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© Gyunai Musaeva Ⓘ
First Violins

Alexander Kotelnikov

In the orchestra since 2019

Alexander Kotelnikov is a graduate of the Tchaikovsky Moscow State
Conservatory (class of S.I. Kravchenko, head of the violin department and Honoured Artist of Russia).

Alexander Kotelnikov is a laureate of numerous Russian and international competitions such as the J. Heifetz International competition in Vilnius, Lithuania (3rd place) and the International competition in Astana, Kazakhstan (1st place). He has performed in Russia, Ukraine, USA, Greece, Germany and Austria.

HOW DO YOU PREPARE FOR WORKING ON A NEW PIECE?
First of all, I of course get acquainted with the piece in question; even if it is a familiar one, giving it another listen never hurts. There are several conductors whose perception of music appeals to me, so I am always eager to hear their version. The only way to form your own opinion on a piece of music is to do deep research and study the details. Even if I disagree with how the piece is played in the recording, it gives me food for thought and might provide a few ideas. Later, during rehearsals, maestro brings his own vision to life. The result we all aim for can only be achieved if each of us is individually prepared. Knowing the history of the piece is important: very often, the composer conveys real-life events and emotions through the music.
SHOULD THE AUDIENCE ALSO PREPARE FOR HEARING THE MUSIC BEFOREHAND?
For certain kinds of music, they probably should — particularly if we are talking about modern music. Without preparation, the audience might perceive some of it as little more than random sounds. But read the annotation, and you will learn why exotic instruments are used, what ideas are conveyed through sound effects, and why it all should sound exactly like it does.
HAVE YOU EVER THOUGHT OF A CAREER BEYOND MUSIC?
For me, that would be civil aviation — my second essential passion in life. I regularly pilot a Yak-18t with my instructor and hope to get a pilot’s license.

musicAeterna orchestra events

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April 25, 19:00
Tashkent | Palace of International Forums «Uzbekistan»
Tchaikovsky: Francesca da Rimini, Capriccio Italien, Romeo and Juliet
Symphony concert

Pyotr Tchaikovsky (1840–1893)

Francesca da Rimini
Symphonic fantasy after Dante, Op. 32 (1876)

Capriccio Italien
A fantasy for orchestra, Op. 45 (1880)

Romeo and Juliet
An overture-fantasy after Shakespeare, TH 42 (1869–1880)

musicAeterna Orchestra
Conductor — Teodor Currentzis

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April 27, 20:00
Dubai | Dubai Opera
Tchaikovsky: Francesca da Rimini, Capriccio Italien, Romeo and Juliet
Symphony concert

Pyotr Tchaikovsky (1840–1893)

Francesca da Rimini,
Symphonic Fantasy after Dante, Op. 32 (1876)

Capriccio Italien
on folk tunes for orchestra, Op. 45 (1880)

Romeo and Juliet,
Overture-Fantasy after Shakespeare, TH 42 (1869–1880)

musicAeterna Orchestra
Conductor — Teodor Currentzis

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April 28, 20:00
Dubai | Dubai Opera
Richard Wagner: Ouvertures
Symphony concert

Richard Wagner (1813 – 1883)

Vorspiel to the opera Parsifal (1882)
Overture to the opera Tannhäuser (1843–1845)
Vorspiel und Liebestod from the opera Tristan und Isolde (1857–1859)
Vorspiel to the opera Lohengrin (1845–1848)
Overture to the opera Die Meistersinger von Nürnberg (1868)

musicAeterna Orchestra
Conductor Teodor Currentzis

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May 26, 20:00
St. Petersburg | State Academic Capella
Dvořák: Alexander Sladkovsky and musicAeterna

Antonín Dvořák (1841–1904)
Cello Concerto in B Minor, Op. 104, B. 191 (1894–1895)
Allegro
Adagio ma non troppo
Finale. Allegro moderato

Symphony No. 8 in G Major, Op. 88, B. 163 (1889)
Allegro con brio
Adagio
Allegretto grazioso — Molto Vivace
Allegro ma non troppo

The musicAeterna Orchestra
Soloist Alexey Zhilin
Conductor Alexander Sladkovsky

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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)

  1. Allegro non molto
  2. Adagio
  3. 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