Russian Language – Page 344 – MIL Translation Engine 1

February 25, 2026

"I'm so glad I can help people": the story of a master who dedicated 60 years to the State University of Management

Translation. Region: Russian Federation –

Source: Official website of the State –

An important disclaimer is at the bottom of this article.

On February 14, 2026, Nikolai Kosmachev celebrated 60 years of working at the State University of Management. He came to the university as a young man to study evening classes and obtain a higher education, and he remained here for many years. After graduating, he decided to work at his alma mater in the Physics Department as a training supervisor. A year later, he became acting head of the machine tool laboratory in the Mechanical Engineering Technology Department, and now works as a fourth-category lathe operator.

On February 24, 2026, in the Academic Council Hall, Nikolai Nikolaevich was ceremoniously presented with a letter of gratitude "for many years of conscientious work, the highest professional excellence, dedication, and the transfer of a wealth of experience to young specialists." The well-deserved award was presented to the specialist by Vladimir Stroyev, Rector of the State University of Management. He noted: "This is a special occasion, a wonderful example of selfless service to our common cause and dedication to the university."

On January 27, Nikolai Kosmachev turned 85. To mark these two important milestones, we decided to explore Nikolai Kosmachev's journey at the university and asked a few questions:

How did you come to this profession? Was it a conscious choice or a stroke of fate? I came here as a student, although I'd already worked at other factories for three years. There, I learned how to make various parts and acquired the skills to work quickly. After graduating, I decided to stay at the State University of Management because I knew everyone, lived nearby, and attended interesting and important courses as an auditor. Everything suited me: the faculty were wonderful, intelligent people, and I was already a trained specialist, a highly skilled turner.

"How has your workplace changed over 60 years?" "The only thing that changed was the machines; there were three of them, almost the same age as me. We changed because it was possible to buy a newer model: so if the previous machine was 70 years old, the new one is 52. The technology, operating principles, and everything else remained the same. This isn't a factory, so there's not much variety. Machines, tractors, couplings, bushings, nuts… Plumbers are constantly running around, and everyone comes here because they can get something done."

What was one of the most memorable events in your career? One day, Olimpiada Vasilyevna, the rector of the institute, lost the key to one of her seven home locks. She lost the key to a lock that had been installed privately and was told, "No one will ever open it. All the state-owned ones will break, but this one won't." The rector called her assistant, Tatyana, to my place; she picked me up in her car and took me to look at the lock. There, I discovered something interesting – its design was very intricate. The key is split in half, along its axis: you insert one half, the other falls, hits a gear, turns it, and opens the lock. All that's visible from the outside is just a hole; we had a similar one for a dovecote when we were kids. I found out the approximate size of the key, made three different versions, literally "at random," and opened the door with the first one. That's the story.

Looking back, what do you consider your greatest contribution to the university? If I'm going to brag, I'd say my hands are the only ones the entire university has. If anything happens, they come here right away, and I'm so glad I can help people; that's how we were raised. People come running to us and say, "The car's broken and needs to be ready in an hour," and it'll start working; I'll do whatever it takes. I work quickly, and everyone needs my work: the plumbing, the pool, the gym; I even fixed the safe when someone lost the keys.

Is there some aspect of university life that only you and your colleagues know, but that faculty and students don't? A lot has happened over the years. I knew university staff members few people have ever met. Among them were Olimpiada Kozlova, Anatoly Porshnev, and Alexey Lyalin—all of them former rectors. As a laboratory assistant, I even taught under Vladimir Godin, who later became acting rector of the State University of Management. Many future employees studied with me…

Congratulations to Nikolai Kosmachev on his anniversary!

Thank you for your many years of responsible and dedicated service to the State University of Management, for your example of sincere love for your profession, and for your gift of talent!

We wish you every day spent at the university filled with inspiration and pride in the work you've accomplished. This work is truly priceless, because you do it with great love and respect for others! We wish you good health, prosperity, and happiness!

Subscribe to the "Our GUU" Telegram channel. Publication date: February 25, 2026.

