In 1975, Zhurbin composed the first Soviet rock opera — Orpheus and Eurydice — a moment Albany Records describes as "massive defiance." While the Soviet Communist Press reacted with scandal, audiences "voted with their feet."

Zhurbin is recognized as one of the most productive composers of his generation, with a catalog exceeding 400 titles spanning virtually every musical form.

Beyond composition, Alexander Zhurbin has also worked as a librettist, cellist, pianist, writer, journalist, performer, and producer, reflecting a creative range that extends far beyond a single role.

A view of a city appears out of the darkness. Accelerating gradually, streets, people, and cars flash past one after another. Eras’s change. Cities, forests, and seas fly by. A bright point appears, which begins to grow until Mount Parnassus occupies the entire stage. (Video projection and sound design)

A light set design appears on stage, symbolizing the hall of an ancient temple in Delphi.

Phoebus appears alone in the hall Two muses hasten toward him. Phoebus is busy composing a new theatrical production. The muses will present their ideas to him. Producer Phoebus will choose who will become the main heroine of the new show.

Calliope, the muse of epic poetry, bursts in first to show her work. The presentation of her new composition gradually captivates those present (Phoebus's assistants and the second muse), and they join in her poetic dance.

Before Calliope can even finish her showcase, Urania, the muse of astronomy, draws everyone into her own story.

At this moment, Terpsichore, the muse of dance, appears on stage. Joining the collective dance, she involves everyone in her dance presentation. Moving from one dance to another, she leads everyone along, changing rhythms and combinations. In the finale, everyone, including Phoebus and three more muses who have arrived just in time, dances a fast collective dance.

After the dance ends, Phoebus stops everyone. He needs to concentrate and listen to all the remaining muses. He is concerned that not everyone is here yet.

The resulting pause is interrupted by Clio, the muse of history, who comes running in. Her story stands in sharp contrast to the merriment that Terpsichore just created. Everyone present sits down like an audience. Before long, they don't even notice how they become part of her action. New musicians who have appeared on stage also join the performance.

Polyhymnia, the muse of hymns and pantomime, performs next. She gradually introduces the rest of the muses into her dance-action (similar to an Isadora Duncan dance).

In the center of the stage is Thalia, the muse of comedy. Cheerful and captivating, she gets everyone going. Phoebus, who is watching her seriously at first, doesn't notice that he starts dancing while seated, and soon rushes into the dance along with Thalia, the dancing muses, and his assistants.

He is stopped by the appearance of Melpomene. "Not everything is so cheerful and playful; the game is still ahead," declares the muse of tragedy. She does not allow Phoebus to return to his lounge and forces him to be her partner in a staged scene, in which the other muses later take part under Melpomene's direction.

Only Euterpe, the muse of lyric poetry, does not participate. Occupied with her own new composition, she barely notices what is happening. She is very anxious about whether Phoebus will like her work. Her anxiety spreads to the others. Euterpe's dance is a beautiful, lyrical monologue.

The muse of love, the muse of weddings and merriment Erato. Last of all, she unites everyone in a joyful dance.

Happy, everyone awaits Phoebus's decision. Phoebus is thoughtful. Dancing through his monologue of reflections, he periodically repeats fragments from the various dances of the muses, inviting one or another to help him. Absorbed in his reflections, he doesn't notice that he has invited all the muses onto the stage. All the muses will be a part of this beautiful show! A cheerful, traditional round dance of Phoebus and the muses conclude the performance.

Zhurbin's work has been performed by leading orchestras and ensembles across Russia, Europe, Canada, and the United States. His English-language musical How It Was Done In Odessa had a sold-out run at the historic Walnut Street Theatre in Philadelphia.

Zhurbin continues to compose prolifically across genres. His current English-language stage projects reflect his lifelong passion for literary adaptation and cross-cultural storytelling.

Zhurbin's music is anchored by institutions and ensembles rather than a single celebrity soloist — a testament to the breadth and depth of his catalog.