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This song originally has no introduction; the low-voiced vocals and accompaniment begin almost simultaneously.
However, for this performance, Renat arranged the opening line to be sung at a higher pitch, and Olga sang it a cappella without accompaniment.

In the original song, the opening line is in English. When translating it, that part was also adapted into Imperial. If we were to translate that free adaptation back into Japanese, it would convey something like “My heart always tells me.”
Olga “delivered” this with a long, full-throated note.

Her voice, which seemed to well up from within, transformed into a falsetto that was beautiful yet tinged with a sense of melancholy, rising up toward the heavens. A volume of sound so immense it was hard to believe it came from such a petite frame filled the theater.

It’s not that she couldn’t hit the low notes. Olga possesses a wide vocal range. She learned the unique singing style and vocal techniques of her native region—similar to Japanese folk songs—from her grandmother, which enabled her to sing steadily from low to high notes. That vocal technique adds a unique flavor and beauty to her singing voice. She could have sung it without any arrangement.

Even so, singing isn’t simply a matter of performing the notes. Even the same song can evoke vastly different impressions depending on the staging.
How should she sing this song in front of Their Majesties to win their favor? Renat, Madam Didonat, Ekaterina, and Olga discussed it at length and decided on every minute detail of her performance. Olga practiced relentlessly, drilling the technique into her body.
This song was unfamiliar to Their Majesties. She needed to take her time at the beginning to let them grasp the song’s worldview and atmosphere, while also allowing them to appreciate the beauty of her voice and the vibrato and long notes she had mastered in such a short time.
Just as they had all agreed, Olga let her crystal-clear voice resonate freely, filling the theater with her singing.

Ah, how beautiful.

Ekaterina could hear the former Emperor voiced his fascination.
The Empress Dowager listened intently, her eyes fixed firmly on Olga.

.

After pausing until the echo of her voice had completely faded, Olga moved on to the next verse. Renat’s accompaniment joined in perfectly in time. Her singing, no longer alone, blended seamlessly with the sound of the piano.
The song continued, extolling the bonds of the heart, the radiance of the stars, and miracles.

The sky was overcast, shrouded in thick clouds. Yet as the falsetto that never ceased to captivate Ekaterina rang out toward the heavens, it felt as though the stars—which should have been hidden beyond those clouds—were twinkling.
Olga’s singing has that kind of mysterious effect. In retrospect, the first time she heard her, a full moon vividly appeared in her mind.

She can’t help but compare them, but even when compared to Lydia’s singing—which impressed her with its technical skill—Olga’s technical aspects are just as impressive: her precise pitch, rich volume, stable delivery of both high and low notes, and her long tones and vibrato.
Yet, strangely enough, focusing on those aspects doesn’t make Ekaterina think, “Wow, that’s amazing!”

More than that.

Olga sings of knowing love because of her loneliness.
The image of her brother Aleksei comes to Ekaterina’s mind. It is the same boy with the beautiful features she once watched from the window of the country house, not yet knowing he was her brother. The brother who simply walked past the country house where her mother and younger sister lived. Aleksei, a lonely child who, after losing his grandfather Sergei, had to shoulder the burden of the Jurnova family alone at the tender age of ten.
Now she realizes that the reason he loves his sister so deeply is precisely because of that loneliness—
And she, too, realizes that the reason she cherishes her brother above all else is because she was terribly lonely—both during her past life as a corporate slave and in her childhood in this life.
The lyrics struck a deeper chord as they related more and more to Ekaterina’s own experience, and tears welled up in my eyes.

The song seeps into the listener’s heart.

This isn’t to say that heart matters more than technique. It is precisely because of techniques that a song can touch the heart. Lydia’s singing was certainly wonderful.
However, perhaps she still lacks just a little bit of technique. If a singer flaunts their technique, the listener becomes jaded. Lydia lacks the “technique” of not making the listener feel that she is showing off her skills. That said, for a girl of her age, simply possessing enough technique to be proud of makes her a truly talented individual.

But Olga, it seems, possesses this ability by nature, without having to study it as a technique. The more she learns and masters her technique, the more she will be able to use it to deeply move the hearts of her listeners.
Renat’s accompaniment supported her effortlessly. And between verses, he interlaced lively, free-form passages—too dynamic to simply call interludes—that wove in the song’s themes, allowing Olga a moment to rest.

Honestly, Ekaterina didn’t know the piano was an instrument capable of producing such a diverse range of sounds.
It’s not that he was playing in any unusual way. Ekaterina doesn’t know much about the technical aspects of the piano. Yet the sounds would sparkle, or weep sadly, or envelop you tenderly. They conveyed emotion as powerfully as the human voice.
Renat once declared that he was skilled at playing anything that makes a sound. He, too, is a natural talent, capable of moving people’s hearts with the music he creates. Teaming up with Olga has brought out that talent even more.

The two of them seem to be performers together.
Performers who draw out the tones of joy and sorrow from people’s hearts through music—performers who play the human heart.

.

The song reached its climax, and Olga’s voice—powerful yet gentle—prayed for the future. She wished for them to live shining brightly, just as they desired.
And finally, she sang out loud and clear, “I will keep singing for you forever”—at that very moment.
A single tear fell from the Empress Dowager’s eye.

Seeing this, Ekaterina called out to Olga deeply, in her heart.

Olga-chan.
You did it.

.

The song ended, leaving a deep resonance. The piano’s postlude repeated the theme with gentle tones and concluded with a chord.
—At that very moment.

The heavens shifted.

The thick clouds covering the sky parted, and light poured down.
It was a meteorological phenomenon often called a “ladder to heaven,” where rays of light stream through a gap in the clouds.
That light shone directly into this theater, onto this stage, illuminating Olga and Renat with a divine radiance.

No, this is… just too perfect.

Speechless yet captivated by the sight, Ekaterina thought to herself.
But in the next instant, that light took on a five-colored hue.