Saturday, November 22, 2025, at 7:00 PM
THE MARYLAND THEATRE
"BARUCHS SCHWEIGEN"
Music by Ella Milch-Sheriff; libretto by Yael Ronen
One-act chamber opera for 8 soloists and chamber orchestra
Show duration: 110 minutes without intermission
Reception duration: 90 minutes after the show
Purchase a ticket to the Post-Show Reception HERE
We ask that all audience members silence their mobile phones and other electronic devices during the performance.
Baruchs Schweigen (Baruch's Silence)
Baruch’s Silence (Baruchs Schweigen) is a chamber opera composed in 2010. Originally written in German (libretto by Yael Ronen, with German translation by Vera Giese) as a one-act, 110‑minute chamber work, it has since been performed in Israel (2014), Germany, Austria, and beyond.
The opera is based on the wartime diary of Dr. Baruch Milch, the composer’s father, who chronicled the loss of his first wife and son during the Holocaust in occupied Poland between 1943 and 1944.
Milch‑Sheriff first engaged with her father’s story musically in 2003 with the Holocaust‑inspired cantata Ist der Himmel leer? (“Can Heaven Be Void?”), which emerged from her interest in his diary entries. In 2008, she published Ein Lied für meinen Vater, a memoir drawn from the diary. This led to a commission from Staatstheater Braunschweig to transform the material into a whole opera.
The world premiere took place at Braunschweig in 2010 under the stage direction of Ido Ricklin.
The opera Baruch’s Silence delves into the haunting and deeply personal story of Baruch Milch, exploring the enduring trauma of the Holocaust and its intergenerational impact. Through a non-linear narrative, the opera unveils Baruch’s past, his survival, and the profound silence that affects his relationship with his daughter. The story oscillates between memory and reality, portraying the horrors of war, the loss of his first family, and the burden of unspoken history. The opera culminates in an emotional resolution as Baruch’s daughter confronts the silence and seeks understanding.
A daughter in Israel returns to her parents’ house after they are gone. The memories start to come back to her, and the "ghosts" of the house are awakened. The father's "10 commandments" provoke and torture her. Among the ghosts is a child. She does not know who he is. An imaginary talk between the daughter and her parents raises questions which were never been asked before. The ghosts remind the daughter of her fears and longings. She demands explanations from her father. Then she finds her father's diary and his will, which he wanted her to find after his death.
The daughter learns from the diary that her father had a family with his wife and son in Poland during the 2nd World War. It is too hard for her to accept this reality and the brother she has never known existed.
"On Friday, 1st September, began the end of my real life". The diary tells of the father's life as a doctor during the war and of the mothers who asked him for a medicine that would enable their children to fall into an everlasting sleep. She remembers how she liked being ill and needed her father's help as a doctor. Only then did she feel loved. She understands that her murdered brother won the everlasting love of her father.
During the war, the father and his family were on the run. The daughter gets a real impression of her father's unknown life and his relationship with his son.
During their escape, the child was exhausted and could not go on running. The family convinces the father to go with his brother to find a safe hiding place for them all. During his whole absence, his whole family is murdered. The father cannot forgive himself for having left his family behind and therefore has to survive on his own.
After the father leaves his family, he and his brother look for a place to hide outside the city. They hear explosions and gunfire, which makes them go back to find that everything has been erased and destroyed. When they lose hope of finding any family members, they suddenly find the brother's son, who managed to survive the whole family.
The father's diary recounts the first meeting with the mother and what it meant to each of them. The daughter becomes aware that the mother also has some terrible story behind her, which she has never spoken about.
The mother and her mother lost everything they had during the war. Right after the war, on their way, they meet a Russian officer who seems to want to help them, but all he really wants is the young, beautiful girl. The grandmother cannot prevent this rape. The daughter blames her parents for not having told her about their past. She asks herself why her father could never find consolation in his new life. He, in her mind, did not commit any sin.
After the loss of his family, the father wants revenge and to die. His brother prevents him from doing so. They find a hiding place with Ukrainian farmers, and they pay them everything they have. The farmer does not accept the brother's son. He claims that the child might endanger them. The two men try to convince the farmers that the child will be quiet and behave well. The child wants to go out of the pit and play with the farmer's children whose singing he hears all the time. At one point, after a few weeks in the darkness, he manages to get out of the pit, and his father, while trying to calm him down, strangles him. The daughter's father is a silent witness to this, and therefore, he feels guilty for the rest of his life.
