The Grand Inquisitor chapter from F. M. Dostoyevsky’s novel The Brothers Karamazov has long been an object of comprehension for scholars representing various fields of knowledge and arts; it has also become a precedent text for many outstanding works of world literature including E. Zamyatin’s novel We. In the first Russian anti-utopia, the influence of Dostoyevsky’s last novel can be traced, which has become a stimulus for thinking about dystopian motifs in The Grand Inquisitor chapter and their implementation in works of musical art. Two stage works are chosen as examples. In the opera The Brothers Karamazov by Yu. Dimitrin and A. Smelkov, fragments of the Grand Inquisitor’s monologue are scattered over different scenes, which is why the religious and philosophical plan of action covers the entire work, fastening the dramaturgy and culminating at the point of the “golden section”. In B. Eifman’s ballet Beyond Sin the scene of the Grand Inquisitor and Christ is accompanied with the overture from R. Wagner’s opera Tannhäuser. The article substantiates the possible reasons for such a choice and finds parallels between Dostoyevsky’s novel and Wagner’s article State and Religion.