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

February 25, 2026

Pierre-Auguste Renoir: a master of light, color, and inimitable smiles

Translation. Region: Russian Federation –

Source: Official website of the State –

An important disclaimer is at the bottom of this article.

On February 25, 1841, in the French city of Limoges, Pierre-Auguste Renoir was born into a tailor's family. He was the artist whose name became synonymous with Impressionism, and whose paintings embodied warmth, happiness, and the beauty of life.

From early childhood, Pierre showed an interest in art: he sang in the church choir and enjoyed drawing. At 13, the young Renoir began his creative journey by painting porcelain. This work, far from high art, taught him immense patience and a subtle sense of color and composition. He learned to work with fragile materials, adding graceful floral motifs and pastoral scenes to the curves of vases and plates—an experience that proved invaluable for the future artist.

The beginning of a creative path and friendship with artists

At 20, having saved enough money, Renoir went to Paris. In 1862, he entered the studio of the artist Charles Gleyre, where he met young, ambitious painters such as Claude Monet, Alfred Sisley, and Frédéric Bazille. This acquaintance blossomed into friendship and gave the world great works of art. Together, they explored new paths in art, rejecting academic dogma and preferring to work outdoors—en plein air. They spent entire days outdoors, observing how light changes at different times of day and how color influences the perception of form. It was in these free, light-filled experiments that Impressionism was born.

Love for people and uniqueness

Pierre Renoir became one of the pillars of the Impressionist movement, yet he retained his own unique qualities. Unlike some of his colleagues, Renoir was most interested in the everyday lives of people. He loved to depict them in happy, carefree moments, capturing their emotions while dancing, conversing, and relaxing in nature.

The artist's most famous works include: "Ball at the Moulin de la Galette", "Luncheon of the Boating Party", "Theatre Box", "Large Bathers", "Pink and Blue" and others – they convey the incredible atmosphere and beauty of life.

Amazing skill and strong spirit

A true master, Renoir was able to capture the play of light on any surface: on the tanned skin of dancers, on the surface of a pond, on flower petals, on the folds of silk dresses. The sun's rays depicted in these paintings seem to transform everyday life into a celebration.

He was especially meticulous about portraits, striving to reflect not only facial features, but also the character and inner world of a person.

In the last decades of his life, Renoir suffered from a severe form of rheumatoid arthritis. But even his illness didn't force him to abandon his beloved art. He believed that pain fades, but beauty remains, so he continued painting, tying his brush to his hand. During this period, his works became even bolder in color, and their forms became more rounded and voluminous.

Life is full of interesting facts

The artist had his own color theory: he practically never used black paint, replacing it with rich blue, violet, and green hues, even in the shadows. Renoir painted very quickly. For example, a portrait of the composer Richard Wagner was completed in just 35 minutes. Renoir's talent was not immediately recognized. He submitted his works to the academic Paris Salon, and before they were accepted, the artist received several rejections. Charles Gleyre, Pierre's apprentice, immediately recognized his student's talent and refused to charge him tuition. Early in his career, to earn a living, Renoir painted commissioned portraits, initially paid for with food.

Pierre-Auguste Renoir left the world not just paintings, but an entire worldview, filled with warm sunlight, carefree spirit, and joy. He continues to teach us to see the beauty in every day and reminds us that the true beauty of life lies in simple, everyday moments.

Subscribe to the "Our GUU" Telegram channel. Publication date: February 25, 2026.

February 25, 2026

Paintings in a tunnel? For the participants of the "Art in the Metro" project in Moscow, nothing is impossible.

Translation. Region: Russian Federation –

The first nighttime art session of the "Art in the Metro" project in 2026 took place at Shelepikha station. Ten artists from the third season worked directly on the tracks of the closed station, which will eventually become part of the Rublevo-Arkhangelskaya Line.

The creative session took place at night, strictly adhering to all safety requirements—the overhead rail was de-energized while the artists worked. Participants had a unique opportunity to take a fresh look at the metro's architecture and engineering infrastructure, transforming the technical space into an artistic workshop.

