We Speak Music
Ian Maksin Shares New Track ‘AMOR RENATUS (REBIRTH OF LOVE)’ And Announces New Album and Tour Dates
Ian Maksin is a cellist, composer, and vocalist who sings in over 30 languages. He has created his own unique musical Metaverse by blending classical, jazz, and world music and by drawing inspiration from very diverse and eclectic musical sources, taking the listener along on this magical journey beyond space and time.
AMOR RENATUS (REBIRTH OF LOVE), his brand-new single, will be released along with a music video in advance of his upcoming North American tour and upcoming 12-track album of the same name (slated for release on October 10). This recording is the ideal representation of what Ian Maksin can do: music with veritable healing properties that demonstrates well his passion for his craft and his effortless ability to capture the same boundless energy that he exhibits live on stage.
Speaking on the new single and the forthcoming album, Ian Maksin shares, “AMOR RENATUS’’ is a reflection on the tragic ongoing events in Ukraine. It delves deep into the darkest recesses of the human soul, unearthing a myriad of feelings universal to all wars: grief, indignation, fear, and despair. As the journey continues, the music guides the listener through a path to redemption and a spiritual transformation, allowing them to ultimately find peace, comfort, and empowerment. As artists, we are fortunate to have music as the most powerful means of emotional healing and be able to offer it as medicine for the soul to the listener as well.”
AMOR RENATUS is scored for the cello, enhanced by the use of the loop pedal, and is powerfully transformed into a virtual orchestra by the use of other electronics. The addition of various percussion instruments on several tracks, ranging from the deep, heart-like tones of the Mongolian frame drum to the trance-inducing grooves of the West African djembe, also adds to the magical and state-altering properties of the music of the album. In this album, Maksin has taken his distinct musical language and style to yet another level by drawing musical influence from a variety of sources. These include J.S. Bach, Mozart, Astor Piazzolla, and folk music from different parts of the world from the Middle East to the Balkans.
The album opens with a Prologue which in turn consists of four compositions: Alis Doloris (Wings of Sorrow) Intro, Alis Doloris, Nostalgia, and In Tenebris (In the Dark) which prepare the listener for the centerpiece of the album – the Requiem. The first and third movements of the latter, Requiem Aeternum and Dies Irae have some recognizable allusions to Mozart’s Requiem, but with an underlying feel of Tango Nuevo and a poignant solo cello part, which at times sounds almost like a guitar solo by Pink Floyd’s David Gilmour. The second movement, Tuba Mirum, starts off with a Middle Eastern drum groove, with the cello solo coming in seemingly sounding like a Balkan trumpet solo, leading to an apocalyptic culmination. The closing movement of the Requiem portion of the album – Lux Aeterna, is merely a serene and solemn milonga, almost reminiscent of Astor Piazzolla. On the back end of the Requiem, there are four more tracks grouped as the Epilogue: Amor Renatus (Rebirth of Love) intro, Amor Renatus, Ortus Solis (Sunrise), and Urbs Aurum (City of Gold), which are meant to take the listener back to light and love on a path of spiritual transformation.
Tracklist
PROLOGUE
- Alis Doloris (Wings of Sorrow) Intro
- Alis Doloris (Wings of Sorrow)
- Nostalgia
- In Tenebris (In the Dark)
REQUIEM
- Requiem Aeternum
- Tuba Mirum
- Dies Irae
- Lux Aeterna
EPILOGUE
- Amor Renatus (Rebirth of Love) (Intro)
- Amor Renatus (Rebirth of Love)
- Ortus Solis (Sunrise)
POSTLUDE
- Urbs Aurum (City of Gold)
A portion of the proceeds from the concert tour and album sales will be directed to For Wellbeing a non-profit organization that provides humanitarian aid in the regions of Ukraine most affected by war. Maksin has been supporting this charitable organization since March 2022 as part of his Cello for Peace tour of over 200 concerts in North America and Europe.
Artist BIO:
Ian Maksin, a luminary in the world of classical and world music, unveils an extraordinary musical journey that defies convention and transcends borders. Born in the USSR and raised in a multicultural family, Maksin’s musical odyssey is a testament to the power of diverse influences and unwavering dedication to the art of the cello.
From the tender age of three, Maksin exhibited a prodigious talent for music, embarking on his musical odyssey by mastering the guitar and piano. At the age of six, he commenced his love affair with the cello while attending the prestigious Leningrad School for Gifted Children. His unrelenting pursuit of musical excellence eventually led him to the hallowed halls of the Manhattan School of Music in New York City at the tender age of 16.
After honing his craft in the classical genre and serving with distinction for three years as a member of the New World Symphony in Miami, Maksin boldly embarked on his own musical career. Over the past decade, he has released a series of critically acclaimed albums featuring original compositions and taken his mesmerizing talents to stages worldwide, performing over 150 concerts annually across five continents.
Maksin’s musical odyssey extends far beyond the boundaries of classical tradition. A true global citizen and passionate linguist, he has cultivated his vast repertoire through extensive travel, jam sessions, and collaborations with musicians from diverse cultures around the world. His original compositions and instrumental works effortlessly weave together elements of ethnic music, drawing inspiration from various sources around the globe.
Reflecting on his remarkable journey, Ian Maksin shared, “At some point, I realized that music is much more than mere entertainment. Music is one of the most powerful and unifying forces in the world, capable of healing, inspiring, bringing people together, and bringing peace among them. I believe that cello will save the world.”
