The protagonist of this concert is Mozart: Mozart himself and Mozart revisited by Lera Auerbach, today’s composer who is also a pianist, writer, and visual artist. For the global vision that she has of art, critics have defined her as a woman of the Renaissance. She was born fifty years ago in Chelyabinsk, Siberia; as a teenager she moved to New York without knowing a word of English. The title Eterniday. Hommage à W. A. Mozart plays with a word invented by the composer (the union of “eternity” and “day”, understood as something in a balance between fragility and permanence) which, however, sounds to an Italian ear like an exclamation from an opera libretto (“Eternal Gods!”). The Mozart inside it is that of the childish pages for the keyboard, which Auerbach knows well as she recorded them. Around this Mozart-inspired piece, the principal conductor of the ORT Diego Ceretta places two masterpieces by Mozart. The K.466, the most noir of the Salzburg piano concertos, and then there is “Jupiter”, a monumental symphony, as superb as Jupiter whose name it bears.