The father's diary and its contents changed the daughter's attitude towards her father. Now she can understand and forgive.
Cast & Team
Chamber orchestra Muffled Voices
Daiana Hoffmann, conductor
Jonathan Patton, baritone (Father)
Yulia Petrachuk, soprano (Mother)
Hermine Haselböck, mezzo-soprano (Daughter)
Lauren Nash Silberstein, soprano (First Wife / Ukrainian Girl)
Alexandra Wiebe, soprano (Grandmother/ Mrs. B)
Nathan Schafer, tenor (Brother)
Andrew Boisvert, bass (Russian Officer/ Mr. B)
Kiril French, soprano boy (Kid)
Supernumeraries:
Ivan Markov, Justin Meyer, Joshua Cole Lucas
PRODUCTION TEAM
Producer & Art Director: Yulia Petrachuk
Stage Director: Elizaveta Korneeva
Music Director & Conductor: Daiana Hoffmann
Set & Costume Designer: Julia Orlova
Production Manager: Olga Orfinadi
Light Designer & Tech Director: Boris Kartashev
Daiana Hoffmann — internationally acclaimed conductor, founder of the New Moscow Orchestra, guest conductor of the Lebanese National Philharmonic Orchestra (LNPO), principal conductor of the international Muffled Voices Festival (USA), artist of the American organization Lyrica Classic. Recognized for her dynamic presence and artistic versatility, she is a distinguished graduate of the Tchaikovsky Moscow State Conservatory and the Belgrade Academy of Music and has trained with legendary maestros Gennady Rozhdestvensky, Vladimir Jurowski, Teodor Currentzis, and Vasily Petrenko.
In November 2025, as Principal Conductor of the international opera festival Muffled Voices, Daiana will lead the U.S. premiere of Baruch Schweigen, an opera by acclaimed Israeli composer Ella Milch-Sheriff.
Hoffmann’s repertoire spans symphonic, operatic, and contemporary works, with a strong focus on reimagining classical traditions through bold interpretations and immersive stagecraft. Career highlights include her award-winning production of Bellini’s I Capuleti e i Montecchi, recipient of the National Opera Award “Onegin” and recognized by the Golden Mask Festival, as well as performances at the Great Hall of the Moscow Conservatory, Kolarac Concert Hall, Zaryadye Concert Hall, and leading concert venues in Beirut.
She has collaborated with leading soloists such as Denis Shapovalov (Musikverein, Concertgebouw), Arseny Tarasevich-Nikolaev (Carnegie Hall, Severance Hall), and José María Gallardo del Rey (Carnegie Hall и Vienna Konzerthaus), and has been a featured conductor at events under the patronage of Mikhail Shvydkoi, for International Cultural Cooperation.
Since 2024, Hoffmann has been an artistic partner of the American organization Lyrica Classic; within this collaboration, she has conducted a series of concerts in Moscow and St. Petersburg, presenting several world premieres.
A laureate of international competitions, including First Prize at the Niš International Competition (Serbia), diploma awards at the European Union Conducting Competition, and prizes from cultural foundations.
Hoffmann also serves on juries (Fritzler Interregional Competition, Moscow Student Spring, Werner International Competition; opera casting for the Tavrida Art Forum) and appears as a lecturer and panelist at international conferences and cultural forums.
Jonathan Patton, praised for his “crystal-clear voice” and “strong stage presence,” is making his mark in the opera world with a wide-ranging repertoire that spans both classical and contemporary works. A native of Durango, Colorado, he recently completed his third season as a Cafritz Young Artist with Washington National Opera. This summer, Jonathan joins Wolf Trap Opera as a Filene Artist performing Le Marquis in their new production of Poulenc’s Dialogues des Carmélites.
During his time with WNO, Jonathan appeared in eleven productions. Notable performances include the title role in Mason Bates’s The (R)evolution of Steve Jobs in the company’s young artist performance, Marcello in La bohème, and Macbeth in the Look-In performance of Verdi’s Macbeth. He also created the role of Austin in Cry, Wolf by JL Marlor and Claire Fuyuko Bierman for WNO’s annual American Opera Initiative.
