The article is devoted to the poem of twelve songs “Departed Russia” by G.V. Sviridov. The author considers the creative idea of the composer and his interpretative versions in vocal performance practice. The article highlights the synthetic nature of the genre of the work, its interpretation through ideological understanding by various musicians, musicologists. It is revealed to what extent the author's sense and interpretation processes can interact at the level of an equal creative dialogue. The peculiarities of form and drama are closely related to the genre specifics of the vocal cycle. The mystical, mythological, epic, tragic dramaturgical lines emphasize the main idea of the cycle – the transformation of Russia. All this once again asserts that the “Departed Russia” can be interpreted as a mystical action. The vocal cycle was performed by V. Piavko, E. Obraztsova, D. Hvorostovsky. It was the performance of the creative tandem – Hvorostovsky and M. Arkadyev – that posed the problem of equal dialogue as creation. In the process of this work, a mysterious concept was revealed, “sung” and refracted through the prism of the poem genre. Attention is paid to the technical, tonal, tessitural schemes of the performing editions of “Departed Russia”.