Maestro Lyniv talked about the Youth Symphony Orchestra of Ukraine, an ensemble that she founded, and how this group is representing Ukraine and performing Ukrainian composers at various international festivals. This work is not only a part of cultural diplomacy, but a vital component of developing the next generation of Ukrainian musicians. The topic of the controversial decision to conduct Tchaikovsky’s “Eugene Onegin” at the Dresden Opera this July was also touched upon. The conversation explored how “cancel culture” works in various countries, and how Ms. Lyniv is planning to use this performance to change the narrative about this composer.

“I often hear the comparison that when Ukrainians perform works by Russian authors, they seem to be siding with the enemy. But in reality, it works differently. Russian classical works are just a common musical resource. Furthermore, these works no longer surprise anyone, and no political coloring is projected onto them. The works of Tchaikovsky, Prokofiev, etc., stand alongside the works of Berlioz, Chopin, Brahms, Beethoven, Ravel, etc., and are perceived as mandatory repertoire that every professional musician should master.

Therefore, Ukrainians who achieve success, including by using “their” Russian repertoire resources, are actually moving forward and advancing in creating new performance opportunities for Ukrainian music. It’s akin to our defenders on the front lines seizing the enemy’s weapons and using them to reclaim new territories.” – explains Ms. Lyniv.