuck in Ukraine. Moreover, he had landed in Germany, the best place in the world for a budding opera singer. Thanks to its subsidies for the arts, Germany has over 80 full-time opera houses.By late June, he was well enough to perform for the hospital staff.Mr. Ivanchuk greeting the hospital staff after he performed for the first time since he was wounded.Lena Mucha for The New York TimesFirst, he sang “Ave Maria,” for its spirituality. Then, an aria from “The Magic Flute,” by Mozart, to honor his German caretakers. The third song could only be Ukrainian and a tribute to the woman devoted to his survival — “My Own Mother.”She cried as he began. “I did not expect he could sing that loudly,” she said. “It is because he was doing it with his heart.”That evening, he was discharged.“He was extremely positive, he didn’t complain at all about his situation,” said Dr. Benedikt Friemert, the head orthopedic surgeon at the hospital, describing his patient’s recovery. “Quite the opposite: He was convinced that what he had done was right. He was unlucky and got injured, but he said: ‘Never mind, I’ll get better so that I can do what’s important to me.’ In other words: singing.”Mr. Ivanchuk, with a slight limp, a missing finger and a body peppered with bullet fragments, still faces a difficult journey. He has more physiotherapy ahead.He now rents an apartment in Ulm with his mother, and he has started receiving lessons from a Ukrainian opera singer, Maryna Zubko, who works at the local theater. One day, they hope to sing together there.“He has a beautiful voice,” said Ms. Zubko, who first encountered her pupil when a heavily bandaged man threw flowers at her feet after a local performance.Her hope for Mr. Ivanchuk is to spend a year recovering with her help then use his talent, and his story, to earn a place at a prestigious program in Europe or the United States to finish his training.He is dreaming again of the Met and La Scala. “I think in five years, I could make it onto one of those stages,” Mr. Ivanchuk said. “As long as no one else shoots me.” More

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    Hobart Earle Leads the Odesa Philharmonic to Berlin

    “I certainly never planned on being a music director in a time of war,” says Hobart Earle, who has conducted this Ukrainian orchestra for 30 years.BERLIN — There was a warm ovation as the musicians of the Odesa Philharmonic Orchestra came onstage here on Tuesday evening, and cheers when the ensemble played the Ukrainian anthem. Applause greeted the conductor Hobart Earle’s spoken introduction in German.But none of that was as loud as the roar from the crowd at the Philharmonie when Earle switched to Ukrainian. To hear that language spoken in front of dozens of Ukrainian musicians in a Western European capital was a stirring sign of the defiant survival of Ukraine — and its culture — in the face of Russia’s war of aggression. (The concert can be viewed at mediathek.berlinerfestspiele.de through Sept. 17.)That defiance was particularly powerful coming from an orchestra from Odesa, whose port holds the key to the Black Sea and the global grain trade. The city may be the most strategically and symbolically crucial prize of the war as it drags on.The Philharmonic, which dates its modern history to the 1930s, was performing in Berlin for the first time, but it was led by an old friend: Earle, born in Venezuela to American parents, has been the orchestra’s conductor for 30 years, an unusually long tenure these days.“I never imagined that I would be a long-term music director,” Earle said in an interview the day before the concert. “And I certainly never planned on being a music director in a time of war.”The program of works by Myroslav Skoryk, Mykola Lysenko, Alemdar Karamanov and Sibelius came together rapidly after Winrich Hopp, the artistic director of Musikfest Berlin (part of the Berliner Festspiele), contacted the orchestra in early July. Earle, who had left Ukraine in February, flew back to Odesa to rehearse an ensemble that had been largely silenced for six months by the war.“How could I not go back to try and put this orchestra together again?” he said.With the Ukrainian government granting permission for male players to travel, even though men of military age are now barred from leaving the country, the performance could go forward. Even a double bass broken in transit could not dim the high spirits of the occasion, and what Earle called “the indomitable Odesa humor.”