In honor of Maestro Vladimir Spivakov’s visit to Dubai, a special talk was held with musicians—one that went far beyond the concert listings. The discussion touched on the “language” of music, spirituality, an artist’s responsibility, and how classical music resonates in a city with a truly international audience.
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Interview
On the “language” of music and sacred repertoire
Host:
Maestro, you are often recognized by the way Russian music sounds in your interpretation. Why is that?
Vladimir Spivakov:
Music is closely connected to language—and you can hear it. Especially when a performer plays in the “language of their birth.” Another important part of my journey is sacred music. In recent years, a great deal has been recorded and gathered into a cohesive body of repertoire. It’s long-distance work, where meaning and intonation matter more than external effects.
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On mission and philanthropy
Host:
For many years, you have been involved not only in music, but also in philanthropic initiatives. What matters most to you in this work?
Vladimir Spivakov:
A person should leave behind good deeds and a good trace. Supporting talent and helping those in vulnerable circumstances is not an “addition” to the profession—it is part of responsibility. In such projects, what matters is not a one-off gesture, but a system that truly works.
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On working with young soloists
Host:
You often collaborate with young musicians. What makes that especially interesting for you today?
Vladimir Spivakov:
Young performers bring freshness and open pages we may not have read yet ourselves. It’s a constant renewal of perspective—both professionally and personally.
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Adam Gutsuriev on partnership and growth
Host:
Adam, what is most valuable to you in working with the Maestro and in new projects?
Adam Gutsuriev:
The most important thing is meeting people through music. It’s an experience no book can replace: new challenges, new partners, new depth. This kind of collaboration continues to shape you as a musician, and I truly value the opportunity to be part of it.
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Dali Gutsurieva on Dubai and its audience
Host:
Dali, what has surprised you most about Dubai as a concert city?
Dali Gutsurieva:
The audience here is very warm and emotional. There’s a sense that classical music is a rare experience for many, and that’s why the reaction is brighter—people are more surprised and respond more strongly. For me it’s a great pleasure and an honor to perform here.
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On Rodion Shchedrin’s Carmen Suite and the drama of performance
Host:
The Carmen Suite is always an event. What is most essential in it: rhythm, theatricality, drama?
Vladimir Spivakov:
It is a rare example of how a composer can combine what seems impossible to combine. The Carmen Suite always makes a strong impact, but it is not easy to perform: the score has many specific demands, it requires a serious string section and extremely precise ensemble work. It’s music that demands discipline—and gives energy back to the hall.
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On Dubai as an international audience
Host:
Is performing in Dubai a different experience for you as a musician?
Adam Gutsuriev:
The audience here is truly mixed and international—people from different cultures, and at the same time many Russian speakers. It’s fascinating to play for a hall where classical music becomes a shared language, without “borders” or explanations.
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On music that is “beyond geography”
Host:
What do you take with you after concerts—what stays with you most?
Vladimir Spivakov:
Music is something that transcends geographic and cultural boundaries. The most precious moments are when people come up after the concert, thank you, and share what they felt. It’s direct proof that music goes from heart to heart.
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On the connection between music and spirituality
Host:
Can music be a prayer?
Vladimir Spivakov:
Art, in the highest sense, is an inner address—an inner act of turning toward something greater. Music does not have a “homeland” in the everyday sense: it belongs to the human being and to our ability to feel. We all experience similar things—joy, pain, fear, hope—and music can speak about them honestly.
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Audience question: joining the orchestra, especially for children/teens living outside Russia
Audience question:
A few words about the ensemble and selection: how does the audition process work? Is there a chance for children and teenagers who live outside Russia?
Vladimir Spivakov:
Generations of musicians change every 10–15 years—that is natural. Selection is based on professional criteria and auditions; what matters is the balance of experience and youth within the ensemble.
As for musicians living outside Russia, today a lot depends on current limitations and the realities of international travel. But the core principle remains the same: talent and hard work must have a path.
