On Thursday, April 2nd at 8 PM, Carnegie Hall’s Weill Recital Hall will host the Season Finale of Salon Aux Chandelles — New York’s most talked-about immigrant-artist-led concert series, founded by award-winning Siberian-born violist and entrepreneur Alexandra Andreeva and award-winning Armenian virtuoso violinist Vartan Mailiantz, both alumni of the Moscow State Conservatory, The Juilliard School, and Mannes School of Music.

The evening features two United States premieres — including a work by living Gen Z Danish composer Amanda Drew and the American debut of a chamber symphony arranged by Yuri Tkanov after Schnittke — alongside Rachmaninoff, Bizet-Waxman, Gershwin, and a closing performance of Bernstein’s “America” from West Side Story. The event is nearly sold out — only a handful of seats remain.

Confirmed attendees include Kathleen Battle, Alexander Markov, Prince Dimitri of Yugoslavia, Olga Kern, Lera Auerbach, Nicholas Lowry, Eugenio Cuttica, Lewis Kaplan, Regina Davidoff, Mariebelle Lieberman, Selima Salaun, and Rafael Destella, among a distinguished gathering of luminaries from music, fashion, finance, and the arts.

In under one year, Andreeva and Mailiantz have built what Times Square Chronicles called “the city’s antidote to the algorithm”— a series that has gone from its debut at the 3 West Club to Carnegie Hall in a single season, drawing standing-room-only crowds and a devoted following among Millennial and Gen Z audiences hungry for genuine cultural depth.

Alexandra Andreeva, also the force behind the Instagram platform How to New Yorker with over 1.5 million monthly visitors, and Vartan Mailiantz, an international competition laureate since age 16, are redefining what classical music looks like for a new generation — and April 2nd is their most ambitious statement yet.

The Season Finale program is, by any standard, extraordinary. It spans centuries, continents, and generations — from the aching romanticism of Rachmaninoff to the British modernism of Rebecca Clarke; from Offenbach’s 19th-century Paris to the United States premiere of a Gen Z Danish opera; from Schnittke’s post-Soviet modernism to Bernstein’s peerless invocation of New York itself. The second half unfolds at orchestral scale, culminating in one of the most joyful and politically charged finales in the American canon.

DANIEL QUINTANILLA