“Any orchestra is a mirror of its city,” he said. “Odesa is very well known in the former Soviet Union as a capital of humor. It’s a city where it’s so important during hard times, this ability to be flexible in the face of problems and to live life with a smile.”Below are edited excerpts from our conversation.Earle conducting the Odesa ensemble in Berlin in a program of works by Myroslav Skoryk, Mykola Lysenko, Alemdar Karamanov and Sibelius.Fabian SchellhornWhat has happened to the orchestra and the players during the past six months?My last concert was on Feb. 12, and the mood was going downhill really fast: “Maybe the American intelligence has something here; why are they sounding such an alarm; maybe this is really going to happen.” And we played — unplanned — the overture to Lysenko’s great Ukrainian opera “Taras Bulba,” one of our old war horses.After the war broke out, we didn’t know what was going to happen next. After the invasion of Crimea, in 2014, we had done a flash mob playing “Ode to Joy” in the fish market, and we tried to get permission to do that again, at sites around Odesa. But we couldn’t get permission. So we decided [to release online] the audio of the last movement of Mieczyslaw Weinberg’s 21st Symphony, the last big piece we played before the pandemic. It’s a kaddish he dedicated to the victims of the Warsaw ghetto. We took the music and added images from the concert hall and the war, but also images of Ukrainian life — to try and make it not terribly bleak, like there’s a light at the end of the tunnel, and we released that at the end of March.Had everyone stayed in Odesa?Some people had gone abroad, and some went to villages in western Ukraine. We have a lot of split families now — that’s very common, with wives and children abroad. But as people came back, the orchestra started playing weekly chamber concerts in May.Several of the players were in civilian defense units. One of our stagehands was actually in the army — he would be here except he had concussions and high blood pressure and got some time off, but he was on the front. Our principal clarinet is also in the armed forces, but his function right now is not fighting; he’s helping the wounded and driving ambulances. But they let him have time off to come with us.What was it like for you to return to Ukraine?It was rather sad, because the city is historically one of the great cosmopolitan cities of Europe. During the summer it’s usually bursting, and it’s empty now. But you can feel some life coming back on the streets, and in the restaurants and cafes.How did you initially connect with this orchestra?I came to the Soviet Union with a chamber orchestra from Vienna in 1990. With this orchestra, we had been doing rarely performed American music in Austria, and rarely performed Austrian music in America. And someone said we should take our American program to the Soviet Union. Almost none of us had ever been there before.One of the cities was Odesa, and I was then invited to come guest-conduct the Philharmonic. I came in April 1991, not speaking a word of Russian. I speak some Western European languages and English, but there wasn’t any ability to communicate. This was terra incognita, the Iron Curtain. And through an amazing turn of fate, there was one viola player from Cuba, and I could speak Spanish with him, and he was my translator. And it all grew out of that. If not for that, I wouldn’t have had any real chance of continuing. “Any orchestra is a mirror of its city,” Earle said. “Odesa is very well known in the former Soviet Union as a capital of humor.”Fabian SchellhornCan you tell me about program you’ve brought to Berlin?The basic idea was to focus on three composers. We start with Skoryk — part of his 1965 score for a classic of Soviet film called “Shadows of Forgotten Ancestors.” This piece is called “Childhood”; it’s happy children’s music, very folkloric, and there’s so much folklore in Ukrainian culture and history. The idea was to go directly from this children’s music into an elegy by Lysenko — a piano piece, in a new orchestral version. And we’re dedicating this pairing to the children who are suffering so badly in this war.And Karamonov’s Third Piano Concerto?Nobody wrote music like this in 1968, not in the Soviet Union, not in Western Europe. He was a Crimean Tatar Muslim, and his father was exiled to Siberia, so in 1944 Karamanov wasn’t in Crimea but in Moscow with his mother, or else he would have been sent there as well.He went away from avant-garde music and came back to Crimea and this is one of the first pieces he wrote there. It’s a very religious piece: He was Muslim, but he had an experience that turned him totally toward Christianity, which was remarkable in the Soviet Union. He was very interested in jazz and all these forbidden things. It’s very reflective music; you can feel in some places the influence of Rachmaninoff and Scriabin, but that’s just fleeting moments. Other times you can feel these blues harmonies — with a deep religious underpinning. And a fascinating ending, totally unexpected: His words were that this is a rain, a spiritual rain.And the Sibelius?Winrich Hopp said we should