First and foremost, sound, sound itself, its substance, its weightless bursts and harmonious transitions — sound that evokes heartbeats and delight, pleasure and vague memories.
Maestro Alexander Markov, who stunned audiences with his performance of Paganini's 24 Caprices on classical stages, transforms into a rock 'n' roll hooligan whose hair almost touches the floor as he leans back, almost standing on the bridge, and delivers a rousing, desperate solo.
At this moment, he is the brother of Jimmy Page, with whom he once wanted to play in a concert, the matchmaker of Jimi Hendrix and the friend of all rock 'n' roll.
Caesar, in armour and with empty eyes without pupils, listens and watches the story of his life from his pedestal. The music tells it. This music is full of energy and harmony; you can hear the sound of battles, the noise of crowds, the Roman forum and African motifs, the cries of the saluting leader of the X Legion and the mutterings of conspirators hiding daggers under their togas.
It is difficult to define the genre of this music. It is all at once a symphony, an oratorio, a rock opera and something new, synthetic, blending the harmony of classical music and the drive of rock 'n' roll, the history of Ancient Rome and a video clip, the depth and plasticity of sound and the naivety of a pop libretto.
The action on the dark stage creates a theatre that combines different times and countries, archaism and modernity. The choir comments on the action as in Aeschylus' ancient Greek tragedy, the bass guitarist chops out rock 'n' roll in the best traditions of John Paul Jones, the brass section keeps the memory of Chicago jazz bands alive, and a demonic violinist in a leather cuirass creates heart-wrenching sounds and sends legions into battle with a wave of his bow.
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