"In 2026, we held our first nighttime on-site session for artists from the third season of the 'Art in the Metro' project. This was the second time it was held at the closed Shelepikha station, which will eventually become part of the Rublevo-Arkhangelskaya Line. Such events allow us to take a fresh look at metro infrastructure and show residents a unique perspective. In line with Moscow Mayor Sergei Sobyanin's mandate, we continue to develop the Moscow Metro as a unique space for cultural initiatives," said Maxim Liksutov, Deputy Mayor for Transport and Industry.

The Art in the Metro project is being implemented with the support of its general partner and operator, the Moscow Exhibition Halls Association.

February 25, 2026

February 25, 2026. The show "Come On, All Together! As a Choir!": filming at Mosfilm's Pavilion 1. The third season of "Come On, All Together! As a Choir!" will air on the Rossiya TV channel starting February 20 at 9:30 PM.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

February 25, 2026

News editorial office

Starting February 20th at 9:30 PM, the third season of the show "Come On, All Together! In Chorus!" will air on the Rossiya TV channel. The legendary "100," responsible for impartial judging, is back together. Their main task is to select the best of the country's best teams. The show's permanent duo—host Nikolai Baskov and leader of the "100," Sergey Lazarev.

The new season of "Come On, All Together! In Choir!" opened with special guest Nadezhda Babkina, founder and artistic director of the vocal ensemble "Russian Song," which celebrated its 50th anniversary last year. As always, her rousing performance filled the competition with a festive atmosphere, and then joined a panel of hundreds of music experts.

"I adore choral singing because you can lose yourself in it. When very young girls and boys take the stage, eager to make a name for themselves, I feel delight, admiration, and joy. For me, the tone, honesty, and melody are important. When all this comes together, it gives spiritual strength, and something that may have been dormant for a long time begins to awaken in a person—certain strings of the soul. Energy is very important. It can be found in a quiet, timbral piece, or in a full-blown, full-throttle performance. The project 'Come on, All Together! Chorus!' gives us the opportunity to appreciate our spirituality, the most important, unfairly forgotten values that have existed for centuries," Nadezhda Babkina noted in a commentary for Mosfilm.ru.

Eight groups will compete in the first wave of competition for the Show Cup and 5 million rubles. Between four and seventy performers will take the stage at the grand show. The contestants' musical repertoire is diverse, ranging from classical pieces to cutting-edge arrangements and compositions. Each group will bring a unique sound and style to their performances. Familiar notes will be given a new twist, and old hits will be given a fresh lease of life.

The upcoming episode will feature the vocal group "KVATRO original," the vocal quartet "Malina," the techno choir "Palestrina," and the children's choir "Aurora" from Moscow, the ensemble "Toloka" and the choir of the Valaam Monastery from St. Petersburg, the women's choir "Devchata" from Tver, and the men's choir of the Song and Dance Ensemble of the National Guard of the Republic of Kazakhstan.

The jury includes the long-standing music experts without whom the show is now unimaginable—Nikolai Erokhin, Albert Zhalilov, Alina Yarovaya, Marina Firsova, Olesya Evstigneeva, Andrey Bill, Nastya Kraynova, Vladimir and Anton Korobka, Georgy Koldun, Akula, Harry Kraulis, and Alexander Penkin—as well as new judges—Pizza frontman Sergey Prikazchikov, singer Oksana Kazakova, and last season's semifinalist Evgeny Garanin. The winners of the second season of "Come on, All Together! As a Choir!"—Dmitry Zheleznov, founder and artistic director of the Dmitry Zheleznov Chapel, and Olga Kozyreva and Maxim Fadeev, directors of the Russian Song Choir of the Vladimir Regional Music College named after A.P. Borodin—also appeared on the panel.

The scale of "Come on, all together! In chorus!" is grandiose.