play something in which the orchestra can really shine. And I came to Sibelius’s Second Symphony, which has the whole underpinning of patriotism. And we wanted to end with something upbeat. This music, the sort of narrative of this symphony, is something which now, during this war, we feel differently. This piece has a lot of dark moments, but that last movement …Has the issue of playing Russian music with the orchestra come up?I did a Shostakovich Five in Poland at the beginning of February, and that music fit the atmosphere so precisely. I’ve been asked a lot about Russian music. But Ukrainians just do not want to hear it now, and I think we need to respect that.Have you been able to explore Berlin during your stay?I realized that I haven’t been here since the fall of the Wall! So I’m exploring it. I found the site of the old Philharmonie, where the Berlin Philharmonic played. But there’s a sadness to being in Berlin now. It’s still a construction site. And it makes you wonder how many years it is going to take to rebuild Ukraine. More

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    An Orchestra Brings Harmony to a Region of Discord

    The Pan-Caucasian Youth Orchestra unites players from Armenia, Azerbaijan, Georgia, Kazakhstan, Russia, Turkey and Ukraine with a message of peace and dialogue.In February, Grigory Ambartsumyan, a 22-year-old Ukrainian violinist of Armenian descent, awoke in Kyiv to the sound of bombs. It was the beginning of Russia’s assault on his country, and the coming days and weeks were a blur of restless nights in bomb shelters.Now, six months later and with war still raging, Ambartsumyan and dozens of his fellow musicians with the Pan-Caucasian Youth Orchestra have reunited in Tsinandali, a bucolic village in Georgia for the fourth annual Tsinandali Festival of classical music. It’s been a difficult three years since the orchestra debuted in September 2019, given the coronavirus pandemic (which stopped it from performing at the festival for two years), as well as continuing tensions between Georgia’s neighbors Azerbaijan and Armenia, and, of course, the lingering war in nearby Ukraine.This year, there is an urgent sense of camaraderie and hope among these young musicians and the festival organizers in this historically volatile region. Some 80 performers from seven countries from the Caucasus region between the Black Sea and the Caspian Sea and a few neighboring nations — Armenia, Azerbaijan, Georgia, Kazakhstan, Russia, Turkey and Ukraine — will play three of the 19 concerts at the festival, which runs Sept. 2-11.Members of the orchestra celebrate after their Mahler performance in 2019.Tsinandali Festival“If we don’t establish a new relationship across borders with music, we are going to lose the opportunity to plant some seeds in the hearts of these young musicians,” said the Italian conductor Gianandrea Noseda, the music director of the Tsinandali Festival. “You have to start with the young people to solve problems through connections rather than divisions.”The orchestra opens this year’s festival on Friday with “Adagio” by the Ukrainian modern composer Bohdana Frolyak (along with pieces by Brahms and Beethoven). The concert will be conducted by Oksana Lyniv, also Ukrainian, who in 2021 became the first woman to conduct at the Bayreuth Festival.The Pan-Caucasian Youth Orchestra is the brainchild of Martin Engstroem, the director of the well-heeled Verbier Festival in Switzerland. In 2018 he was hired, along with Avi Shoshani, the secretary general of the Israeli Philharmonic Orchestra, by the private-equity investor George Ramishvili, a Georgian, to start a music festival in his home country. The festival began in September 2019 on an estate northeast of the capital of Tbilisi once owned by the 19th-century Romantic poet Prince Alexander Chavchavadze.But Engstroem and Shoshani didn’t just want to put on another summer festival for the elite. “I felt one needed to create a festival in this part of the world with a message,” Engstroem said, something “humanitarian and geopolitical.”The Tsinandali Festival is held on the grounds of an estate northeast of Tbilisi once owned by the 19th-century Romantic poet Prince Alexander Chavchavadze.Tsinandali FestivalLike many classical music festivals, the festival celebrates the works of major European composers — but it also includes music from the Caucasus, as well as Turkey and other countries that border the region, where tensions stretch back hundreds of years, including between Turkey and Armenia and, more recently, Azerbaijan and Armenia, as well as Russia and Georgia.The State of the WarA New Counteroffensive: Ukraine has long vowed a major push in the southern region of Kherson to retake territory seized by Russia. It may have begun.Nuclear Plant Standoff: After renewed shelling intensified fears about a nuclear accident at the Zaporizhzhia power plant, United Nations inspectors arrived in Ukraine for a high-stakes visit to the Russian-controlled station.Russia’s Military Expansion: President Vladimir V. Putin ordered a sharp increase in the size of Russia’s armed forces, a sign that he expects a prolonged war — an outcome Ukraine has incentive to avoid.Unusual Approaches: Ukrainian troops, facing strained supply lines, are turning to jury-rigged weapons and equipment bartering among units.