Sopranos

Alfia Khamidullina

In the choir since 2012

In 2008, Alfia Khamidullina graduated from the Aukhadeev Kazan music college (department of choir conducting). In 2013, she graduated from the Zhiganov Kazan State Conservatory, where she had studied choir conducting.

In 2007–2012, she was a member of the State chamber choir of Tatarstan.

Since 2012, Alfia Khamidullina has been a member of the musicAeterna choir. As a soloist, she took part in the following concert performances at the Perm Opera: Puccini’s “Sister Angelica” (First alms sister) and “Tosca” (Shepherd Boy), as well as Weill’s “Happy End” (Mary).

In 2017, Alfia sang the Girl’s part in the Russian premiere of the “Wedding” a capella opera by Anna Sokolović. In 2018, she sang the Hour of the Day’s part in “Phaëton”, a co-production by the Perm Opera and the Royal Opera of Versailles, directed and conducted by Vincent Dumestre.

Alfia Khamidullina took part in the presentation of the “Dau” cinema project (Paris, January and February 2019).

She is also a member of the “musicAeterna 4” female vocal quartet (formerly known as Jazz Aeterna).

HOW DID YOU GET INTO MUSIC?

There had been no professional musicians in my lineage, but my parents were always singing or playing musical instruments. Thus, I have been singing since early childhood. My parents often jokingly say that I had started to intonate earlier than I learned to talk. I am one of those who cannot imagine life without music. If I were not a singer, I would probably be a composer. To me, music is a means of self-expression. Sometimes, I cannot put my emotions into words but can convey them through singing.

WHAT KIND OF MUSIC DO YOU LISTEN TO AT HOME?

It depends on the mood. Right now, I have Radiohead playing in my headphones. I like rock and electronic music. I have also been listening to a lot of folk music lately. But sometimes, all I want to hear is silence and the rustling of leaves under my feet.

HOW DO YOU RELAX AFTER BIG PROJECTS?

In fact, having a project end usually makes me a bit sad, as I get a feeling of emptiness inside me. A great way to cope with it is to spend time with friends. Starting something new right away is even better. You always need to have a goal to reach: that is when your mood improves and ideas start coming to you. I like being constantly engaged in work.

WHAT DO YOU VALUE THE MOST IN YOUR WORK?

Something that many people cannot afford: the opportunity to think things through, hear myself, and understand something about the world and my place in it. Creative work is instrumental in expanding one’s perception of the world.

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

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

An event of Diaghilev Festival

June 20, 19:00

Perm | Great Hall of the Perm Philharmonic

Concert of musicAeterna: Bach

An event of Diaghilev Festival

June 27, 21:00

Perm | House of Music. Shpagin plant

Dusapin: opera Passion

An event of Diaghilev Festival

June 28, 19:00

Perm | House of Music. Shpagin plant

Dusapin: opera Passion