“In Heaven, we will all become sound.” — Joaquín Rodrigo Vidre. This sentiment beautifully captures the essence of Rodrigo's Concierto de Aranjuez, as interpreted by Aleksandra Rzhavtseva on the golden harp. Her performance brings out a confessional intimacy—softer, more expressive, and even more soulful than that of many guitarists. According to Aleksandra, Rodrigo’s life story unfolds universally across the concerto’s three movements: the first evokes the serene beauty of Aranjuez park; the second, a heartfelt adagio, is a plea for mercy—yet the orchestral reply suggests no comforting answer; the third returns again and again to the eternal idea of beauty. Listening to Aleksandra’s rendition, one comes to understand the truth of Rodrigo’s words.

Alexandra won authority immediately: at the concert she was entrusted with the arrangement of the famous “Concerto de Aranjuez” by Joaquin Rodrigo, the second part of which that evening did not move only the inhuman to tears.