“Georgia and this region of Tsinandali are right in the center of where countries have been fighting forever,” Engstroem said.“Now, more than, ever, a dialogue is so important. We have seen that classical music is a universal language,” he added. “It’s relatively easy for kids from different backgrounds to create a common language through music.”For Ambartsumyan, the violinist, this year’s festival seems like a miracle. After enduring the bombardment of Kyiv earlier in the year, he remained in the city to study at the Ukrainian National Tchaikovsky Academy of Music this summer before traveling to Tsinandali for rehearsals. Speaking through a translator in a video interview, Ambartsumyan fought back tears as he talked about his journey in the last six months and recalled several friends killed in the war.“Starting in February, the explosions woke me up at night, and people were running and hiding everywhere,” he said. “It was such a tough time. And these past two years have been hard because I’m both Armenian and Ukrainian.”He was referring to the simmering clash between Armenia and Azerbaijan over the enclave of Nagorno-Karabakh. It’s a conflict that much of the world seems to not know much — or care much — about, he said.“In 2019 I met an Azerbaijan girl in the youth orchestra, and I remember her saying that we can communicate together, all of us, despite the tension between Armenia and Azerbaijan,” he said. “It’s important for me and other musicians to realize that peace is the most important thing in life.”War has also touched other members of the Pan-Caucasian Youth Orchestra.“We were a little bit scared when the festival started in 2019 because there is always something going on or that could explode at any time,” said Diana Sargsyan, 23, an Armenian violinist. “And then Armenia and Azerbaijan fought for 44 days in 2020. I had brothers in the war, and I was always thinking about them.”The Tsinandali Festival continued in 2020 and 2021 but on a smaller scale and without the Pan-Caucasian Youth Orchestra.Tsinandali FestivalAlthough the orchestra didn’t reunite in 2020 and 2021 (the Tsinandali Festival continued, but on a much smaller scale), many of the young musicians stayed in touch and hoped they would play this year.“People might wonder how we can sit next to each other, but it’s OK for us,” Sargsyan added. “The language we speak is music. It doesn’t matter which country you come from. We are all the same.”It’s a sentiment echoed by Ekaterine Tsenteradze, 25, a Georgian oboist who remembers the brief war between her country and Russia as a child.“I was 12 in 2008, and I remember seeing Russian soldiers in the streets,” Tsenteradze said, referring to the occupation of Georgia by Russian forces in August 2008 before a cease-fire was brokered after 12 days. “I have this fear again now. It feels like another country could be next. We’re in peace now and playing music, but it could all change.”Ambartsumyan said he found a certain pleasure that the orchestra would play works by Prokofiev and Shostakovich, two composers who were repressed by the Soviet regime, for the festival’s closing performance on Sept. 11.The conductor Derrick Inouye, the ensemble’s assistant conductor, working with the orchestra this month in rehearsal.Tsinandali Festival“It will be emotional for me because in their music there is a small grain of tragedy, but also underlying a lot of their music is a satire of the government,” he said. Ambartsumyan said it was an ironic bit of programming in 2022, given that music written to criticize the Russian government is being played decades later in a region where Russian aggression is once again in the headlines.“When I saw Prokofiev and Shostakovich on the program, I thought to myself, ‘perfect!’” he said. “I know a little something about what these two composers went through.” More

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    Review: A Ukrainian Orchestra Speaks With Quiet Intensity

