The Stradivari Ensemble of the Mariinsky Theatre brings together the music of Mozart and Haydn in one program, where the sound of ancient string instruments transforms familiar scores into a lively conversation about time, farewell, and the inner tension that is so beloved by the academic music of the Viennese classics, leaving behind a sense of rare fullness of sound. The Stradivari Ensemble of the Mariinsky Theatre takes the stage with a program entirely dedicated to the Viennese classics and their ability to speak the language of academic music about the most acute feelings. At the center of the evening are the Divertimento in D Major and Mozart's 40th Symphony, as well as Haydn's famous 45th Symphony, which has long been nicknamed "Farewell." Together, they form an almost theatrical action without words, in which the mood, tempo, and illumination of the listener's inner world change. The musicians of the ensemble play on rare instruments by masters of the 17th-18th centuries. Each bow touches the strings that remember other eras, halls, and countries, giving the sound a special density and depth. In transparent, almost chamber-like episodes, delicate undercurrents and the breath of phrases can be heard, while in dramatic sections, the orchestra acts as a single organism, uniting the lines of all voices. Soloist and conductor Lorenz Nasturika-Gershovich leads the ensemble through contrasting states, emphasizing the play of light and shadow in each part. Mozart in this program appears in two of his incarnations. In the divertimento, clarity of form, joy of movement, and a sense of musical conversation between the parts are present. In the G minor symphony, tension, inner dialogue, and almost tragic broken breath come to the forefront. The proximity of these compositions in one evening allows one to hear how differently the composer works with rhythm, dynamics, and orchestral colors. Haydn's symphony nicknamed "Farewell" adds a special dramatic touch to the program. Its final pages, where the musicians sequentially leave the stage, have long become a symbol of gentle irony and sadness at the same time.