First Violins

Aisylu Saifullina

In the orchestra since 2023

Aisylu Saifullina graduated from the Zagir Ismagilov Ufa State Institute of Arts (Professor A.A. Shisman’ds class) and postgraduate studies at the Tchaikovsky Moscow State Conservatory (class of Professor S.G. Girshenko, People’s Artist of Russia, 2013). She is the laureate of Russian and international competitions.

Since 2007 she has been an artist, soloist, and one of the concertmasters of the Youth Symphony Orchestra of the Volga Region. Since 2008 she has regularly participated in sessions of the CIS Youth Symphony Orchestra. From 2010 to 2014 she worked as an artist of the State Academic Symphony Orchestra of Russia “Evgeny Svetlanov”. From 2014 to 2022 she was an artist of the St Petersburg Philharmonic Orchestra, the Honoured Ensemble of Russia.

She is one of the concertmasters and soloist of the St. Petersburg Philharmonic Youth Chamber Orchestra and Singolo Orchestra.

As a soloist she has collaborated with the National Symphony Orchestra of the Republic of Bashkortostan, the Karelian State Philharmonic Symphony Orchestra, the National State Opera and Ballet Theatre of the Republic of North Ossetia-Alania — a branch of the Mariinsky Theatre, and the Bashkir State Opera and Ballet Theatre.

WHAT MAKES YOUR INSTRUMENT SPECIAL?

In its properties and nuances of playing it, the violin is akin to microsurgery — there are no trifles here. Moreover, the instrument gives the musician away to the public completely — with all one’s strengths and weaknesses. The stage, like a magnifying glass, enhances what the musician conveys, and so the feeling of unity with colleagues on stage also intensifies.

HOW DO YOU PREPARE FOR PERFORMANCES?

It is very important what you bring to the stage, what you are filled with, and what you are going to share. I think our task as performers is to convey love. That's exactly what I say to myself before I come out to the audience: "I love you all." It seems to me that this state helps to create the right atmosphere of charge and shift the focus of attention. Nothing helps so much to battle stage fright as regular interaction with the audience. It is on stage — with a certain preparation, of course — that the artist grows above themselves.

WHAT ARE YOUR FAVOURITE BOOKS AND FILMS?

I am an adept of Russian classics. Dostoevsky, Chekhov, and Bulgakov probably influenced me the most. However, it's Chekhov who I like to reread out of these three. Considering what I have been reading recently, I was really touched by Georgiy Daneliya's book "A Passenger Without a Ticket" — he writes very simply, subtly, ironically and touchingly about life, about interesting moments on the film set, and friends. Among my favourite films are Benigni's "Life is Beautiful", Zefirelli's "Romeo and Juliet", Daneliya's works, Lee Jeong Hyang's "The Way Home", and many others.

WHAT ARE YOU GUIDED BY IN LIFE?

I am a fatalist to a great extent, so I largely trust the force that guides me, and I never cease to be surprised by it.

musicAeterna orchestra events

October 11, 19:00

Moscow | Zaryadye Hall

Hændel. A Dedication Ceremony to George Frideric Handel

Georg Friedrich Handel (1685–1759)

Prelude

Augelletti, ruscelletti, the aria of Maria Kleopova from the oratorio La resurrezione, HWV 47 (1708)

Zadok the Priest, Coronation Anthem No. 1, HWV 258 (1727)

Disserratevi, o porte d’Averno, the aria of Angel from the oratorio La resurrezione, HWV 47 (1708)

Ah! Crudel nel pianto mio, the aria of Armida from the opera Rinaldo, HWV 78 (1711)

Overture to the opera Agrippina, HWV 6 (1709–1710)

As with Rosy Steps the Morn, the aria of Irina from the oratorio Theodora, HWV 68 (1750)

De torrente in via bibet, duet with chorus from the psalm Dixit Dominus, HWV 232 (1707)

Oh, Let the Merry Bells Ring Round, aria with chorus from the oratorio L’Allegro, il Penseroso ed il Moderato, HWV 55 (1740)

Pena tiranna, the aria of Dardano from the opera Amadigi di Gaula, HWV 11 (1715)

Eternal Source of Light Divine, fragment from the cantata Ode for the Birthday of Queen Anne, HWV 74 (1713)

Alla Hornpipe, No. 2 from the orchestral suite
The Water Music No. 2 in D Major, HWV 349 (1716–1717)

He Saw the Lovely Youth, chorus from the oratorio Theodora, HWV 68 (1750)

Piangerò la sorte mia, the aria of Cleopatra from the opera Giulio Cesare in Egitto, HWV 17 (1724)

Ah! Stigie larve — Vaghe pupille, the recitative and aria of Orlando from the opera Orlando, HWV 31 (1733)

O Love Divine, thou Source of Fame, chorus from the oratorio Theodora, HWV 68 (1750)

Sing Ye to the Lord, chorus with solo soprano from the oratorio Israel in Egypt, HWV 54 (1739)

Performers:

artists of the Anton Rubinstein Academy
Tatiana Bikmukhametova, soprano
Yulia Vakula, mezzo-soprano
Ksenia Dorodova, soprano
Diana Nosyreva, soprano
Iveta Simonyan, soprano
Sofia Tsygankova, soprano
Andrey Nemzer, countertenor, soloist and vocal coach of the Anton Rubinstein Academy
musicAeterna Choir and Orchestra
musicAeterna Dance troupe

Music Director and Conductor Teodor Currentzis
Stage Director Elizaveta Moroz
Choirmaster Vitaly Polonsky
Assistant Conductor Evgeny Vorobyov
Production Designer, Costume Designer Sergey Illarionov
Choreographer Valentina Lutsenko

Buy Ticket

October 17, 22:30

Madrid | Auditorio Nacional de Música