    Brahms’s Fourth Symphony doesn’t mean anything. Like much of the classical music repertory, it has no text, no plot. It elicits emotions, but not in a rigidly defined way. At a concert, your neighbor’s experience of it, her explanation of its impact, will almost certainly be different from yours.It’s also, like much of the repertory, chameleonic — a different piece if you’ve suffered a heartbreak or celebrated a joy. On Thursday, when the Ukrainian Freedom Orchestra performed the symphony at Lincoln Center, the notes were the same as ever. But, played by dozens of Ukrainian musicians on a mild evening in Damrosch Park, the score took on an air of calm but implacable defiance, what Rimbaud once called “burning patience.” There was no hysteria to this Brahms, just resolute intensity.Though the performance, with its unified, focused passion, seemed like the work of a well-practiced ensemble, this orchestra convened for the first time only a month ago, as an effort to showcase Ukraine’s culture and what the country’s president, Volodymyr Zelensky, has called “artistic resistance” to the Russian invasion.It is the brainchild of the conductor Keri-Lynn Wilson, who has Ukrainian roots, and her husband, Peter Gelb, the general manager of the Metropolitan Opera. Wilson and Gelb rallied sponsors and the assistance of the Polish National Opera in Warsaw, which hosted rehearsals and the first show of a 12-city tour, which continues through Saturday in Washington.Anna Fedorova was the soloist in Chopin’s Piano Concerto No. 2, a nod to the Polish support for the Freedom Orchestra project.Caitlin Ochs for The New York TimesPlaying under Wilson’s baton, the musicians represent a range of Ukrainian ensembles, and some are members of orchestras elsewhere in Europe. The Ukrainian government made the crucial contribution of allowing male players to participate in the tour, even though men of military age are now barred from leaving the country.But make no mistake: The men and women of the Ukrainian Freedom Orchestra are fighting. As the critic Jason Farago wrote last month in The New York Times, the risks to Ukrainian culture “are more than mere collateral damage” in this battle. This is, he added, a true culture war; Russia is seeking not just land but also the erasure of a country’s artistic output and history. Anyone who is resisting that is a soldier.“I don’t have a gun,” one of the orchestra’s musicians told The Times recently, “but I have my cello.”So it was natural that the evening had its moments of national pride. Ukraine’s ambassador to the United Nations, Sergiy Kyslytsya, took the stage to declare “Glory to Ukraine,” and Wilson echoed that sentiment — in Ukrainian — from the podium. A huge Ukrainian flag stretched behind the musicians; at the end, the soloists took a bow wrapped in flags, and still more were waved in the audience.The Ukrainian ambassador to the United Nations, Sergiy Kyslytsya, spoke before the performance.Caitlin Ochs for The New York TimesBut this wasn’t a performance given over to jingoism; it favored refinement. You got the impression that the best way to fight imperialism and authoritarianism — from the concert stage, at least — was with sophistication, craft, rigor, subtlety. For all its moments of high drama, the program was admirably even-keeled and soft-spoken, an embodiment of a cultured nation. Even the arrangement of the Ukrainian anthem at the end was impressionistic and elegant, the opposite of stentorian.There has never been a perfect outdoor orchestral performance; instruments made for warm indoor acoustics take on an edge, and overamplified strings swamp the woodwinds every time. This was not the best possible setting for the American premiere of the pre-eminent Ukrainian composer Valentin Silvestrov’s Symphony No. 7 (2003), a poignant and canny single-movement work that begins in agony; dips (à la Shostakovich) knowingly into kitschy sweetness; and then slowly dissolves, ending with the eerie, toneless sound of breathing through brasses.The pianist Anna Fedorova was a sensitive, poetic soloist in Chopin’s Piano Concerto No. 2, a nod to the Polish support for the Freedom Orchestra project. The soprano Liudmyla Monastyrska — who replaced Anna Netrebko at the Met after Netrebko’s contracts were canceled in the wake of the Russian invasion — sang Leonore’s aria of rebellion from Beethoven’s “Fidelio.”Flags were also waved by members of the audience at Damrosch Park.Caitlin Ochs for The New York TimesBut most impressive was the Brahms symphony, not a piece easily thrown together by a pickup orchestra. (On Friday at Damrosch, as the closing night of Lincoln Center’s Summer for the City festival, the Brahms will be replaced by Dvorak’s “New World” Symphony, and the “Fidelio” aria by Aida’s paean to her homeland, “O patria mia.”)Despite the outdoor acoustics, the sound was remarkably rich in the first movement; the second was eloquent; the third buoyant but still substantial, carried off with understated panache.The finale was less ferocious than you might have thought it would be, given the occasion, and was all the more moving for that restraint. Some have heard in the end of Brahms’s Fourth grimness and destruction, a kind of gorgeous annihilation. This was the opposite: a declaration of continued presence.It’s not quite true that the work is pure music, without any external connections; you just have to dig a bit. Brahms derived the theme of the finale from the final movement of a Bach cantata, the opening words of which could have been this concert’s — and this orchestra’s — credo: “My days of suffering, God will finally end in joy.”Ukrainian Freedom OrchestraThrough Friday at Damrosch Park at Lincoln Center, lincolncenter.org. More

