When young soloists meet a large orchestra on the same stage, classical music takes on a special freshness. Oboe, cello, violin, and piano take turns stepping into the spotlight, revealing the facets of the concerts of Hummel, Elgar, Shchedrin, and the jazzy brilliance of Gershwin in a virtuosic arrangement by Frolov. In the Grand Hall, the orchestra named after E.F. Svetlanov hosts an evening centered around a new generation of soloists. Familiar names of composers become connected to living faces and biographies, while complex scores transform into a personal story of growing up, searching, and boldly trusting the stage. The program is structured as a series of monologues. The concert opens with Hummel's composition for oboe and orchestra - an elegant variation form where the soloist must maintain a light breath of phrase and transparency of sound. Here, the orchestra's attention to detail is particularly audible: it gently supports the cantilena, emphasizes changes in intonation, and plays with shades of tempo and dynamics. Elgar's Cello Concerto has long become a symbol of concentrated, adult experience. There is no external theatricality in it; each section resembles an unfolding internal dialogue. It is important for the young cellist not to hide behind a beautiful timbre but to reveal the folding form, showing the tension of pauses and the strength of quiet episodes. The orchestra here sounds like a conversational partner, capable of supporting, opposing, and leading thoughts in unexpected directions. Frolov's fantasy on themes from Gershwin's opera "Porgy and Bess" brings a fragile balance of jazz and academic tradition to the hall. The violin part is filled with virtuosic passages, wide glissandi, and sharp syncopations. Where to go in Moscow, KudaGo knows.