Lyrica Classic Entertainment Inc.

Home
United States
Washington D.C., DC
Lyrica Classic Entertainment Inc.

ALLOWING UNDISCOVERED MUSIC TO FIND THE RECOGNITION IT DESERVES.

06/14/2026

🎶 We spoke with composer Sergei Khrichenko about a work that does not try to persuade, explain, or declare.

💙 His Cantata of Peace is written for a wordless voice. No text. No slogans. No direct statement. What it holds instead is something more fragile: an inner state. A longing for peace, kindness, and purity.

✨ In the interview, Sergei speaks about the spiritual dimension of this music, why it matters to him, and how a composition without words can still say something essential.

🎧 The full conversation is now available on our Across Oceans podcast.

📺 And the recording of the Cantata of Peace will be released soon on our YouTube channel — subscribe now so you do not miss it.

🔗 https://clck.ru/3U9iUJ

06/09/2026

🎹 The Person Who Knows the Part Before the Soloist Does

The répétiteur. The one who plays everything in rehearsal: the orchestra, the chorus, the second character, the wind outside the window, the heroine’s nervous pulse.

❤️ They do not come out for bows. Their names are not on the poster. But without them, an opera would fall apart at the very first rehearsal.

What a répétiteur takes on in a single production:

✨ 300–500 chords
✨ 4–6 different tempi in a row
✨ the ability to freeze in a pause together with the soloist

📖 They sight-read what others spend a month learning. They hold the rhythm when the conductor is buried in the score. And they know the part better than anyone — simply because they play it every day.

Répétiteurs are the nervous system of opera: quiet, invisible, essential.

💬 Do you notice the pianist in rehearsals or in the pit? Or does sound begin for you only when the orchestra starts?

06/02/2026

🎻 3 Rules of Classical Concert Etiquette No One Explains (But Everyone Gets Annoyed When You Break Them)

🤫 Rule No. 1: Don’t applaud between movements

Even if it’s beautiful. Even if the whole stage falls silent. Even if the soloist has just hit a dazzling high note — hold back. Between movements, there should be silence. Applause comes only at the end of the piece.

📵 Rule No. 2: Keep your phone completely out of reach

Not just on silent. Vibration is still noise. And definitely no glowing screen while filming. In a dark hall, a phone screen shines like a torch.

👀 Rule No. 3: When squeezing past people in a row, let them see your face

Check the program in advance, see how long the piece or act lasts, and wait until the interval if you can. But if you are late or absolutely need to get to your seat after everyone is already sitting, move along the row facing the people — not with your back turned to them, even if that feels easier.

💬 Which “classic” concert mistake annoys you most? Loud rustling? Latecomers? Or applause in the middle of silence?

05/25/2026

🎭 A voice we made louder. Continuing our series.

❤️ Today — Tatiana Chudova (1944–2021)

Composer, professor at the Moscow Conservatory, Honored Artist of Russia. Author of over 500 works.

✨ Why is she part of "Muffled Voices"?

The first season of our festival was dedicated to her memory. For a reason.

She wasn't afraid of experiments. 🔥

At the festival, we presented four of her operas. Completely different, two of which were:

📝 "Von Meck — Tchaikovsky" — an epistolary opera based on real letters. But here's the twist: each character has two voices. One says what they write. The other says what they actually think. Tchaikovsky is sung by a tenor and a bass. Von Meck — by a soprano and a mezzo.

🧠 "Professor Dowell's Head" — a mono-opera about a head on a glass table. Pain. Humiliation. Bass-baritone and piano. Pure tension.

Chudova didn't complicate things for the sake of it. She just showed the truth — even if that took two voices or a living head.

What matters: She worked in every genre. Ballets, symphonies, choral music. She studied Russian folklore. And she did it alongside men — in spaces where women were rarely seen.

💬 Have you heard Tatiana Chudova's music? If yes — which piece stuck with you? If not — which opera grabs you more: "Von Meck — Tchaikovsky" or "Professor Dowell's Head"?

05/20/2026

🎶 Daiana Hoffmann: What Orchestras Truly Live For

This Across Oceans episode has been out for a little while — but in case you missed it:

Conductor Daiana Hoffmann speaks candidly about the unseen work of orchestra musicians, leadership inside a strict hierarchy, and why many players today feel disillusioned — both financially and creatively. We also talk about how audiences listen differently in Russia, the Middle East, and the United States.

👉 https://clck.ru/3TSrpf

💬 Have you listened yet? What’s one thing about orchestras you wish more people understood?

05/16/2026

🎻 3 Rules of Classical Concert Etiquette No One Explains (But Everyone Gets Annoyed When You Break Them)

🚫 Rule No. 1: Don’t applaud between movements

Even if it’s beautiful. Even if the whole stage falls silent. Even if the soloist has just hit a dazzling high note — hold back. Between movements, there should be silence. Applause comes only at the end of the piece.

📵 Rule No. 2: Keep your phone completely out of reach

Not just on silent. Vibration is still noise. And definitely no glowing screen while filming. In a dark hall, a phone screen shines like a torch.