Notable Highlights:
Ian Maksin has graced the stage with some of the most iconic names in the music industry, including opening for Sting and Dominic Miller in Chicago in 2010 and 2012. He embarked on a tour with the legendary Andrea Bocelli in 2012 and has collaborated with luminaries such as Barry Gibb, P. Diddy, Snoop Dogg, and Gloria Estefan. Since 2015, Maksin has enraptured audiences worldwide as both a solo artist and as the frontman of the enthralling Zaria Band, delivering over 100 performances in 20+ countries annually. In 2022, he embarked on a transformative journey as part of the Cello for Peace Tour, where he performed over 100 concerts (and ongoing) in support of Ukraine, generously donating the proceeds to humanitarian charities.
TOUR DATES
September 29: Phoenix AZ
September 30: Sedona AZ
October 1: Tucson AZ
October 10: Kelowna, BC
October 13: Vancouver BC
October 14: Portland OR
October 15: Seattle WA
October 19: Detroit MI
October 21: Cleveland OH
October 28: Boston MA
November 2: Washington DC
November 4: Philadelphia PA
November 5: New York, NY
November 8: Toronto ON
November 9: Ottawa ON
November 10: Quebec QC
November 12: Montreal QC
November 18: San Francisco CA
November 19: Los Angeles CA
December 3: Chicago IL
More dates in North America and worldwide TBA
TICKETS & ADDITIONAL INFO: ianmaksin.com/tour
The stage is set, the lights dim, and in just a few moments, a timeless classic unfolds. Chekhov in London is not just another adaptation of The Seagull – it is a daring, stripped-down reimagining guided by the singular vision of Victor Sobchak, a director with an uncompromising approach to theatre. This unique production, blending performance, documentary and personal reflection, challenges both actors and audiences to reconsider what it means to tell a story on stage.
At its heart, Chekhov in London follows three interwoven threads: a condensed performance of The Seagull, an intimate exploration of the rehearsal process, and revealing interviews with Victor and his cast. The loose structure allows room for spontaneity, ensuring that the final piece retains the raw energy of live performance. The result is an immersive theatrical experience that defies convention and highlights the director’s unorthodox methods.
It might be a short production , but within those few moments unfolds an intense scenario of The Seagull. The film fuses performance, documentary and behind-the-scenes insights, resulting in a fascinating work that feels at once theatrical and uncomfortably real.
At the center of this version is Anna Silverman in the role of Irina Arkadina. Unlike the more fragile, wide-eyed Nina, Arkadina is fierce, ego-driven and emotionally strong. Her character is a woman of status and pride but yet, beneath the surface, she is quite brittle. The film’s direction leans into that psychological tension, and Anna doesn’t shy away from it and in fact, she walks straight into the fire.
“I knew from the beginning this wasn’t going to be a conventional performance,” Anna reflects. “Victor didn’t want a polished, distant Arkadina – he wanted a woman trapped in her skin, in her legacy, in her relationships. There was no way to play her halfway.”
In this adaptation, Arkadina isn’t simply a supporting figure in her son’s tragedy – she becomes a central pillar of the emotional architecture. The scenes between her, Treplieff and Nina are structured to feel tight and unforgiving. From a visual perspective, the production chose to create a claustrophobic atmosphere, using close framings, low lighting and limited space. This wasn’t accidental – it was intentional.
“The idea was to strip away the distance – both physically and emotionally,” Anna says. “The camera is close. The pauses feel longer. There’s a tension that’s not just acted, it’s felt.”
For Anna, playing Arkadina came with its own set of challenges – not just technically, but emotionally.
“It was important for me to avoid turning her into a villain. She’s not cruel for the sake of it. She’s scared. She’s aging in a World that punishes women for being anything less than eternal. She’s trying to hold on to relevance, to love, to her past power and it’s slipping. I had to meet her there.”
Working with Victor Sobchak is not for the faint-hearted. Known for his intensity and no-nonsense expectations, he pushes actors into emotional terrain that feels almost unsafe—but never without purpose.
“There were moments I left rehearsal feeling completely stripped bare,” Anna admits. “Victor doesn’t settle for performance. He wants truth – even if it’s messy, even if it makes you uncomfortable. Especially if it makes you uncomfortable.”
This meant many scenes were approached with only minimal technical blocking and instead prioritised emotional improvisation. Anna’s performance, while deeply rehearsed, maintains a feeling of spontaneity – it is almost like we are watching her discover Arkadina for the first time, in real time.
Behind the performance was intense internal work. Anna immersed herself not only in Chekhov’s text, but in Stanislavski’s psychological approach, asking not just what Arkadina says – but why she can’t say anything else.
“You have to find where she lives inside you,” Anna says. “For me, it was about understanding what it means to be needed, but not nurtured. What it means to perform not only on stage, but in life.”
She also speaks of the moments when she doubted herself, at some points when Arkadina’s emotional contradictions left her feeling disconnected.
“It’s exhausting to play someone who won’t break, because it means you carry the weight of everything she’s holding in. As an actress, the real challenge was to show the cracks without letting her fully fall apart.”
The film makes the most of its minimalist structure – focusing entirely on the emotional triangle between Arkadina, Treplieff and Nina. There are no sweeping landscapes or dramatic scores. Instead, it’s the silence, the breath between lines, the glance not returned that builds the tension.
“That was Victor’s vision from the start,” Anna explains. “He wanted it to feel like there was no escape – emotionally or physically. Every word, every pause, becomes a battlefield.”
In the end, Anna doesn’t pretend the role left her untouched. Arkadina, she says, revealed more to her than she expected.
“I think the most painful part of playing Arkadina is how much I saw of myself in her fears. It’s easy to admire the beautiful parts of a character, but it’s when you recognise your own shadows in them – that’s when it becomes real.”
Chekhov in London may be brief in length, but it leaves a long emotional imprint. And Anna Silverman’s Arkadina is at its heart: proud and undeniably alive.
_______________________________
Chekhov in London” is a rebellion, a love letter to theatre itself.
Featured photo credit: Tom Trevatt
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