A vocal show is a complex project from a production standpoint. The television competition utilizes not only large-scale sets but also sophisticated software. According to the show's producers, Mosfilm's Pavilion 1 offers optimal conditions for such a large-scale project, including dimensions, ceiling height, soundproofing, set installation, and more. With each season, the vocal show continues to amaze and captivate audiences, and its fan base continues to grow. And this is just the beginning: new heights are yet to come. We'll find out who will receive the first coveted 100 points out of a hundred this coming Friday! Don't miss out!

Episodes of the new season will be available on media platform "Smotrim"

Production: Vait Media, photo by Russia TV channel.

February 25, 2026

23.02.2026. "ANDREY RUBLEV" – the history of the film's creation – archival documents (part 7) We present to you the seventh publication in a series of materials about the history of the creation of the film "Andrei Rublev" by director Andrei Tarkovsky.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

After numerous demands to cut the film short due to its excessive length (according to members of the artistic councils of the association, studio, and other higher-level organizations), Andrei Tarkovsky was forced to agree to cut some scenes and objects, including:

List of scenes and objects to be cut

Only after these cuts was the ACT regarding the release of the full-length film "The Passion According to Andrei" sent to the Cinematography Committee on August 25, 1966. The prepared text of the ACT stated: "The film was presented to the Main Directorate of Artistic Cinematography of the Cinematography Committee on a single reel on August 6, 1966, and approved by the Cinematography Committee under the Council of Ministers of the USSR for release with edits." This ACT was submitted for approval to V. Baskakov, Deputy Chairman of the Cinematography Committee under the Council of Ministers of the USSR. However, even this abridged version of the film was not approved, and Tarkovsky was "proposed" to further alter the seemingly finished film.

On August 30, 1966, Tarkovsky wrote a letter to the acting Head of the Main Directorate of Art Cinematography, E. Surkov:

“…Due to concerns about inaccurately edited scenes and cuts, the following episodes have been shortened and thus improved in editing;

….2) The scene of Andrey, Kirill and Danila leaving Trinity was thrown out due to the unclear plot development and its plastic variegation in connection with the junction with the subsequent passage of the heroes across the field in the rain.

3) The first scene with the buffoon has been shortened – half of the circular panorama before the appearance of the warriors has been thrown out.

This entire scene was re-recorded with the aim of making clear the social motive in the content of the buffoon's song.

Some shots within this scene have also been re-edited.

….5) The text of the “writing” that exists as Cyril’s internal monologue in the scene of Theophanes inviting Andrei Rublev to Moscow has been shortened.

6) The scene with the messenger in the episode of Andrei’s invitation to Moscow was shortened.

…8) The scene of Theophanes, Andrei and his disciple Thomas in the spring forest has been greatly shortened and clarified.

The overly illustrative “flight” of the swan at the end of this episode was thrown out…”

Tarkovsky was forced to agree to all the comments; this letter listed 23 points, which were subject to major corrections and cuts.

However, at the end of the letter, the director tries to convince management to allow the necessary additions:

A letter from director Andrei Tarkovsky

By this time, the struggle for the film had exhausted A. Tarkovsky to the extreme; his strength – moral, physical and creative – was running out.

On September 9, 1966, the director of the film, T. Ogorodnikova, and the director of the VI Creative Association, P. Danilyants, at the request of A. Tarkovsky, approached the management of the Mosfilm studio to grant him leave due to overwork.

“…On September 2, 1966, at an extended meeting of the Board of the Cinematography Committee under the Council of Ministers of the USSR with the participation of leading masters of Artistic Cinematography, the film “The Passion for Andrei,” submitted by the studio on July 29, 1966, and accepted on August 25, 1966 by the Cinematography Committee under the Council of Ministers of the USSR, was discussed.

While noting the film's ideological and artistic merits as an outstanding work of cinematic art, the meeting participants, along with a high assessment of the film's quality, considered it necessary to propose to the director A. Tarkovsky that he make editing cuts in order to free the film from individual shots and episodes of a naturalistic nature and to reduce the useful footage of the film as a whole.