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    An Orchestra Supports Ukraine, and Reunites a Couple Parted by War

    “I don’t have a gun, but I have my cello,” a musician says as he joins the Ukrainian Freedom Orchestra, which is made up of refugees who fled the war and artists who stayed behind.WARSAW — After years of struggling to make a living as musicians in Ukraine, Yevgen Dovbysh and Anna Vikhrova felt they had finally built a stable life. They were husband-and-wife artists in the Odessa Philharmonic — he plays the cello, she the violin — sharing a love for Bach partitas and the music from “Star Wars.” They lived in an apartment on the banks of the Black Sea with their 8-year-old daughter, Daryna.Then Russia invaded Ukraine in February. Vikhrova fled for the Czech Republic with her daughter and mother, bringing a few hundred dollars in savings, some clothes and her violin. Dovbysh, 39, who was not allowed to leave because he is of military age, stayed behind and assisted in efforts to defend the city, gathering sand from beaches to reinforce barriers and protect monuments and playing Ukrainian music on videos honoring the country’s soldiers. “We spent every day together,” Vikhrova, 38, said. “We did everything together. And suddenly our beautiful life was taken away.”Dovbysh was granted special permission to leave the country last month to join the Ukrainian Freedom Orchestra, a new ensemble of 74 musicians that was gathering in Warsaw, the first stop on an international tour aimed at promoting Ukrainian culture and denouncing Russia’s invasion. Carrying his cello, and wearing a small golden cross around his neck, he boarded a bus for Poland, looking forward to playing for the cause, and also to being reunited with another member of the fledgling ensemble: his wife.“I love my country so much,” he said as the bus passed ponds, churches and raspberry fields in Hrebenne, a Polish village near the border with Ukraine. “I don’t have a gun, but I have my cello.”The bus crossed the border and drove into Hrebenne, in Poland, on its way to Warsaw, where the newly formed orchestra would meet for the first time to rehearse.Maciek Nabrdalik for The New York TimesWhen his bus arrived in Warsaw, he rushed to meet Vikhrova. He knocked on the door of her hotel room, waited nervously, and then embraced her when she opened it. She teased him about his decision to wear shorts for the 768-mile journey, despite the cool weather, a legacy of his upbringing in balmy Odessa. She gave him a figurine of a “Star Wars” creature, Baby Yoda, a belated birthday present.“I’m so happy,” he said. “Finally, we are almost like a family again.”The next morning, they took their chairs in the new Ukrainian Freedom Orchestra, led by the Canadian Ukrainian conductor Keri-Lynn Wilson, to prepare for an 12-city tour to rally support for Ukraine. Beginning here in Warsaw, the tour has continued in London, Edinburgh, Amsterdam, Berlin and other cities, and will travel to the United States this week to play at Lincoln Center on Aug. 18 and 19 and at the Kennedy Center in Washington on Aug. 20.The tour has been organized with the support of the Ukrainian government. Volodymyr Zelensky, the president of Ukraine, said in a recent statement celebrating the founding of the orchestra that “artistic resistance” to Russia was paramount. The orchestra also has the backing of powerful figures in the music industry. Wilson’s husband, Peter Gelb, who runs the Metropolitan Opera in New York, has played a critical role, helping line up engagements and benefactors, and the Met has helped arrange the tour. Waldemar Dabrowski, the director of the Wielki Theater, Warsaw’s opera house, provided rehearsal space and helped secure financial support from the Polish government.CULTURE, DISPLACED A series exploring the lives and work of artists driven far from their homelands amid the growing global refugee crisis.At the first rehearsal, musicians filed into the Wielki Theater carrying blue and yellow bags; instrument cases covered in peace signs and hearts; and tattered volumes of Ukrainian poems and hymns.The orchestra was the idea of the Canadian conductor Keri-Lynn Wilson, who is of Ukrainian descent. “For Ukraine!” she proclaimed at the first rehearsal.Maciek Nabrdalik for The New York TimesAs the musicians began to warm up at rehearsal, Wilson took her place at the podium, locked eyes with the players, and spoke about the need to stand up to Moscow.