From RIAN.ru:
Talent and conscience were his only guides in life. "Solzhenitsyn's suffering earned him the right to speak the truth," he declared in 1970 in an open letter to the press. By supporting the dissident writer, he expressed his own unshakeable credo: be truthful in everything, in art and in life.
He had followed that credo since his youth. In February 1952, Rostropovich performed Prokofiev's Symphony Concerto for Cello and Orchestra, with the pianist Sviatoslav Richter conducting, at the Grand Conservatory Hall. It was a daring act of civil defiance as memories were still fresh of the crackdown on "formalist" composers (including Shostakovich and Prokofiev), who were accused of sacrificing content for the sake of form. In any case, he was "forgiven," just like he would be 10 years later, in the early 60s, when he accompanied his wife's performance of "Satires," a vocal cycle composed by Shostakovich to the words of a "banned" poet, Sasha Cherny. These social send-ups were considered frivolous, but they fell short of being criminal, so the couple were allowed to go on tours, win prizes and put their creative ideas into practice. In 1968, Rostropovich was even able to realize his life-long dream by staging Tchaikovsky's opera "Eugene Onegin" at the Bolshoi with Vishnevskaya, his wife, singing the lead part, Tatyana Larina.
In the 1970s, after the Solzhenitsyn scandal, the authorities tried to cut off Rostropovich's oxygen. They didn't stand a chance. His freedom was personal and total. No ideology could crush it. And no ailment could stop him from creating.