On the concert stage, he made his debut with the National Symphony Orchestra as Montano in Verdi’s Otello, and made his Carnegie Hall debut in Fauré’s Requiem with MidAmerica Productions.
Beyond Washington, he has performed with Opera Southwest, Festival Napa Valley, Des Moines Metro Opera, and The Glimmerglass Festival, where The Wall Street Journal praised his Martin in Bernstein’s Candide as a “big-voiced standout.” In summer 2024, he returned to Glimmerglass to cover John Cree in Kevin Puts’s Elizabeth Cree and to debut as Silvio in a new production of Pagliacci.
Jonathan is a winner of the Lewisville Lake International Voice Competition and a 2024 semifinalist in the prestigious Metropolitan Opera Laffont Competition. He holds a Master of Music from the University of New Mexico and a Graduate Artist Certificate from the University of North Texas.
Russian-American soprano Yulia Petrachuk studied at Moscow Tchaikovsky Conservatory and is a graduate of Bern Opera Studio in Bern, Switzerland.
Her debut as a professional opera singer was with the State Theater Bern, Switzerland, in 2010. After that, she performed with many other recognized opera companies and concert venues such as Theater Biel (Switzerland), Ash Lawn Opera Festival (US), Opera Ischia (Italy), Dicapo Opera Theater in New York (US), Great Moscow Hall (Russia), Vocal Productions NYC (US), Nova and Opera Camerata in Washington, D.C. (US), Smetana Hall in Prague (Czech Republic), Carnegie Hall in New York (US), Musikverein and Wiener Konzerthaus in Vienna (Austria), and many others. Yulia specializes in contemporary opera and other forms of vocal music of the 20th and 21st centuries. She has performed many World and US premieres.
Out of her passion and drive to sustain and give lesser-known and unknown music a voice, Yulia Petrachuk founded Lyrica Classic Entertainment as a sounding beacon to deliver a superior-level presentation of music. Yulia has robust experience in international performing arts projects, execution, and collaborations in the US and EU.
Austrian mezzo-soprano Hermine Haselböck has earned international acclaim for her versatility across opera, concert, and song. She has appeared at leading opera houses, including Theater an der Wien, Volksoper Wien, Oper Graz, and the Tyrolean Festival Erl, where she has been praised for the dramatic intensity and vocal richness of her performances. As a concert soloist, she has appeared at major international venues such as Carnegie Hall, New York, the Vienna Musikverein and Konzerthaus, the Mozarteum Salzburg, and the Concertgebouw Amsterdam.
Celebrated for her artistry across a wide repertoire spanning Mahler to Wagner, she has performed major roles including Fricka (Das Rheingold, Die Walküre), Brangäne (Tristan und Isolde), Azucena (Il trovatore), and the Mother (Hänsel und Gretel), alongside an extensive career in concert repertoire and lieder.
Her discography includes several award-winning recordings featuring works by Mahler and Zemlinsky.
A dedicated pedagogue, she serves as Professor of Voice at the University of Music and Performing Arts Graz (Kunstuniversität Graz, KUG).
Lauren Nash Silberstein, German/American soprano, has been praised as “splendid, full of life and emanating natural charm with a voice like a stream of moonlight from heaven” (Broadway World). Lauren recently debuted the role of Gilda in Rigoletto with The Druid City Opera, sang roles with Union Avenue Opera, Opera Saratoga, and First Coast Opera, and was a soprano soloist for Saratoga Voices' Haydn’s Mariazeller Messe. She was the 2025 recipient of First Prize in Opera Connecticut’s Vocal Competition and the Advanced Division from the Mendelssohn Club Vocal Competition. She also received the Bedřich Smetana Award from the International Czech and Slovak Competition. Some favorite roles performed include Lisette in Puccini’s La Rondine with Winter Opera St Louis and Kathie in Romberg’s The Student Prince with The Ohio Light Opera. Lauren is a graduate of The Eastman School of Music with a Master’s Degree in Vocal Performance. Up next, she will perform in a world premiere of “We Go On” with Finger Lakes Opera and sing as soprano soloist with The Octavo Singer’s Messiah.
Soprano Alexandra Wiebe is quickly gaining recognition for her compelling stage presence and vocal versatility. Recent performances include standout roles such as the Foreign Princess and Ježibaba in Rusalka: The Littlest Mermaid, Matilde in Matilde, Nedda in Pagliacci, Madame Pompous in Too Many Sopranos, and Rosalinde in Die Fledermaus.
