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

April 27, 20:00

Dubai | Dubai Opera

Tchaikovsky: Francesca da Rimini, Capriccio Italien, Romeo and Juliet

Symphony concert

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April 28, 20:00

Dubai | Dubai Opera

Richard Wagner: Ouvertures

Symphony concert

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May 26, 20:00

St. Petersburg | State Academic Capella

Dvořák: Alexander Sladkovsky and musicAeterna

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June 1, 21:00

St. Petersburg | Hermitage Museum

The musicAeterna Orchestra and Choir. Ars Vivendi

Jean-Philippe Rameau (1683–1764)
The thunderstorm scene from Act II of the opera-ballet Platée ou Junon jalouse (1745)
Act IV, Scene 4: Entry of the muse Polyhymnia from the lyrical tragedy Abaris ou les Boreades (1763)
Tambourines I, II from the prologue to the lyrical tragedy Dardanus (1739)

Antonio Lotti (1667–1740)
Crucifixus a 8 voci from Credo in F Major (before 1717)

Antonio Vivaldi (1678–1741)
Concerto for Cello and Strings in C Minor, RV 401 (late 1720s)

Allegro non molto
Adagio
Allegro ma non molto

The soloist Rabbani Aldangor

George Frideric Handel (1685–1759)
Ombra mai fu (There was never a shadow), aria of Xerxes from Act I of the opera Xerxes, HWV 40 (1738)
The soloist Andrey Nemzer, countertenor
Furie terribili! (Terrible Furies!), aria of Armida from Act I of the opera Rinaldo, HWV 7a (1711/1731)
The soloist Elizaveta Sveshnikova, soprano
Piangerò la sorte mia (I will mourn my fate), aria of Cleopatra from Act III of the opera Julius Caesar, HWV 17, (1724)
The soloist Elizaveta Sveshnikova, soprano
Venti, turbini (Winds, whirlwinds), aria of Rinaldo from Act I of the opera Rinaldo, HWV 7a (1711/1731)
The soloist Andrey Nemzer, countertenor

Johann Sebastian Bach (1685–1750)
Komm, Jesu, komm (Come, Jesus, come), motet for double choir in G minor, BWV 229 (before 1731–1732)
Lobet den Herrn, alle Heiden (Praise the Lord, all ye nations), motet for four-voice choir, dubbing instruments and basso continuo in C major, BWV 230 (n.d.)
Erbarme dich, mein Gott (Have mercy, my God), aria of the alto No. 39 (47) from the sacred oratorio St Matthew Passion, BWV 244 (1727–1729/1736)
Soloists:
Andrey Nemzer, countertenor
Vladislav Pesin, violin

George Frideric Handel
Lascia la spina, cogli la rosa (Leave the thorn, pluck the rose), aria of Pleasure from Act II of the oratorio The Triumph of Time and Disillusion, HWV 46a (1707)
Soloists:
Elizaveta Sveshnikova, soprano
Andrey Nemzer, countertenor

Jean-Philippe Rameau
Les Sauvages/Forêts paisibles (The Savages/Peaceful Forests) from Act IV of the opera-ballet The Gallant Indies, (1725/1736)

Duration: 60 minutes

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June 2, 19:00

St. Petersburg | Hermitage Museum

The musicAeterna Orchestra and Choir. Ars Vivendi

Antonio Lotti (1667–1740)
Crucifixus a 8 voci from Credo in F Major (before 1717)

Antonio Vivaldi (1678–1741)
Concerto for Cello and Strings in C Minor, RV 401 (late 1720s)

Allegro non molto
Adagio
Allegro ma non molto

The soloist Rabbani Aldangor

Jean-Philippe Rameau
Les Sauvages/Forêts paisibles (The Savages/Peaceful Forests) from Act IV of the opera-ballet The Gallant Indies, (1725/1736)

Duration: 60 minutes

Sold out