The Concert

Decades earlier, Andrey Filipov, once a world-famous Bolshoi conductor, was publicly ruined by Brezhnev after defending Jewish musicians. He lost his position and became a janitor, spiraling into alcoholism. His reputation as a maestro persisted in whispers, even as his career stalled.

Lea and Yitzhak Strum, close friends of Filipov, were deported to Siberia after speaking out against the regime. Lea’s mind deteriorated, and she imagined the Tchaikovsky concerto daily for her husband. Lea died in 1981, followed by Yitzhak six months later.

Guylène de La Rivière smuggled baby Anne-Marie out of Russia by hiding her in a cello case during the escape to France. Irina, Filipov, and Sasha arranged the escape to save the child’s life. The infant’s fate becomes tied to a future Paris concert.

Filipov intercepts an official invitation from Théâtre du Châtelet in Paris to replace a canceled Los Angeles concert. He plans to reunite his old Jewish and Gypsy musicians to perform Tchaikovsky’s Violin Concerto. The mission marks his return to the conductor’s podium.

Gavrilov is brought in as the new manager and actively supports Filipov’s plan. He negotiates with the Châtelet on favorable conditions, including unusual demands and sponsorship. His efficiency masks a hidden agenda that unsettles the ensemble.

The orchestra insists Anne-Marie Jacquet must be the soloist. She has never played Tchaikovsky’s concerto because she fears it, but she longs to perform it with the Bolshoi. Guylène reluctantly accepts the deal to give her a chance at the stage.

An open Russian mafia boss offers sponsorship, despite being a poor cellist himself. His presence signals the chaotic, morally gray path to the Paris concert. The orchestra’s finances become as dramatic as the music.

The Bolshoi orchestra arrives in Paris only to disappear from view, taking on taxi-driving, moving, and translating work to survive. The unprofessionalism of the musicians clashes with Filipov’s belief that the concert can heal old wounds. Anne-Marie’s reservations grow as the project spirals.

Anne-Marie initially wants to back out after seeing the chaos. The concert is a chance to connect with her missing parents and a past she never knew. Guylène and Filipov press on, framing the performance as a cathartic life choice.

La Rivière explains the connection between Lea, the violinist mother, and Filipov’s circle. Lea’s deportation and the daily performance of the imagined concerto shaped Anne-Marie’s identity. The revelation deepens her resolve to join the concert.

At the last moment, a text summons the entire orchestra to the stage to honor Lea. They arrive without rehearsals, balancing nerves with hope. The atmosphere tightens as the music awaits its chance.

The legitimate Bolshoi manager, vacationing in Paris, arrives to derail the performance. Gavrilov intercepts him and locks him in a broom closet to keep the show on track. The improvised night becomes a testament to resilience.

Despite a shaky start, Anne-Marie’s performance inspires the orchestra to find spontaneous harmony. Filipov’s leadership resurges as the ensemble reaches a truthfully unified sound. The concert ends in a huge emotional triumph.

The concert restores Filipov’s career as conductor of a new Andreï Filipov Orchestra. Anne-Marie agrees to join him on a world tour, signaling a reconciliation of past pain and a hopeful future. The film closes on the promise of continued music and healing.