“For Ukraine!” she said, throwing her fist into the air. Then the orchestra began playing Dvorak.The musicians had arrived mostly as strangers to one another. But slowly they grew closer, sharing stories of neighborhoods pounded by bombs, while the refugees among them recounted their long, tense journeys across crowded borders this winter.Among the violins was Iryna Solovei, a member of the orchestra at the Kharkiv State Academic Opera and Ballet Theater, who fled for Warsaw at the start of the invasion along with her 14-year-old daughter. Since March, they have been among the more than 30 Ukrainian refugees living inside the Wielki Theater, in offices that were converted to dormitories.In March, Solovei, watched from a distance as her home in Kharkiv was destroyed by Russian missiles. She shared photos of her charred living room with her fellow players, telling them how much she missed Ukraine and worried about her husband, who still plays with the Kharkiv ensemble.Our Coverage of the Russia-Ukraine WarOn the Ground: A series of explosions that Ukraine took credit for rocked a key Russian air base in Kremlin-occupied Crimea. Russia played down the extent of the damage, but the evidence available told a different story.Heavy Losses: The staggeringly high rate of Russian casualties in the war means that Moscow may not be able to achieve one of his key objectives: seizing the entire eastern region of Ukraine.Nuclear Shelter: The Russian military is using а nuclear power station in southern Ukraine as a fortress, as fighting intensifies in the region. The risk of a catastrophic nuclear accident has led the United Nations to sound the alarm and plead for access to the site to assess the situation.Starting Over: Ukrainians forced from their hometowns by Russia’s invasion find some solace, and success setting up businesses in new cities.“Everyone has been hurt,” she said. “Some people have been hurt physically. Some people have lost their jobs. Some people have lost their homes.”She reminisced about her days as an orchestra musician in Ukraine, and the deep connections she felt with audiences there. To cope with the trauma of war, she takes walks in a park in Warsaw, where a Ukrainian guitarist plays folk songs at sunset.“The war is like a horrific dream,” she added. “We can forget about it for a moment, but we can never escape it.”Iryna Solovei, left, holding a violin, before the orchestra’s first performance at the Wielki Theater in Warsaw. She has been living in the theater since March.Maciek Nabrdalik for The New York TimesAt the back of the orchestra, in the percussion section, stood Yevhen Ulianov, a 33-year-old member of the National Symphony Orchestra of Ukraine.His daughter was born on Feb. 24, the first day of the invasion. He told his fellow players how he and his wife, a singer, had gone to the hospital in Kyiv a few hours before the war started. As she went into labor, air-raid sirens sounded repeatedly, and at one point they were rushed from the maternity ward to the basement of the hospital.“I couldn’t understand what was happening,” he said. “I could only think, ‘How will we get out of here alive?’”Ulianov did not play for two months after the invasion, as concerts in Kyiv were canceled and theaters elsewhere were damaged. The orchestra reduced his salary by a third in April, and he relied on savings to pay his bills. Inside his apartment near the center of the city, he practiced on a vibraphone, taking shelter in a corridor when air-raid sirens sounded.“We didn’t know what to do — should we stay or should we leave?” he said. “What if the Russian army came to Kyiv? Would we ever be able to play again?”‘Half of me is in Ukraine, and half of me is outside.’Before the orchestra’s first concert, late last month in Warsaw, Vikhrova and Dovbysh were anxious.They had spent more than a week rehearsing the program, which included pieces by Brahms, Beethoven, Chopin and Valentin Silvestrov, Ukraine’s most famous living composer. But they were unsure how the audience might react. And they were grappling with their fears about the war.Vikhrova had been trying to build a new life in the Czech Republic with their daughter, joining a local orchestra. But she worried about her husband’s safety “every second, every minute, every hour,” she said. She slept near her phone so that she would be woken up by warnings about air raids in Odessa. She grew anxious after one attack there before Easter, when her husband saw Russian missiles in the sky but had no time to take shelter. To take her mind off the war, she played Bach and traditional Ukrainian songs.On their first evening together in five months, Yevgen Dovbysh and Anna Vikhrova, a married couple who were parted by the war and reunited to play together in the orchestra, attended a welcoming party for the new ensemble at Warsaw’s opera house, the Wielki Theater. Maciek Nabrdalik for The New York TimesHolding her husband’s hand backstage, Vikhrova said she longed for the day when they could return to Ukraine with their daughter, who was staying with her mother in the Czech Republic for the duration of the tour.