Altos

Anastasia Gulyaeva

In the choir since 2011

Anastasia Gulyayeva was born in Perm, Russia. She has been singing in a church choir since the age of 14. She graduated from Perm Music College in 1997 and from the Ural State Mussorgsky Conservatoire (specializing in academic choir conducting) in 2006. She is a laureate of the “Magical World of Backstage” International Contest of Vocal Arts (Saint Petersburg, 2011) and the winner of the “Young Conductors of Prikamye” competition (Perm, 1996).

In 2006 – 2009, Anastasia Gulyayeva performed with the choir of the Tchaikovsky Perm State Opera and Ballet Theatre. Since 2011, she has been part of the musicAeterna choir. Artistic statement: There are three things that make a great singer: the brain, the ears, and the vocal cords — in that particular order.

WHAT IS THE MOST UNUSUAL PLACE YOU HAVE EVER HAD TO PERFORM AT?

The Diaghilev Festival in Perm, during Anna Garafeeva’s body motion performance to Alexey Retinsky’s electronic music. Closer to the end of the performance, I had to say several lines that sounded more like hysterical weeping. Suddenly, I heard a lady whisper “Stop that!” Luckily, I did stop as it was the end of my part; otherwise, I would have probably been removed from the hall.

WHICH KIND OF MUSIC DO YOU FIND MORE EXCITING TO WORK WITH: MODERN OR CLASSICAL?

Modern for sure. It provides a lot of room for experiments with vocal techniques, mannerisms and styles. It might not even sound like singing but it is incredibly engaging. Modern music allows you to put in your own ideas rather than just follow the score. There is a certain flight of thought to it.

COULD YOU DESCRIBE YOUR TYPICAL SCHEDULE ON THE DAY OF A CONCERT?

Nothing special really happens. I just have to spend time to warm up, get dressed, get focused, skim through the scores and remember all the notes I made. I do not have any special rituals. The same goes for the time after the concert: I just talk to my colleagues and share my impressions. Then I remember there is work to do the next day (or we have to go to a different city if we are on tour), so I just relax and have a good rest.

PLEASE TELL US ABOUT YOUR FAVOURITE PLACES.

One of my favourite places is, of course, the Perm Krai, with its wide expanses, forests, and villages. Also, it is the village of Karagai, where my relatives live and where I feel always very welcome. As a child, I used to spend the summer with my grandmother in a remote village. These memories of warmth and care, the smells of meadows, forests and dew, of the taste of fresh milk and honey are incomparable with anything in the world! That is why, even now, when I have travelled almost half the world thanks to my tours, there is nothing more valuable for me than those places.

At the same time, I have always dreamed of living in St. Petersburg. As a child, I only knew from hearsay about its architecture, history, the works of art that are concentrated here, and at some point fate smiled on me. The spirit of this city is very close to me, so now I am very happy to live and work here.

musicAeterna choir events

October 11, 19:00

Moscow | Zaryadye Hall

Hændel. A Dedication Ceremony to George Frideric Handel

Georg Friedrich Handel (1685–1759)

Prelude

Augelletti, ruscelletti, the aria of Maria Kleopova from the oratorio La resurrezione, HWV 47 (1708)

Zadok the Priest, Coronation Anthem No. 1, HWV 258 (1727)

Disserratevi, o porte d’Averno, the aria of Angel from the oratorio La resurrezione, HWV 47 (1708)

Ah! Crudel nel pianto mio, the aria of Armida from the opera Rinaldo, HWV 78 (1711)

Overture to the opera Agrippina, HWV 6 (1709–1710)

As with Rosy Steps the Morn, the aria of Irina from the oratorio Theodora, HWV 68 (1750)

De torrente in via bibet, duet with chorus from the psalm Dixit Dominus, HWV 232 (1707)

Oh, Let the Merry Bells Ring Round, aria with chorus from the oratorio L’Allegro, il Penseroso ed il Moderato, HWV 55 (1740)

Pena tiranna, the aria of Dardano from the opera Amadigi di Gaula, HWV 11 (1715)

Eternal Source of Light Divine, fragment from the cantata Ode for the Birthday of Queen Anne, HWV 74 (1713)

Alla Hornpipe, No. 2 from the orchestral suite
The Water Music No. 2 in D Major, HWV 349 (1716–1717)

He Saw the Lovely Youth, chorus from the oratorio Theodora, HWV 68 (1750)

Piangerò la sorte mia, the aria of Cleopatra from the opera Giulio Cesare in Egitto, HWV 17 (1724)

Ah! Stigie larve — Vaghe pupille, the recitative and aria of Orlando from the opera Orlando, HWV 31 (1733)

O Love Divine, thou Source of Fame, chorus from the oratorio Theodora, HWV 68 (1750)

Sing Ye to the Lord, chorus with solo soprano from the oratorio Israel in Egypt, HWV 54 (1739)

Performers:

artists of the Anton Rubinstein Academy
Tatiana Bikmukhametova, soprano
Yulia Vakula, mezzo-soprano
Ksenia Dorodova, soprano
Diana Nosyreva, soprano
Iveta Simonyan, soprano
Sofia Tsygankova, soprano
Andrey Nemzer, countertenor, soloist and vocal coach of the Anton Rubinstein Academy
musicAeterna Choir and Orchestra
musicAeterna Dance troupe

Music Director and Conductor Teodor Currentzis
Stage Director Elizaveta Moroz
Choirmaster Vitaly Polonsky
Assistant Conductor Evgeny Vorobyov
Production Designer, Costume Designer Sergey Illarionov
Choreographer Valentina Lutsenko

Buy Ticket

October 17, 22:30

Madrid | Auditorio Nacional de Música