A planned concert featuring Russian conductor Valery Gergiev at the Un’Estate da Re festival in Reggia di Caserta on July 27 has sparked a fierce political backlash in Italy and beyond, raising questions about whether the country is breaking with the European cultural boycott of pro-Kremlin artists.
If the event proceeds, it would mark Gergiev’s first performance in the European Union since the start of Russia’s full-scale invasion of Ukraine — a war he has never condemned. On the contrary, the longtime head of the Mariinsky Theatre in St. Petersburg is widely regarded as a staunch supporter of the Kremlin, making frequent appearances at events orchestrated to promote Moscow’s foreign policy narratives.
Gergiev’s scheduled performance at the prestigious royal palace in Campania would be the first of its kind since the EU cultural ban on pro-Putin figures, imposed in the early days of the war in 2022.
Political storm over cultural ‘neutrality’
Regional governor Vincenzo De Luca, a key supporter of the festival, has openly dismissed the boycott as “a moment of madness” and claimed that “culture must not depend on political logic.” However, Italian and European officials have widely rejected this stance.
European Parliament Vice-President Pina Picierno condemned the planned concert as “absolutely unacceptable,” describing Gergiev as a “cultural mouthpiece for Putin and his crimes.” In her view, allowing him to perform does not represent censorship, but rather an informed decision not to amplify propaganda disguised as art.
“Gergiev is a key element of a broader strategy by the Kremlin to soften Western perception of its war,” said Picierno. “He is not simply a conductor, but part of Russia’s information warfare.”
Critics argue that slogans such as “art is apolitical” are often used to avoid uncomfortable truths, silence dissent, or preserve business interests — and that silence in the face of injustice during war becomes a political act in itself.
European Commission: ‘No EU funding’
The European Commission clarified that the Un’Estate da Re festival is not funded by the EU but is financed entirely from Italian regional resources. Still, Commission spokesperson Eva Hrnčířová reiterated Brussels’ call for all cultural venues to refuse platforms to “artists who support Russia’s war of aggression against Ukraine.”
The controversy also prompted strong condemnation from Russian opposition figures. The Anti-Corruption Foundation, founded by the late Alexei Navalny, launched an investigation revealing that Gergiev owns significant real estate in Italy, and called on the country’s Interior Ministry to bar him from entering altogether.
Russian state media have given prominent coverage to Gergiev’s expected return to the EU, in what analysts see as part of Moscow’s soft power strategy. Throughout his career, Gergiev has conducted symbolic concerts during key geopolitical moments: in Tskhinvali during the 2008 Georgia war, in Sevastopol after the annexation of Crimea in 2014, and in Palmyra following Russia’s intervention in Syria in 2016.
A test for Italy’s cultural diplomacy
Critics say Gergiev’s invitation sends mixed signals. While Italy officially condemns Russia’s aggression, it now risks becoming a stage for one of Putin’s most prominent cultural envoys. Given the Kremlin’s long-standing use of cultural events to legitimize state actions, including via Soviet-era propaganda tactics, many see the concert as more than just an artistic engagement.
“Refusing visas or contracts to state-aligned artists is not censorship, but a form of cultural sanction,” said one rights advocate. “It’s about preventing the weaponization of art to whitewash war crimes and authoritarianism.”
Public pressure is mounting on Italian authorities to cancel the event. The ultimate decision may set a precedent for how European democracies balance freedom of expression with accountability during wartime.
