Performing and listening to Bach's music, we talk with Eternity. Bach in the theater? What theatrical means can you support this conversation without landing it? Directed by Ivan Popovski paradoxically found the subject metaphor of eternity, she determined the scenography of the play, she also gave him the name - the earth, dust, from which we are all born and where we go, sand, grains of eternity, endless movement, circulation ... Singers meet musicians, music - with the earth, light - with darkness, and stories are compiled for the theater, each artist and spectator has his own. The generous imagination of Ivan Popovski gives viewers an endless series of bright, powerful visual images and at the same time leaves the freedom to viewers' imagination and interpretation. The musical director of the theater Oleg Sinkin built a composition from the fragments of the famous choral and instrumental works of JS Bach, 7 musicians and 5 singers on the stage, each with a complex plastic drawing, and sometimes it is simply not clear how the theatrical performance is combined with the strictly measured music of the German genius, not breaking its rhythm.

In the play the music of JS Bach sounds:

Mass in B minor:
- No. 1 (Kyrie eleison)
- No. 15 (Et incarnatus est)
- No. 16 (Crucifixus)
- No. 23 (Agnus Dei)
- No. 24 (Dona nobis pacem)

Passion for Matthew
- No. 1 Chorus (fragment Kommt, ihr Töchter)
- No. 33 (fragment "Sind Blitze, sind Donner")
- No. 47 ("Erbarme dich, mein Gott")

Passion for John
- No. 1 Chorus "Herr, Herr, Herr"

Christmas Oratorio
- No. 1 Chorus Gut gehalten!

Fragments of works for the organ
- Toccata in D minor
- Chorale Prelude "Ich ruf'zu dir, Herr"
Khoral Jesu meine Freude

A well-tempered clavier (volume 1)
Fugue in C sharp minor

Orchestral Suite No. 2
№7 Scherzo in B minor
From cantata No. 147
Jesus bleibet meine Freude
Chaconne (fragment)
Partita for Solo Violin No. 3 E-major (No. 1 Preludio)
Suite for cello solo No. 1 in G major (No. 1 Preludio)