Director A. Tarkovsky, having agreed with the need to make a number of editing corrections, requested that he be given leave due to overwork and allowed to complete the clarifications in the film's editing in parallel with the production of the source materials.

Taking into account the above, the General Directorate and the leadership of the Main Directorate agreed to satisfy Comrade Tarkovsky’s request to grant him leave and allowed him to resume work on editing and the production of source materials after returning from leave.

In this regard, we ask that the deadline for submitting source materials for the film “The Passion of Andrei” be extended until December 20 of this year.”

On October 24, 1966, the next meeting of the Artistic Council of the 6th Creative Association took place, at which a heated discussion about cuts took place:

Yuri Bondarev (writer, editor of the association)

"…I really like the film 'Andrei Rublev.' I think there's a lot of genius in it. There are some long stretches, sometimes little plots, like the woman swimming, for example, which is a bit of fiction, the bell sequence, and the river sequence. There were also some other long stretches, a lot of pulsating blood… Overall, I really like the film."

Elizar Maltsev (writer)

"…The film 'Passion for Andrei' has the potential to become a sublime work of art. But I've always been haunted by the feeling that the director lacks a sense of proportion. I'm driven by a desire to help the film, and I'm deeply convinced that the film is too long and too cluttered. The buffoons are uninteresting; they're artificial and forced, and I don't like the men fighting."

Vladimir Kreps (writer, screenwriter)

"…I'd like to draw a parallel with the film 'The First Teacher,' which at one time also sparked much discussion about the need for cuts, particularly in terms of graphic violence. Now that film has enjoyed great, well-deserved success. So, in my opinion, the film 'Andrei Rublev' now has global significance."

Vladimir Naumov (director, head of the 6th Creative Association)

"…The film as we saw it today is in grave danger of being devoured by the microbe of boredom. The film is excessively drawn-out. I lose the sense of coherence in this film; it breaks down halfway through. This film is so powerful in its truth and chronicle of events, so we must eliminate all falsehoods…"

Lyudmila Feiginova (editor of the association)

“Everything is conceived and filmed in large chunks and has its own rhythm; it’s practically impossible to throw anything away.”

Alexander Alov (director, head of the 6th Creative Association)

"Our shared position, our association's attitude toward the film 'The Passion According to Andrei,' throughout all the difficult stages of its creation, has been absolutely impeccable. We were always with Tarkovsky at the most critical moments. Now the film has been accepted, and our statements are guided not by fear of some dire consequences, but by a single, ardent desire to make the film better. The film is very drawn-out, hence its significance."

I'm a huge fan of the film, but I still agree with everyone that it's excessively long. The buffoons are insanely drawn out, Vladimir is too long, and there's a lot of cruelty. I simply can't stand the scenes with the horse and the dog. Naumov's suggestions are very specific. I'm in favor of shortening the film by 300 meters."

Andrei Tarkovsky:

We are at odds with each other.

My Artistic Council is broader; many people saw the film, and their opinions were conflicting.

…Of all 24 points related to editing amendments, only 3 amendments are perhaps not taken into account in today’s version.

I agree with the comments about philosophical conversations, which, of course, should be more specific and unique, but this problem and error are inherent in the script itself, which included a disproportionate meaning of what was said in relation to the amount of text.

I tried to cut out the first part of the execution, but it didn't work. I don't know what to do with Vladimir; the footage of him falling from the wall can be cut.

The old man with the stick cannot be removed, because without him there would be no episode, everyone is talking about this shot, and I agree with this, but it cannot be cut.

If you listen to everyone, it turns out that we need to throw out another 300 meters; wishes prevail over possibilities.”

Just two days after this meeting, members of the Artistic Council gathered to discuss editing changes to the film. Once again, Tarkovsky had to defend his position:

"…The discussion at the Artistic Council meeting left an overwhelming impression. The Artistic Council members' proposals failed to find a common solution in terms of concretely fulfilling the shared desire to make the film shorter. I'm in a difficult position, as nothing concrete was proposed at the Artistic Council meeting, despite the lengthy and detailed discussion.