In the upcoming season, Alexandra joins Central City Opera as an Apprentice Artist, covering the role of Wife 1 in the regional premiere of Aleksandra Vrebalov’s The Knock. She will also appear as Gutrune in the Wagner in Vermont Festival’s ambitious presentation of the Ring Cycle.
This past season, she was in residence with Cedar Rapids Opera, serving as both a Smith Young Artist and an Artist-in-Residence with their Lift Every Voice outreach program.
A laureate of numerous competitions, Alexandra has received honors from the John Alexander National Vocal Competition, The American Prize, Musicians Club of Women, Music Grand Prix International, the National Opera Association, and Classical Singer International.
Her favorite past operatic roles include Giunone (La Calisto), Elle (La voix humaine), Mother (Amahl and the Night Visitors), Donna Anna (Don Giovanni), and Lady Billows (Albert Herring).
An active recitalist, Alexandra has appeared with organizations such as The Cleveland Opera, Boston Singers’ Resource, Sewanee Summer Music Festival, the Musicians Club of Women, and Opera Mississippi.
She holds degrees from Northwestern University and the New England Conservatory.
Nathan Schafer, “whose strong, clear tenor voice is perfect”- Broadway World News
In 2026, Mr. Schafer will be a studio artist at Sarasota Opera and will cover the role of Sam in Susannah by Carlisle Floyd. In 2025, Mr. Schafer performed Alfred in Die Fledermaus with the Washington Opera Society at the Austrian Embassy in D.C. Mr. Schafer was also a resident artist at Teatro Nuovo in New York City, where he covered the role of Macduff in the original 1847 version of Macbeth. Earlier, Mr. Schafer was the tenor soloist in Beethoven’s 9th symphony with the Southwest Florida Symphony and covered Pinkerton in Madama Butterfly at Austin Opera.
In 2024, Mr. Schafer made his New York debut as Rinuccio in Gianni Schicchi at Finger Lakes Opera. As a resident artist at Shreveport Opera in 2023-2024, Mr. Schafer performed the roles of Rodolfo in La bohème, Alfredo in La traviata, and Ferrando in Così fan tutte. In 2022, Mr. Schafer made his professional debut as Ruggero in La rondine at the Winter Opera of St. Louis and was a Bonfis-Stanton Apprentice Artist at Central City Opera, where he covered Alfred in Die Fledermaus.
Mr. Schafer is a proud member of Andrea DelGiudice’s voice studio in New York City. He pursued his vocal studies at the University of North Texas. Mr. Schafer has performed with prominent opera houses, including The Dallas Opera, Opera San Antonio, Opera Naples, Tulsa Opera, and Fort Worth Opera.
Praised for his “thundering” presence by San Diego Story and “deep warmth” by The Rutland Herald, American bass Andrew Boisvert brings compelling power and nuance to his performance roles. Equally at home as authority figures, villains, or antiheroes, he has excelled in key roles such as Frank Maurrant (Street Scene), Olin Blitch (Susannah), Sam (Trouble in Tahiti), and the Unnamed Bass (Too Many Sopranos).
He holds a Master of Music from the University of Maryland’s Opera Studio and a Bachelor’s in Vocal Performance from the University of Hartford. Boisvert’s recent highlights include performances as the Bass Soloist in Mozart’s Requiem, Tosca, and Die Fledermaus, as well as world premieres with companies such as Cedar Rapids Opera, Bel Cantanti Opera, and Sarasota Opera.
In the 2025–2026 season, Andrew will make his debut with the Muffled Voices Festival at the Maryland Theatre, performing in the U.S. premiere of Ella Milch-Sheriff’s opera Baruch’s Silence.
Kiril French is an emerging performer with a strong background in both musical theatre and classical voice. He has appeared in numerous stage productions, including lead and featured roles in community and regional theatres. In 2024, he was nominated as Best Performer in a Musical (Non-Professional) by BroadwayWorld DC for his performance of Charlie Bucket.
In addition to theatre, Kiril studies voice, piano, and music theory with private instructors and regularly performs in concerts, contests, and festivals. He is also active as a volunteer performer in retirement homes and community centers, sings for charity events, and serves as a counselor-in-training for theater summer camps.
