Gilles Trichard’s interview in We demain (14 April 2026) begins where many classical previews stop: not with repertoire lists, but with the Kakhovka dam. « On 6 June 2023, the explosion… devastating effect on biodiversity. Floods on the Dnieper, then drought, still traumatise the population. Official reports concluded an environmental war crime. »
Kudritskaya’s Salle Gaveau concert (10 April 2026) is described as a « narrative »: shadow theatre by Leslie Laugero (also active in the LPO — bird protection league), voices of displaced women, and Couperin’s picturesque titles — « Les Barricades mystérieuses », « Les Ombres errantes », « Le Rossignol-en-amour » — turning the listener’s imagination toward broken migrations.
She tells Trichard that nature is not « abstract »: « We are part of it. The bird symbolises that link. Our survival is tied to other forms of life. » War reporting focuses on human and material destruction; she insists on dolphins killed by Black Sea military sonar, on storks returning to ruined landscapes as living talismans of Ukraine.
The Chernobyl thread returns with documentary detail: mushroom picking forbidden, her father spotting a handwritten Soyouz-Tchernobyl poster, her mother improvising « 5, rue de Lénine » on a card because only children from a Kyiv suburb were accepted. « In this closed country, leaving was unimaginable. » Yet the host family in Chalon-sur-Saône became a second family — proof, she says, that immigration can be « happy and natural » when welcome is real.
On artists’ duty, she does not claim Björk’s hybrid mythos, but agrees: « All means are good to raise awareness; a recital places the public in active listening. » Her tour continues — Reims, Limoges, Germany, Netherlands, Greece — including Syros in the festival season. This article is essential context for why her Couperin is also an ecological vigil.