⏳ Rule No. 3: When squeezing past people in a row, let them see your face

Check the program in advance, see how long the piece or act lasts, and wait until the interval if you can. But if you are late or absolutely need to get to your seat after everyone is already sitting, move along the row facing the people — not with your back turned to them, even if that feels easier.

💬 Which «classic» concert mistake annoys you most? Loud rustling? Latecomers? Or applause in the middle of silence?

05/12/2026

🎙️ Denis Sedov: A Voice That Stays With You

We’ve already shared this conversation, and some of you have already watched it.

If you haven’t yet, it’s a warm and honest interview about the road to the stage, the funny and frightening turns in a singer’s life, and what it really feels like to perform.

Old friends in a cozy living room. No small talk. Just a voice that stays with you.

👉 Watch here: https://clck.ru/3TSrAx

💬 If you’ve already seen it, what stayed with you most? Is success destiny — or daily work?

04/30/2026

🎶 When Being at the Piano Means More Than Accompaniment

You may have seen her on stage — most often at the piano. But her role in our projects has always gone far beyond accompaniment.

✨ Karina Pogosbekova is a partner of Lyrica Classic, as well as a pianist and music director for a number of our projects. She took part in nearly all productions of the first season of the Muffled Voices Festival, as well as in our project Voices of Time. Moscow, St. Petersburg, Yaroslavl, Perm — across different cities and programs, Karina was an important part of our team.

Karina is also the creator and driving force behind the project Music of Our Time, which celebrates its 7th anniversary this year. Her mission is to explore and promote contemporary vocal music. It is thanks to musicians like her that new works find their way to the stage and to audiences.

🎙️A recent interview with Karina was published ahead of her new concert program, Poetry. Music. The Present. In it, she speaks about why contemporary composers rarely turn to living poetry, how to work with music that has no performance tradition yet, and why new music must continue to evolve. The program also included a strong international dimension, with several Russian premieres of American works by Polina Nazaykinskaya, Gene Pritsker, and Jake Heggie.

❤️ What we especially value is that Karina’s approach to new music is deeply close to our own: not as a risk for the sake of experiment, but as a living and necessary part of the musical process.

Thank you, Karina, for your talent, your dedication, and the work you have done with us.

👉 Read the full interview: https://clck.ru/3TNpbx
💬 Are you familiar with Karina’s work? Perhaps you have seen her at one of our performances?

04/27/2026

🎭 We often talk about our productions and projects.

About premieres, artists, composers, and the venues where these performances take place. But the most important part happens before the curtain rises.

🎶 Rehearsals.

This is where opera is born again. Where musicians hear the full score come alive for the first time, where a stage director says, “Let’s do it again — but differently", where a performer finds that one exact intonation that gives the whole team goosebumps.

✨ In chamber opera, the rehearsal process is especially delicate. The cast is small, the staging is minimal, and everything depends on breath, timing, and the connection between the people on stage. There is nowhere to hide behind a crowd scene or a full orchestra. Every note, every gesture, is exposed.

❤️ It is here, in the quiet of the rehearsal room, that the magic begins — the magic the audience will later see on stage. These are the moments when an accidental “that didn’t work” suddenly becomes “wow, let’s keep that".

Rehearsals are what remain behind the scenes. But without them, there is no performance.

👉 Have you ever wondered what happens before a premiere? Would you like to step inside a rehearsal?

04/21/2026

🏛️ “Opera risks becoming a museum"

A new interview with Yulia Petrachuk, producer and artistic director of Lyrica Classic and the Muffled Voices Festival, has been published in The Fog Magazine.

🎭 In the interview, she speaks about how the festival was conceived in the U.S. while its first season unexpectedly took place in Russia; about the Maryland presentation of Baruch’s Silence — an opera about the Holocaust, inherited trauma, and forgiveness; and about why contemporary opera still struggles to reach the stage even when strong new repertoire already exists.

As Yulia says in the interview:
“Look at theater repertoires — the same works for a hundred years. Opera risks becoming a museum. There is enough new repertoire. What is missing is not the music, but the willingness of theaters to take responsibility for something new".

✨ Muffled Voices is a practical response to that reality: finding scores, building teams, and bringing works to the stage so contemporary opera can live, travel, and be heard.

👉 Read the full interview: https://www.linkedin.com/pulse/opera-should-become-museum-how-muffled-voices-eirzf

💬 What speaks to you more — classic opera, or new work that reflects the world we live in today?

Address

Washington D.C., DC

Telephone

+12026990341

Website

http://www.lyricaclassic.org/

Alerts

Be the first to know and let us send you an email when Lyrica Classic Entertainment Inc. posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.

Contact The Organization

Send a message to Lyrica Classic Entertainment Inc.:

Shortcuts

Featured

Thelma D. Jones Breast Cancer Fund
400 I Street, SW

Want your organization to be the top-listed Non Profit Organization in Washington D.C.?