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Second Violins

Anastasia Strelnikova

In the orchestra since 2018

WHAT CHANGES IN YOU WHEN YOU GO UP ON STAGE?
Every public performance is a moment of truth in a way. That’s when all the extra gets stripped down and you show your true colors. There’s a reason why they say that “you play how you live”. When on stage, all the performer’s character traits, current emotions and accumulated experience become magnified. All senses grow sharper; the same goes for focus and attention to detail. This all has but one goal: to fully transmit what you’ve found, felt and experienced while working on this particular piece of music.
HOW DO YOU GET READY FOR A NEW MUSIC PIECE?
The workflow is quite universal here. If it’s a completely new piece, I first get acquainted to it by listening to recordings (if there are any). Then I start working my way through the score and try to read the notes in a way that would let me tune my mental and technical potential to the composer’s musical vision. At the same time, I of course figure out the structure of the piece, identify any technical issues that might arise, and realize what kind of an emotional and visual response the piece draws from me. I’m pretty sure that’s more or less the way everyone works.
WHAT INSPIRES YOUR CREATIVITY?
There’s no single source. Usually, it’s the feeling of living my life to the fullest, which begs to be channelled through playing a musical instrument. However, my ponderings on life and creativity are mostly inspired by various forms of art. I love admiring beautiful architecture, I try to go to the theatre on a regular basis, and I keep an eye on art exhibitions. Visual art has a special place in my heart: sometimes, a couple of previously unseen paintings can evoke a stronger emotional response than a book I’ve read or a movie I’ve watched.
WHAT HAS BEEN YOUR STRONGEST IMPRESSION RECENTLY?
The production of a piece by Grigory Gorin called “Prayer for the Dead” at the “Most” theatre in Moscow. I have to admit I haven’t experienced so much pleasure from a theatre play for a long time. At some scenes you could laugh, at others you could cry — and you’d do that sincerely. I felt like I witnessed the birth of true art, full of meanings and professionally executed. That was a truly groundbreaking cultural experience to me.
WHAT WOULD YOU LIKE TO MASTER?
There’s much I could still learn in my craft; to accomplish that, I’d like to play more — with a focus on solo and chamber projects. Learning solo repertoire gives a huge boost to your technique, your musical vision, and your understanding of sound. Overall, you become better developed as a personality.

musicAeterna orchestra events

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April 27, 20:00
Dubai | Dubai Opera
Tchaikovsky: Francesca da Rimini, Capriccio Italien, Romeo and Juliet
Symphony concert

Pyotr Tchaikovsky (1840–1893)

Francesca da Rimini,
Symphonic Fantasy after Dante, Op. 32 (1876)

Capriccio Italien
on folk tunes for orchestra, Op. 45 (1880)

Romeo and Juliet,
Overture-Fantasy after Shakespeare, TH 42 (1869–1880)

musicAeterna Orchestra
Conductor — Teodor Currentzis

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April 28, 20:00
Dubai | Dubai Opera
Richard Wagner: Ouvertures
Symphony concert

Richard Wagner (1813 – 1883)

Vorspiel to the opera Parsifal (1882)
Overture to the opera Tannhäuser (1843–1845)
Vorspiel und Liebestod from the opera Tristan und Isolde (1857–1859)
Vorspiel to the opera Lohengrin (1845–1848)
Overture to the opera Die Meistersinger von Nürnberg (1868)

musicAeterna Orchestra
Conductor Teodor Currentzis

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May 26, 20:00
St. Petersburg | State Academic Capella
Dvořák: Alexander Sladkovsky and musicAeterna

Antonín Dvořák (1841–1904)
Cello Concerto in B Minor, Op. 104, B. 191 (1894–1895)
Allegro
Adagio ma non troppo
Finale. Allegro moderato

Symphony No. 8 in G Major, Op. 88, B. 163 (1889)
Allegro con brio
Adagio
Allegretto grazioso — Molto Vivace
Allegro ma non troppo

The musicAeterna Orchestra
Soloist Alexey Zhilin
Conductor Alexander Sladkovsky

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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)

  1. Allegro non molto
  2. Adagio
  3. 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
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June 2, 19:00
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)

  1. Allegro non molto
  2. Adagio
  3. 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