Aliona Gavrilova
In the choir since 2026
Alyona Gavrilova graduated the core course (2022) and the assistant internship (2024) at the Petrozavodsk State Glazunov Conservatory majoring in Musical and Theatrical art and Academic Vocals. During her studies at the Conservatory, she was engaged in scholarly research and participated in academic conferences.
In 2021, she attended the Journalistic Readings workshop for young journalists, musicologists and cultural scientists in Moscow, and in 2024 she participated in the Opera Criticism laboratory held within the framework of the Elena Obraztsova International Creative Vocal School in Moscow. She took part in the summer internship at the International Academy of Vocal Excellence L’Accademia Lirica Santa Croce di Trieste (Italy, Trieste, 2024) and in the laboratory of Alessandro Swaba on Mozart’s opera Le Nozze di Figaro (Saint Petersburg, 2025).
From 2021 to 2025, she worked as a teacher-illustrator at the Petrozavodsk Conservatory. In the 2024/2025 season, she held the position of a musicologist at the Concert Department of the Karelia State Philharmonic where she organized musical and educational events for children and youth and was responsible for the Philharmonic’s website and other visual and textual formats of interaction with the audience.
musicAeterna choir events
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
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
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
Jean-Philippe Rameau (1683–1764)
Vocal and orchestral numbers from the works:
Les Indes galantes (1735), an opera-ballet
Castor et Pollux (1737), a lyrical tragedy
Les fêtes d’Hébé, ou Les talens lyriques (1739), an opera-ballet
Platée ou Junon jalouse (1745), a lyrical comedy
Zaïs (1748), a heroic pastoral
Zoroastre (1749), a lyrical tragedy
Abaris ou les Boréades (1763–1764), a lyrical tragedy
The programme is subject to change.
Performers:
The musicAeterna Orchestra and Choir
Artists of the Anton Rubinstein Academy
Musical Director and Conductor – Teodor Currentzis
Jean-Philippe Rameau (1683–1764)
Vocal and orchestral numbers from the works:
Les Indes galantes (1735), an opera-ballet
Castor et Pollux (1737), a lyrical tragedy
Les fêtes d’Hébé, ou Les talens lyriques (1739), an opera-ballet
Platée ou Junon jalouse (1745), a lyrical comedy
Zaïs (1748), a heroic pastoral
Zoroastre (1749), a lyrical tragedy
Abaris ou les Boréades (1763–1764), a lyrical tragedy
The programme is subject to change.
Performers:
The musicAeterna Orchestra and Choir
Artists of the Anton Rubinstein Academy
Musical Director and Conductor – Teodor Currentzis