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Violаs

Anastasia Rybina

In the orchestra since 2023

WHAT BROUGHT YOU TO THE WORLD OF MUSIC?
I began studying music when I was four and a half years old, even though I don't come from a musical family. My great-grandfather had an exceptional talent for music though. Since childhood, he lived in a remote village in the Orenburg region, and one day his father, who frequently travelled to Siberia for work, brought home very unusual and expensive gifts — a gramophone with records, an accordion for his sons, and a balalaika for his daughter. My great-grandfather taught himself to play accordion using those records. When I was little, I used to come to his village every summer. I remember that he could instantly learn and perform any song. My family believes that my musicality is a gift from my great-grandfather.
WHAT IS YOUR FAVOURITE MUSIC PIECE?
Recently, I've been really into Alfred Schnittke's Viola Concerto, especially its second movement. There are many works that reveal the beauty of the viola sound. And Schnittke uses modern musical language — it's not the easiest music to understand, but it's very powerful. It has so much power, it contains everything: rebellion and tenderness, passion and profound feeling.
WHAT MAKES MUSICAETERNA DIFFER FROM OTHER ENSEMBLES?
Teodor always demands from us not only the highest quality in our work, but also maximum involvement in the material. Even in rehearsals, we are 100% involved, which is very enriching. After each rehearsal, you come out replete, because you've given a lot, grown up, because you try to find the best sound for each phrase, to convey the emotions and intent of the composer most accurately. This opportunity for research and the search itself are the main discoveries in the process of working at musicAeterna. The high standard set by the conductor helps to unlock the potential of the artists.
WHAT DOES YOUR PERFECT DAY OFF LOOK LIKE?
My ideal day is when I have time not only to practice, be alone with the instrument, feel its and my own condition, but also time for other favourite things. For example, I enjoy cooking, I like to look for new and interesting recipes, and I enjoy going to the pool for workouts. I love reading. As a rule, I read several books at the same time — treatises on early music, something from modern literature, and books that have to be read. For instance, The Glass Bead Game is now waiting on my reading list.
WHAT WOULD YOU RECOMMEND TO YOURSELF AND OTHER MUSICIANS?
Once after a concert, Marina Iosifovna Keselman told me no to even dare to doubt myself. Those were very important words, and I often remember them. Also, I've always been taught to listen to what comes after the 'but'. Let's say they tell you, 'It was very musical, but...' — and this is the moment you switch on, listen carefully for what can be improved. Yes, it gives us growth, but we forget to praise ourselves, and this is important. Everyone has their own path, and you just need to walk along it calmly, confidently, without wasting energy on unnecessary doubts.

musicAeterna orchestra events

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April 3, 20:00
St. Petersburg | St. Petersburg Philharmonic
Сoncert of musicAeterna: Kurtág, Brahms
Symphony concert

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 

 

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April 5, 20:00
Moscow | Great Hall of the Conservatory
Сoncert of musicAeterna: Kurtág, Brahms
Symphony concert

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 

 

Sold out
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April 6, 20:00
Moscow | Great Hall of the Conservatory
Сoncert of musicAeterna: Kurtág, Brahms
Symphony concert

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 

 

Sold out