In 2025, Kiril will make his opera debut in the U.S. premiere of Baruch’s Schweigen (Baruch’s Silence) at the Maryland Theatre as part of the Muffled Voices Festival.
Ivan Markov is a Russian bass-baritone and graduate of GITIS (Musical Theatre Faculty) and the Galina Vishnevskaya Opera Center. From 2017 to 2023, he was a soloist with the Natalia Sats Children’s Musical Theater, performing leading roles and appearing on major stages, including the Bolshoi Theatre of Russia, Stanislavsky Electrotheatre, the Moscow International House of Music, and the Moscow Conservatory.
Since 2019, he has performed with Montecchi VS Opera, including Lorenzo in Bellini’s I Capuleti e i Montecchi (directed by Elizaveta Korneeva) and Robert Peary in the Russian premiere of Linda Smith’s Facing South. He collaborates with the ensembles Questa Musica and Intrada, and takes part in multimedia productions by director Yury Kvyatkovsky.
Joshua Cole Lucas is a DC-based actor, dancer, teaching artist, and theatrical carpenter. He has worked primarily with Synetic Theater, credits include: The Immigrant, Little Comedies, Hamlet, The Telltale Heart, The Golden Fish, The Tempest, Snow Queen, The Phantom of the Opera, “Day 6, Story 4” of The Decameron, Shakespeare Revue, Midsummer Nights Dream, Host and Guest, Dracula, Cinderella (understudy), and Servant of Two Masters (understudy). Other credits include Round House Theater: Tempest (Caliban understudy) and Arts on the Horizon: Off the Page, Birds of a Feather (understudy), and Fitting In (understudy).
Justin Meyer is a Longwood University graduate, a DC-based actor, and a versatile and passionate storyteller. Justin made his opera debut with Shakespeare Opera Theatre in 2023’s Much Ado About Nothing/Béatrice et Bénédict, distinguishing himself as "an amiable Benedick" who "provide[d] the bulk of the play's charm" (Eric Minton, Shakespeareances). Other theatre credits include A Few Good Men (Landless Theatre Co.), Madame Quixota’s Last Words (Transformation Theatre, Inc.), Finding Neil Patrick Harris (Nu Sass Productions), Nightfall with Edgar Allan Poe (StageCoach Theatre Co.), and Art of Murder (Workhouse Arts Center). Screen credits include supporting roles in true crime documentaries Panic 9-1-1 and CopyCat Killers. He thanks his family and friends for their continued support.
Creators
Ella Milch-Sheriff is one of Israel’s most prominent and internationally performed contemporary composers. Her works span opera, orchestral, vocal, and chamber music, often exploring personal and historical narratives such as Holocaust memory, identity, and social conflict. She has collaborated with leading orchestras and ensembles worldwide, including the Israel Philharmonic Orchestra, the Boston Symphony Orchestra, and numerous international opera houses.
Milch-Sheriff’s music is marked by emotional intensity and theatrical expression, blending classical tradition with modern language. Her compositions have been featured in major festivals and received prestigious awards, including the ACUM Prize for Lifetime Achievement and the Rosenblum Prize for the Performing Arts. Her operas, such as Baruchs Schweigen, The Banality of Love, and And the Rat Laughed, have earned acclaim for their artistic power and social relevance.
She is published by Edition Peters and the Israel Music Institute, and continues to be a vital voice in shaping Israeli and international contemporary music.
Elizaveta collaborates with the Krasnoyarsk State Opera and Ballet Theatre, the Bashkir State Opera and Ballet Theatre, the Tchaikovsky Moscow State Conservatory, the independent Moscow-based company Montecchi vs Opera, the Moscow International House of Music, the Helikon-Opera Theatre, the Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre (within the framework of a festival), the Bolshoi Theatre of Russia (within the framework of a festival), the State Opera of Hanover (Germany), and the Grand Théâtre de Genève (Switzerland). She is also a recurring collaborator with Lyrica Classic, an international organization dedicated to the promotion of contemporary classical music.
She was a nominee for the Golden Mask National Theatre Award in 2022, as well as for the Onegin Opera Award, and is the winner of three nationwide competitions for young directors organized by the Russian Cultural Foundation. She won the 4th International Competition for Young Opera Directors Nano-Opera, held by Dmitry Bertman, and participated in the Creative Laboratory for Young Directors under the leadership of Alexander Petrov.