“I feel like I’m leading a double life,” she said. “Half of me is in Ukraine, and half of me is outside.”Dovbysh remembered the fear in his daughter’s eyes when she and her mother left Odessa in February. He recalled taking time to explain the war and telling her she would be safe. He promised they would see each other again soon.When the tour ends this week and his military exemption expires, he is scheduled to return to Odessa. It is unclear when he will be able to see his family again.“Every day,” he said, “I dream of the moment when we can see each other again.”‘We live with a constant sense of worry.’As the war drags on, the musicians have at times struggled to keep their focus. They spend much of their free time checking their phones for news of Russian attacks, sending warnings to relatives.Marko Komonko, 46, the orchestra’s concertmaster, said it was agonizing to watch the war from a distance, likening the experience to a parent caring for an ill child. He fled Ukraine in March for Sweden, where he now plays in the orchestra at the Royal Opera House in Stockholm.“We live with a constant sense of worry,” he said.“We live with a constant sense of worry,” said Marko Komonko, the concert master, far right. Komonko, who now plays at the Royal Opera House in Stockholm, was joined at a rehearsal by Ustym Zhuk, who plays the viola, far left, and Adrian Bodnar a violinist, center. Maciek Nabrdalik for The New York TimesFor more than two months after the invasion, he said, he felt nothing when he played his violin. Then, in early May, he began to feel a mix of sadness and hope when he performed a Ukrainian folk melody at a concert in Stockholm.For some, playing in the orchestra has strengthened a sense of Ukrainian identity. Alisa Kuznetsova, 30, was in Russia when the war began; since 2019, she had worked as a violinist in the Mariinsky Orchestra. In late March, she resigned from the orchestra in protest and moved to Tallinn, Estonia, where she began playing in the Estonian National Symphony Orchestra.When she joined the Ukrainian Freedom Orchestra, she initially felt guilty, she said, worried that the other players would see her as a traitor because of her work in Russia. But she said her colleagues had reassured her that she was welcome.“For my soul, for my heart,” she said, “this has been really important.”In European cultural capitals, the orchestra has been greeted with standing ovations and positive reviews from critics.“A stirring show of Ukrainian defiance,” a review in The Daily Telegraph said of the orchestra’s performance at the Proms, the BBC’s classical music festival. The Guardian wrote of “tears and roars of delight” for the new ensemble.The players got a standing ovation, their first of many on the tour, at their first performance in Warsaw. Maciek Nabrdalik for The New York TimesBut the musicians say the measure of success will not be reviews, but their ability to shine a light on Ukraine and showcase a cultural identity that Russia has tried to erase.Nazarii Stets, 31, a double bass player from Kyiv, has been redoubling his efforts to build a digital library of scores by Ukrainian composers, so their music can be widely downloaded and performed. He plays in the Kyiv Kamerata, a national ensemble devoted to contemporary Ukrainian music.“If we are not fighting for culture,” he said, “then what is the point of fighting?”Wilson, who came up with the idea for the orchestra in March and plans to revive it next summer, said she made a point of featuring Silvestrov’s symphony as a way of promoting Ukrainian culture. Near the end of the piece, the composer wrote a series of breathing sounds for the brass, an effect meant to mimic the last breaths of his wife.Wilson, who dedicated the piece to Ukrainians killed in the war, said she instructed the orchestra to think of the sounds not as death, but as life.“It’s the breath of life, to show that their spirits go on,” she said in an interview.Vikhrova said the tour had brought her closer to her husband and her fellow players. She cries after each performance of the Silvestrov symphony, and when the orchestra plays an arrangement of the Ukrainian national anthem as an encore.“This has connected our hearts,” she said. “We feel part of something bigger than ourselves.”Anna Tsybko contributed reporting. More