Tenors

Alexander Somov

In the choir since 2018

Alexander Somov graduated from the Asbest music college in 2008
specializing in choir conducting (O.V. Zhuiko’s class). In 2016, he graduated from the Mussorgsky Urals State Conservatory with a specialty in vocal performance (M.G. Vladimirova’s class).

In 2009–2018, Alexander Somov was a soloist at the Sverdlovsk Philharmonic choir conducted by A.A. Petrenko. His solo repertoire includes Rachmaninoff’s “All-Night Vigil”, Orff’s “Carmina Burana”, Gavrilin’s “Chimes”, Sviridov’s “Kursk Songs”, and others.

Since 2018, Alexander Somov has been a member of the musicAeterna choir.

WHAT HAPPENS TO YOU WHEN YOU GO UP ON THE STAGE?

On stage, you virtually become one with the composer through the conductor. As soon as you feel the spark, you change and get immersed into music. You give that energy away — and then, when you feel the listeners’ reaction (particularly when the whole audience goes silent in anticipation of the final chord), you get all that energy back. That is priceless.

ARE THERE ANY MUSICAL PIECES YOU COULD LISTEN TO OVER AND OVER?

I would name Schnittke’s sacred music concerto based on Grigor Narekatsi’s writings. Hearing it performed lets you experience Alfred Garrievich’s harmonies on an almost physical level, and it leaves you with extraordinarily bright “cosmic” impressions that are truly something else.

WHAT ELSE CAN GIVE YOU EMOTIONS COMPARABLE TO THOSE YOU GET FROM PERFORMING ON STAGE?

For me, the answer is love, the affectionate relationship with a loved one.

DOES LOVE HELP WHEN IT COMES TO CREATIVE WORK?

It definitely helps in my case. My wife and I are inseparable. She is the only one I can discuss every concert and every idea so frankly and so trustingly with.

HOW DO YOU PREPARE FOR PERFORMANCES?

I don’t think there are any strict rules. If you love music — and you probably do, otherwise you wouldn’t be on stage — you have no need to pump yourself up: the emotions will come to you naturally while you are playing your favourite pieces.

WHAT DOES MUSICAETERNA MEAN TO YOU?

musicAeterna is a musical paradox, a troupe where everyone lives and breathes music.

musicAeterna choir events

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

Sold out

June 2, 19:00