In 2021, Elizaveta collaborated with the State Opera of Hanover (Germany) and the Grand Théâtre de Genève (Switzerland).
She regularly works with the independent theatre company Montecchi vs Opera and serves as stage director of the Russian Opera Festival in Taltsy (Irkutsk).
In the 2023-2024 season, Elizaveta took the role of principal director of Muffled Voices Festival in the Russian season and staged 9 operas by Russian and American composers, including Russian premieres of Missy Mazzoli's Proving Up, Anne LeBaron's The Blue Calls Set You Free, and Amy Marcy Beach Cabildo.
Currently, she is working on new productions at the Bashkir State Opera and Ballet Theatre, Helikon-Opera, and the Mariinsky Theatre.
Julia Orlova is a multidisciplinary artist working across theater, film, video art, performance, fashion, and 3D concept design. She has served as production designer for:
- the performance Love Will Tear Us Apart (House of Radio, 2022)
- the staging of Carl Orff’s opera De temporum fine comoedia (Diaghilev Festival, 2022)
- the theater production Youkali (House of Radio, 2023)
- the opera Persephone (Diaghilev Festival, 2023)
- the physical drama Okho
- the opera PASSION by Pascal Dusapin (Diaghilev Festival, 2024)
- the dance production Shame by musicAeterna Dance (2025)
She was also the video artist for the dance fantasy Mystery About This (Misteriya pro Eto) by Zotov Center and musicAeterna Dance (2024).
Our Mission
For centuries, women in music were ignored, censored, or forgotten.
Muffled Voices exists to change that — presenting music written by women, about women, performed by world-class artists.
Who We Are
The Muffled Voices Festival is the first international initiative of its kind, founded by the nonprofit American music organization Lyrica Classic Entertainment under the leadership of its founder and producer, Yulia Petrachuk. Dedicated to uplifting women in opera, it is devoted to uncovering forgotten masterpieces and premiering new works, bringing their stories to life on major stages.
Our inaugural season in 2024, supported by the U.S. Department of State, featured 10 fully staged opera premieres by seven women composers from the U.S. and Russia. Over six months and seven evenings, the festival filled sold-out halls and reached thousands more through live broadcasts.
The project drew widespread media attention — including Opera Magazine (UK), Forbes, RTVI, OperaWire, and the LA Times — and was honored with the Global Recognition Award 2024 for its outstanding contribution to the global classical music scene.
What’s Ahead
In its second season, Muffled Voices Festival comes to American audiences with operas born from real histories — shaped by exile, trauma, and moral courage. These works are not just performances; they are acts of memory, dialogue, and transformation.
The 2025–2026 program includes three U.S. premieres, beginning November 22, 2025, at the Maryland Theatre in Hagerstown, MD, with Baruch’s Silence by Ella Milch-Sheriff. The season then continues with two more premieres: Russian Women by Tatiana Chudova — about the Decembrist wives who sacrificed everything to follow their husbands into Siberian exile — and Ariadne by Elena Langer, a mythic monologue opera tracing Ariadne’s journey after betrayal on Naxos.
Together, these operas illuminate hidden and suppressed stories — from the trauma carried by post-Holocaust Jewish families, to the sacrifices of the Decembrist wives, and to Ariadne’s mythic solitude on the shores of Naxos. Each work brings new musical life to histories and voices too often left unheard, told through the artistry of women composers.
This season holds special meaning: 2025 marks 80 years since the end of World War II. Through Baruch’s Silence, the festival contributes to Holocaust remembrance, sharing a true family story that resonates far beyond the stage. Russian Women illuminates voices of resistance from another dark chapter in history — one rarely explored through opera. And Ariadne adds a mythic dimension, revealing how abandonment and longing transcend time and culture.
Together, these works connect personal memory with cultural legacy, revealing opera’s power to preserve, question, and transform.
Lyrica Classic Entertainment
A nonprofit international music organization dedicated to uncovering and promoting the works of lesser-known composers. Lyrica Classic has presented performances on some of the world's most prestigious stages, including Carnegie Hall and the Kaufman Music Center in New York, Musikverein in Austria, the Zaryadye Concert Hall and Moscow International House of Music, and the Hermitage Theater in St. Petersburg. Through innovative programming and international collaborations, Lyrica Classic continues to shape the future of contemporary classical music.