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Anastasia Yerofeyeva

In the choir since 2018

HOW DID YOU GET INTO THE MUSIC WORLD?
Ever since my early childhood, I have been unable to imagine my life without music. I started singing at the age of 3. The further I explored the realm of music, the more I wanted to share it with others.
WHAT COULD YOU COMPARE A MUSICAETERNA CONCERT TO?
It is hard to express. On stage, we become a single entity; we are all on the same wavelength. It is a very special state to be in, and I believe the audience gets a similar vibe. In a way, we act like a transmitter that sends radio waves around.
HOW DO YOU PREPARE FOR A PERFORMANCE? DO YOU HAVE ANY SPECIAL RITUALS?
As plain as it may sound, the key thing is to be well-rested. However, I start thinking over the performance and my role in it while doing the housework early in the morning. Those thoughts gradually engulf me and only go away after the concert. On the one hand, each performance is certainly exhausting; on the other, I gain a second wind after concerts due to the energy our audience gives us.
WHAT DOES MUSICAETERNA MEAN TO YOU?
To me, musicAeterna is a single living entity whose systems work in perfect harmony with each other, sensing and adapting to the slightest changes at lightning speed. I am happy to be a part of this amazing mechanism!

musicAeterna choir events

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Francis Poulenc (1899–1963)
Quatre petites prières de saint François d’Assise (1948)
Salut, dame Sainte
Tout puissant, très saint
Seigneur, je vous en prie
O mes très chers frères

Frank Martin (1890–1974)
Messe pour double choeur a cappella (1922–26)
Kyrie
Gloria
Credo
Sanctus
Agnus Dei

Benjamin Britten (1913–1976)
Ad Majorem Dei Gloriam, 7 settings of poems by Gerard Manley Hopkins on poems by Gerard Manley Hopkins, Op. 17 (1939)
Prayer I
Rosa mystica
God`s grandeur
Prayer II
O Deus, eg amo te
The soldier
Heaven-haven

musicAeterna Сhoir
Сhief Сhoirmaster Vitaly Polonsky
Сonductor Ivan Gorin

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Gustav Mahler (1860–1911)
Symphony No. 2 ‘Resurrection’ in C Minor
for soprano, alto, mixed choir and orchestra (1888–1894)

Allegro maestoso
Andante moderato
In ruhig fließender Bewegung | With quietly flowing movement
Urlicht. Sehr feierlich, aber schlicht | Primal Light. Very solemn, but simple
Im Tempo des Scherzos | In the tempo of the scherzo

The musicAeterna Orchestra and Choir
Guest soloists
Conductor Teodor Currentzis

Soloists:
Sofya Tsygankova, soprano
Yulia Vakula, mezzo-soprano

Sold out
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Gustav Mahler (1860–1911)
Symphony No. 2 ‘Resurrection’ in C Minor
for soprano, alto, mixed choir and orchestra (1888–1894)

Allegro maestoso
Andante moderato
In ruhig fließender Bewegung | With quietly flowing movement
Urlicht. Sehr feierlich, aber schlicht | Primal Light. Very solemn, but simple
Im Tempo des Scherzos | In the tempo of the scherzo

The musicAeterna Orchestra and Choir
Guest soloists
Conductor Teodor Currentzis

Soloists:
Sofya Tsygankova, soprano
Yulia Vakula, mezzo-soprano

Sold out
+

Gustav Mahler (1860–1911)
Symphony No. 2 ‘Resurrection’ in C Minor
for soprano, alto, mixed choir and orchestra (1888–1894)

Allegro maestoso
Andante moderato
In ruhig fließender Bewegung | With quietly flowing movement
Urlicht. Sehr feierlich, aber schlicht | Primal Light. Very solemn, but simple
Im Tempo des Scherzos | In the tempo of the scherzo

The musicAeterna Orchestra and Choir
Guest soloists
Conductor Teodor Currentzis

Soloists:
Sofya Tsygankova, soprano
Yulia Vakula, mezzo-soprano

Sold out
+

Gustav Mahler (1860–1911)
Symphony No. 2 ‘Resurrection’ in C Minor
for soprano, alto, mixed choir and orchestra (1888–1894)

Allegro maestoso
Andante moderato
In ruhig fließender Bewegung | With quietly flowing movement
Urlicht. Sehr feierlich, aber schlicht | Primal Light. Very solemn, but simple
Im Tempo des Scherzos | In the tempo of the scherzo

The musicAeterna Orchestra and Choir
Guest soloists
Conductor Teodor Currentzis

Soloists:
Sofya Tsygankova, soprano
Yulia Vakula, mezzo-soprano

Sold out