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Cellos

Alexander Prozorov

In the orchestra since 2004

He has been a member of the musicAeterna orchestra since 2005. He both plays the modern cello and performs on the Baroque cello and viola da gamba.

In particular, he performs the basso continuo parts on cello and viola da gamba in productions and concert performances of Henry Purcell’s operas Dido and Aeneas and The Indian Queen, Wolfgang Amadeus Mozart’s trilogy Le Nozze di Figaro, Cosi fan tutte and Don Giovanni (as the soloist of the basso continuo group he participated in the recording of these operas with Sony Music Label), as well as Mozart’s operas La Clemenza di Tito and Idomeneo conducted by Teodor Currentzis. Alexander Prozorov has participated in numerous chamber projects of musicAeterna with Renaissance and Baroque music.

As part of the musicAeterna Orchestra, he is a regular participant in the Salzburg Festival. In 2023, he participated in the Salzburg Festival as a soloist of the Utopia Orchestra.

In March 2024, he performed the basso continuo part in a production of Mozart’s opera Idomeneo at the Capitol Theatre in Toulouse conducted by Michele Spotti.

CAN YOU REMEMBER YOUR FIRST PERFORMANCE WITH MUSICAETERNA?
I remember my first rehearsal with the troupe very clearly. It was, in fact, an audition. They were auditioning seven of us — and truth be told, I was not quite sure where I was and what for. I was still a student back then, so I was not really planning to get a job at that time. After the audition, I was the only one remaining out of seven. That is how it all began.
WHAT DO YOU VALUE THE MOST IN YOUR WORK WITH MUSICAETERNA?
Sincerity, I guess. It is hard to tell as I have not worked in any other troupes; still, I do not think I could experience the same in a different orchestra. In fact, I have spent the greater part of my life with musicAeterna, so it really is part of me now.
WHAT ELSE CAN GIVE YOU EMOTIONS AS STRONG AS THOSE YOU GET FROM PERFORMING ON STAGE?
I do not think there is anything else like that in my life. The stage is what gives me the brightest emotions. Doing your absolute best at rehearsals, being extremely focused at performances, and completely relaxing after them — this is truly like nothing else.
WHAT ARE YOUR THREE “DESERT ISLAND” MUSICAL ALBUMS?
To be frank, I do not listen to music outside of work. My life is full of music as it is; after rehearsals and performances, all I want is silence. I would, however, bring a collection of Bach’s Suites to a desert island.

musicAeterna orchestra events

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György Kurtág (b. 1926)
Songs of Despair and Sorrow for mixed choir with instrumental accompaniment, Op. 18 (1980–1994)

So weary, so wretched to the words of Mikhail Lermontov (1840)
Night, an empty street, a lamp, a drug-store to the words of Alexander Blok (1912)
Blue Evening to the words of Sergei Yesenin (1925)
Where can I go to in this January? to the words of Osip Mandelstam (1937)
The Crucifixion to the words of Anna Akhmatova (1939)
It’s time to the words of Marina Tsvetaeva (1941)

Grabstein für Stephan | Gravestone for Stephan for guitar and instrumental ensemble, Op. 15c
(1989)

Johannes Brahms (1833–1897)
Ein deutsches Requiem | A German Requiem for soprano, baritone, choir and orchestra, Op. 45 (1865–1869)

Selig sind, die da Leid tragen | Blessed are those who weep, for they will be comforted
Denn alles Fleisch, es ist wie Gras | For all flesh is like grass
Herr, lehre doch mich, dass ein Ende mit mir haben muss | Lord, teach me that I must have an end
Wie lieblich sind Deine Wohnungen, Herr Zebaoth! | How lovely is Thy dwelling place, O Lord of hosts!
Ihr habt nun Traurigkeit | Ye now therefore have sorrow
Denn wir haben hier keine bleibende Statt | For here we have no continuing city
Selig sind die Toten, die in dem Herrn sterben | Blessed are the dead who die in the Lord

The programme is subject to change.

Performers:

Iveta Simonyan — soprano
Vladislav Chizhov — baritone

The musicAeterna Choir and Orchestra
Conductor — Teodor Currentzis 

 

Sold out
+

György Kurtág (b. 1926)
Songs of Despair and Sorrow for mixed choir with instrumental accompaniment, Op. 18 (1980–1994)

So weary, so wretched to the words of Mikhail Lermontov (1840)
Night, an empty street, a lamp, a drug-store to the words of Alexander Blok (1912)
Blue Evening to the words of Sergei Yesenin (1925)
Where can I go to in this January? to the words of Osip Mandelstam (1937)
The Crucifixion to the words of Anna Akhmatova (1939)
It’s time to the words of Marina Tsvetaeva (1941)

Grabstein für Stephan | Gravestone for Stephan for guitar and instrumental ensemble, Op. 15c
(1989)

Johannes Brahms (1833–1897)
Ein deutsches Requiem | A German Requiem for soprano, baritone, choir and orchestra, Op. 45 (1865–1869)

Selig sind, die da Leid tragen | Blessed are those who weep, for they will be comforted
Denn alles Fleisch, es ist wie Gras | For all flesh is like grass
Herr, lehre doch mich, dass ein Ende mit mir haben muss | Lord, teach me that I must have an end
Wie lieblich sind Deine Wohnungen, Herr Zebaoth! | How lovely is Thy dwelling place, O Lord of hosts!
Ihr habt nun Traurigkeit | Ye now therefore have sorrow
Denn wir haben hier keine bleibende Statt | For here we have no continuing city
Selig sind die Toten, die in dem Herrn sterben | Blessed are the dead who die in the Lord

The programme is subject to change.

Performers:

Iveta Simonyan — soprano
Vladislav Chizhov — baritone

The musicAeterna Choir and Orchestra
Conductor — Teodor Currentzis 

 

Sold out