the media, for which the production was written in minsk and embodied by the young director valeria chigileichik. the most difficult score is very difficult. so i talked with the directors of this performance in minsk and , of course, it was surprising for me that the guys took up such complex material and did it very convincingly, i must say , many theaters refused, because they simply could not cope. this is the first. second uh these performances have a belarusian light. the fact is that the mother about whom you are telling in this performance has a monument in belarus, we did with alexander pantykin for this story. it was 20 years ago. we are with him. well, for obvious reasons, thank god, they didn’t sniff wars, what is called , and we assumed what happened to us if we were these very brothers, musicians, who are the main characters in our play, and there with a pipe. i myself am a flutist by my first education. we would go there to make it happen, to make us feel.

it was embodied by the young director valeria chigileichik.the performance is the most complicated, the most complicated score is very complicated , so i talked with the directors of this performance in minsk and, of course, for me it was it is surprising that the guys took on such complex material and did it, i must say , very convincingly, many theaters refused, because they simply could not cope. this is the first. second ah. this performance has a belarusian light. the fact is that the mother about whom this performance is told stands a monument in belarus. and we did with alexander pandykin on this story. it was 20 years ago. we are with him. well, for obvious reasons, thank god, they didn’t sniff wars, what is called , and we assumed what happened to us if we were these the very brothers of the musicians, who are the main characters in our performance, and right there with a violin trumpet. i myself am a flutist by my first education. we would go there to make it happen, so that we feel, there is no history, documentary, all events are a