Today the proposals are more constructive and concrete.

But if I cut out: the second part with the blinding, shorten Vladimir (Petra, the horse) by half, throw out the dog, the execution, Kirill’s cell, the flashback, the scene after the scene with Marfa, part of the scene between Feofan and Andrei – the ending, Kirill’s return plus what was suggested at the Artistic Council – can you imagine this picture?… The picture will lose its face.”

As a result, the Arts Council makes an unambiguous conclusion:

Decision of the artistic council

A. Tarkovsky decides to continue fighting for the film's fate. To be continued.

Photo: Mosfilm-Info Information Center. When using this image, a link to the source is required.

CONTINUATION

February 25, 2026

New Ministry of Transport regulations: starting September 1, 2026, drivers will have different work and rest schedules.

Translation. Region: Russian Federation –

Source: KMZ Cargo – KMZ CARGO –

An important disclaimer is at the bottom of this article.

Employers were prohibited from including overtime in their schedules, and drivers were allowed to split their breaks into 15-minute segments.

The Russian Ministry of Transport has presented a draft new order (source) regulating drivers' work and rest schedules. The document is scheduled to come into effect on September 1, 2026, and will remain in effect until September 1, 2032. In the draft, the ministry adjusted the rules for summarizing working hours, clarified daily rest periods, and expanded the list of exceptions for certain categories of transportation.

These requirements apply to all drivers employed under an employment contract and their employers—both legal entities and sole proprietors. The document is mandatory for use when developing internal work regulations and creating shift schedules.

The new rules do not apply to drivers engaged in international transportation, fire trucks, ambulances, emergency rescue services, and departmental security drivers. Exceptions are also made for drivers employed by state and local government agencies, employees working on a rotational basis, and military drivers on active duty.

The document stipulates that a driver's normal workweek cannot exceed 40 hours. If it is impossible to comply with the daily or weekly limit, the employer is required to implement a summarized work time accounting system. The accounting period may be monthly, quarterly, or other, but no longer than one year.

When calculated in aggregate, the daily shift duration must not exceed 10 hours. A shift extension of no more than two hours is permitted, but only to complete a transport or travel to a parking spot and subject to rest requirements. Certain categories of drivers—drivers of healthcare facilities, public utilities, emergency services, passenger taxis, cash-in-transit vehicles, and executive cars—are permitted to work shifts of up to 12 hours. For drivers of regular city and suburban routes, a 12-hour shift is only possible with the approval of a trade union or other representative body of drivers.

The draft provides for the possibility of dividing the workday into two parts. The break between the parts must occur no later than five hours after the start of work. The total duration of such breaks cannot exceed five hours, and for drivers of regular passenger transportation in the city and suburbs, three hours. The location of the break must be free for the driver to use at their own discretion, and the break itself is not included in working hours.

For drivers of passenger cars (except taxis) and employees engaged in geological exploration and survey work in the field, irregular working hours may be established.

According to paragraph 8 of the document, driving time during a daily period must not exceed nine hours. This limit can be increased to 10 hours no more than twice per calendar week. To complete a trip or travel to a parking lot, drivers are entitled to exceed the established time by a maximum of two hours; however, employers are prohibited from including such excess driving time in their schedules.

No later than 4:30 hours after the start of travel, drivers must take a special break of at least 45 minutes. This break can be split into sections: the first part should be no less than 15 minutes, and the last part should be no less than 30 minutes. For drivers of regular city transportation, each part of the break must be at least 10 minutes.

Daily rest must be no less than twice the duration of the previous shift. When calculated cumulatively, the minimum rest is 11 hours within 24 hours from the start of the shift. Rest may be reduced to nine hours no more than three times between weekly rest periods, and may also be divided into parts, provided the first part is at least three hours long and the last part is at least nine hours long.

Drivers working as part of a crew are required to take a minimum of nine hours of rest at the same time. Time spent on a trip but not driving is not included in working hours. For these hours, the employer is required to pay additional compensation, the amount of which is determined by a collective agreement or local regulation, taking into account the opinion of the drivers' representative body.

