The execution of this project was particularly complex: the theatre in Reims is compact, and it had to contain a screen for the projection of the film so as not to interfere with the sound of the orchestra and the chorus as well as the orchestra itself and the 120-member chorus. Moreover, there were monitors for the musicians and a monitor for the conductor with a button that enabled him to turn the movie's soundtrack on and off. The technical team of the theatre successfully carried out its difficult task. To the very last moment it sought optimal quality and the best possible solutions to the many problems that arose. The musical director of the chorus and conductor, Jean-Marie Puissant, the musicians of the Grand Théâtre de Reims, and the singers of Le Choeur Nicolas de Grigny, rehearsed "Nevsky" with great interest and enthusiasm in a version that was new to them. Their talent and passion was deservedly rewarded by long and stormy applause at the end of the performance. The captivating Sylvie Althaparro was irresistible in the Field of the Dead scene; her deep expressive voice was dramatic and sorrowful. In the audience was Svyatoslav Prokofiev, the son of the composer, and it was obvious that he, like everyone who participated in the performance as well as the listeners and spectators, had been strongly impressed. It seemed to me that director of the theatre, Serge Gaymard, felt truly content and satisfied when he saw all those smiling faces. In his theatre a project requiring unbelievable efforts was brought to fruition with undeniable success. What could be a better testimony to the excellence of the director of the Grand Théâtre de Reims? On the eve of this memorable day a lecture was held in the rehearsal room moderated by Francis Albou, professor of the history of music, music critic, and organist in the Church of Saint Jacques, and quite simply a charming man. The theme of the lecture was «"Alexander Nevsky"- historical and political work»). Professor Albou's analysis was so thorough and exhaustive that it Prokofiev's and Eisenstein's masterpiece no longer holds any secrets for those who attended it. Carefully chosen fragments of music brilliantly illustrated his talk. It was encouraging to see a certain number of children at this lecture, some of whom came alone and some who even brought along their parents. In view of all this, hopes grow stronger that thanks to such enthusiastic people like Francis Albou, Serge Gaymard, the company of Grand Théâtre de Reims, classical music will continue to exist and delight many, many admirers.