Sergei Nakariakov has broken through more than a few of the perceived boundaries framing the world of the trumpet in classical music. Dubbed “The Paganini of the trumpet” and “Caruso of the Trumpet”, Nakariakov has developed a unique musical voice, which is much more than a vehicle for astonishing virtuosity. His repertoire includes not only the entire range of original literature for the trumpet; but is continually expanding into broader territories, including many fascinating transcriptions, while he searches for ever new means of musical expression. At the same time, he has single-handedly brought the flugelhorn to prominence on the concert platform. The film presents the musician at his best but it also shows the victim of a soviet child prodigy biography. The mature Nakariakov’s breathtaking virtuosity is contrasted with footage of the child whose lips are sore from practicing. Is it true that Sergei was “never a wunderkind”, as he claims in the interview?
