Testing manifestos for their vitality – such could have been, or perhaps even was, the unifying idea of two concerts by the Studio for New Music that took place almost back to back within a single week. In the first case – at the concert “Prophecies and Symbols” of the joint subscription series of the Moscow Philharmonic and the Nikolai Karetnikov Foundation “Laboratory Musica sacra nova” – a historical “puzzle” came together: for the first time, Mikhail Matyushin’s futurist (anti-)opera “Victory over the Sun” (1913) was performed in a scholarly edition (rather than in yet another theatrical reconstruction interspersed with other composers’ music), including the original numbers found in 2023 in the composer’s archive in St Petersburg. Thanks to the efforts of the musicologist Sergey Uvarov, who carried out the search, we heard the most complete version of the Introduction and the final “War Song”. The surviving scattered fragments came together into a coherent score, and the poetic text (Khlebnikov, Kruchenykh) is rendered as accurately as possible in the present concert version of the opera (the soloists – Mikhail Nor, Renat Fartdinov, Ilya Tatakov, Denis Osmanov – were not always accurate in delivering it; their voices, of good quality on the whole, lacked, it seemed to me, declamatory stability). This is undoubtedly research work worthy of respect. But did a musical event take place? (A concert version is precisely what allows us to judge the music in full. Perhaps in a new staging of the opera, were one to happen, this music would be perceived differently.)