First Violins

Anastasia Strelnikova

In the orchestra since 2018

Anastasia completed the graduate programme and postgraduate studies at the Tchaikovsky Moscow State Conservatory (the class of Professor Irina Bochkova). She participated in master classes by Gerard Poulet (France), Stephan Picard (Germany), and Dmitry Sitkovetsky; took master courses fron Yves Henry (France) as part of a chamber ensemble, as well as master courses by Fine Arts Quartet artists (USA) as part of a string quartet. Anastasia is the laureate of international competitions.

She has performed as a soloist with the Gnessin Virtuosi Orchestra, the Kaluga Chamber Orchestra, the Riga Chamber Orchestra, the Arkhangelsk Philharmonic Chamber Orchestra, the Kursk Philharmonic Symphony Orchestra, the Moscow State Symphony Orchestra, and others.

Anastasia has participated in Russian and international festivals, including Moscow Autumn, Noble Nests in the Arkhangelskoye Museum-Reserve, Grata novitas in the Great Hall of the Moscow Conservatory, the Pablo Casals International Festival in Prades (France), Nice Summer Academy Festival.Currently, she is an artist with the musicAeterna Orchestra conducted by Teodor Currentzis, and participates in musicAeterna chamber projects.

She also regularly collaborates with the Moscow project Persimfans by Peter Aidu in symphonic and theatrical programmes.

Anastasia Strelnikova teaches at the Moscow State Conservatory at the Violin Department under the supervision of Professor Sergey Kravchenko. She has conducted professional master classes in St Petersburg, Norilsk, and Sochi for members of the Yuri Bashmet All-Russian Youth Symphony Orchestra. She is a member of the jury of several music competitions.

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

February 13, 20:00

Florence | Teatro del Maggio Musicale Fiorentino

Richard Wagner: Der Ring Ohne Worte | The Ring without Words

Symphony concert

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April 5, 20:00

Moscow | Great Hall of the Conservatory

Сoncert of musicAeterna: Kurtág, Brahms

Symphony concert

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April 6, 20:00

Moscow | Great Hall of the Conservatory

Сoncert of musicAeterna: Kurtág, Brahms

Symphony concert

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