Weekly uninterrupted rest must be at least 45 hours. It must be provided before the seventh working day following the end of the previous weekly rest.

As a reminder, back in 2021, there was talk about the Ministry of Transport intending to monitor truck drivers who fall asleep at the wheel using systems capable of detecting a person's fatigue using pupil size or heart rate. At the time, it was planned that drivers of vehicles equipped with similar "Antisleep" systems would be able to spend more than the prescribed 10-12 hours behind the wheel. The cost of installing such equipment at the time was estimated at between 25,000 and 85,000 rubles. LR

Publication date: 02/25/2026

Please note; this information is raw content obtained directly from the information source. It is an accurate account of what the source claims, and does not necessarily reflect the position of MIL-OSI or its clients.

February 25, 2026

Financial news: 02/25/2026, 12:25 (Moscow time) the values of the upper limit of the price corridor and the range of market risk assessment for the RU000A0ZYU21 (ALPHA BO40) security were changed.

Translation. Region: Russian Federation –

Source: Moscow Exchange – Moscow Exchange –

An important disclaimer is at the bottom of this article.

February 25, 2026

12:25

In accordance with the Methodology for determining the risk parameters of the stock market and deposit market of PJSC Moscow Exchange by the National Credit Center (JSC) on 25.02.2026, 12-25 (Moscow time), the values of the upper limit of the price corridor (up to 114.96) and the range of market risk assessment (up to 1271.02 rubles, equivalent to a rate of 15.75%) of the security RU000A0ZYU21 (ALPHA BO40) were changed.

February 25, 2026

Financial news: 02/25/2026, 11:28 (Moscow time) the values of the upper limit of the price corridor and the range of market risk assessment for the RU000A0JWUB5 security (TBankBO12) were changed.

Translation. Region: Russian Federation –

Source: Moscow Exchange – Moscow Exchange –

An important disclaimer is at the bottom of this article.

February 25, 2026

11:28

In accordance with the Methodology for determining the risk parameters of the stock market and deposit market of PJSC Moscow Exchange by the National Credit Center (JSC) on 25.02.2026, 11:28 (Moscow time), the values of the upper limit of the price corridor (up to 109.19) and the range of market risk assessment (up to 1146.47 rubles, equivalent to a rate of 12.5%) of the security RU000A0JWUB5 (TBankBO12) were changed.

February 25, 2026

Financial news: 02/25/2026, 11:24 (Moscow time) the values of the upper limit of the price corridor and the range of market risk assessment for the security RU000A0ZYU21 (ALPHA BO40) were changed.

Translation. Region: Russian Federation –

Source: Moscow Exchange – Moscow Exchange –

An important disclaimer is at the bottom of this article.

February 25, 2026

11:24

In accordance with the Methodology for determining the risk parameters of the stock market and deposit market of PJSC Moscow Exchange by the National Credit Center (JSC) on 25.02.2026, 11:24 (Moscow time), the values of the upper limit of the price corridor (up to 112.64) and the range of market risk assessment (up to 1246.31 rubles, equivalent to a rate of 13.5%) of the security RU000A0ZYU21 (ALFA BO40) were changed.

February 25, 2026

Financial news: 02/25/2026, 11:10 AM (Moscow time) the values of the upper limit of the price corridor and the range for assessing market risks for security RU000A0JT403 (VEB.RF 18) were changed.

Translation. Region: Russian Federation –

Source: Moscow Exchange – Moscow Exchange –

An important disclaimer is at the bottom of this article.

February 25, 2026

11:10

In accordance with the Methodology for determining the risk parameters of the stock market and deposit market of PJSC Moscow Exchange by the National Credit Center (JSC) on 25.02.2026, 11-10 (Moscow time), the values of the upper limit of the price corridor (up to 112.99) and the range of market risk assessment (up to 1261.66 rubles, equivalent to a rate of 12.5%) of the security RU000A0JT403 (VEB.RF 18) were changed.