On the programme:
JEAN-PHILIPPE RAMEAU (1683–1764)

Prelude

Scene of the earthquake and choir of Incas Dans les abîmes
Opera-ballet Les Indes galantes, RCT 44 (1735)
Act II ('Les Incas du Pérou'), Scene 4

Duet of Shepherdess and Mercury Suivez les loi with the choir;
Tambourin en rondeau
Opera-ballet Les Fêtes d'Hébé, ou Les Talents lyriques, RCT 41 (1739)
Act III (La Danse), Scenes 6 and 7
The soloists:
Iveta Simonyan, soprano
Yulia Vakula, mezzo-soprano

A fragment of the overture to a musical comedy
Platée ou Junon Jalouse, RCT 53 (1745)

Air of La Folie Amour, lance tes traits
Comédie lyrique Platée ou Junon Jalouse
Act III, Scene 4
The soloist:
Yulia Vakula, mezzo-soprano

Rigaudons I and II;
contredanse and arietta of Thespis Chantons Bacchus with the choir
Comédie lyrique Platée ou Junon Jalouse
Prologue, Scene 3

Choir of the Spartans Que tout gémisse, que tout s'unisse
Tragédie en musique Castor et Pollux, RCT 32 (1737)
Act I, Scene 1

Thunderstorm scene; entrance of Mercury
Comédie lyrique Platée ou Junon Jalouse
Act I, Scene 1

Arietta of Cindor Zéphyrs, calmez la terre et l'onde with the choir
Ballet héroïque Zaïs, RCT 60 (1748)
Act II, Scene 4
The soloist:
Jak Martirosyan, baritone

The first gavotte of Graces, Pleasures and Arts; Arietta of Amour Renais plus brillante; The second minuet and tambourine of Graces, Pleasures and Arts
Tragédie en musique Castor et Pollux, RCT 32 (1737)
Prologue, scene 2
The soloist:
Alexey Kursanov, tenor

Entrance of HébéConnoissez notre puissance;
Scene of the Hébé’s suite, Pollux and Hébé’s Servant
Tragédie en musique Castor et Pollux
Act II, Scene 5
The soloists:
Tatiana Bikmukhametova, soprano
Jak Martirosyan, baritone

Passepieds of Happy Shadows I-II;
Ariette of The Other Happy Shadow Autant d'amours que de fleurs
Tragédie en musique Castor et Pollux
Act IV, Scene 2
The soloist:
Ksenia Dorodova, soprano

Arietta of the Castor Séjour de l'éternelle paix
Tragédie en musique Castor et Pollux
Act IV, Scene 1
The soloist:
Alexey Kursanov, tenor

Recitative and arietta of Phébé Castor revoit le jour, mercure le ramène / Soulevons tous les dieux
Tragédie en musique Castor et Pollux
Act V, Scene 1
The soloist:
Yulia Vakula, mezzo-soprano

Arietta of Phani Viens, Hymen
Opera-ballet Les Indes galantes
Act II ('Les Incas du Pérou'), Scene 2
The soloist:
Iveta Simonyan, soprano

Duet of Amour and Hébé Traversez les plus vastes mers with the choir
Opera-ballet Les Indes galantes
Prologue, Scene 5
The soloists:
Iveta Simonyan, soprano
Diana Nosyreva, soprano

Arietta of Hébé Musettes, résonnez with the choir; musette
Opera-ballet Les Indes galantes
Prologue, Scene 2
The soloist:
Ksenia Dorodova, soprano

Trio of Phébé, Pollux, and TélaïreSortez, sortez, d'esclavage with the choir; the scene with monsters and demons
Tragédie en musique Castor et Pollux
Act III, Scene 4
The soloists:
Tatiana Bikmukhametova, soprano
Yulia Vakula, mezzo-soprano
Andrey Nemzer, baritone

The First Gavotte of Graces, Pleasures and Arts;
ariette of Amour Renais plus brillante
Tragédie en musique Castor and Pollux, RCT 32 (1737)
Prologue, Scene 2
The soloist:
Alexey Kursanov, tenor

Minuets I and II; dances of madmen I and II
Comédie lyrique Platée ou Junon Jalouse
Act II, Scene 5

The Chaconne for Planets and Constellations;
the choir of stars Que les Cieux, que la Terre et l'Onde
Tragédie en musique Castor et Pollux
Act V, Scene 7

ChoirTendre Amour
Opera-ballet Les Indes galantes
Act III. ‘Les Fleurs, Fête persane’. Scene 7

The programme is subject to change.

Dolphin (Andrey Lysikov) has been a prominent figure in Russian music for more than 30 years, maintaining a willingness to constantly change the sound, style, and even the very form of artistic statement. His portfolio lists experiments with sound and words, concept albums, and projects that reveal themselves as sound worlds with their own atmosphere.

One of these parallel worlds is the electronic side project The Mechanical Dog. Here, Andrey Lysikov returned to the rhythms of electro, industrial, and early hip-hop music, to which he performed breakdance on the Arbat in the late 1980s and which was the beginning of his musical career. As part of this project, Dolphin has already released three full-scale albums of action-packed electronics with a cinematic atmosphere and dystopian overtones, and has also repeatedly become a headliner at major Russian electronic music festivals.