A vocal evening featuring Maria Barakova and the E. F. Svetlanov State Academic Symphony Orchestra will unite arias by Rossini, Donizetti, Saint-Saëns, Rimsky-Korsakov, and Tchaikovsky. The program is structured as a series of contrasting opera scenes, where the mezzo-soprano travels from elegant comedy to powerful dramatic climaxes. The evening's program is built around opera heroines, to whom composers entrusted the most complex and contradictory feelings. The mezzo-soprano takes the stage alongside the E. F. Svetlanov State Academic Symphony Orchestra of Russia, and each aria becomes a brief standalone performance. The audience hears familiar opera titles, but the focus is on how the voice connects with the orchestral palette and reveals the characters' traits. Fragments of Rossini showcase the lightness and elegance of rhythm, where behind the external virtuosity lies an accurate psychological portrait. In Donizetti's pages, the tension between duty and feeling is more important, and the orchestra takes on part of the dramaturgy, highlighting hidden plot twists. Saint-Saëns' music sounds more sensual and dense, its lines stretch particularly wide, and emotions seem to linger in each phrase. The Russian part of the program with works by Rimsky-Korsakov and Tchaikovsky adds another type of energy-from bright lyricism to almost tragic intensity. For the listener, such an evening becomes an opportunity to see how differently the same timbre works in the context of Italian and Russian opera traditions. In some numbers, the voice enters into dialogue with individual groups of the orchestra, while in others it literally lies on the dense symphonic flow. It is also important that the program includes not only arias but also orchestral fragments that create a framework and help to hear the subsequent vocal episodes in a new way. The transitions from one composer to another are perceived as a journey through different schools and eras. Where to go in Moscow on weekends will be suggested by our website.