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Altos

Andrey Nemzer

In the choir since 2018

Andrey Nemzer is a countertenor who has been a soloist of the musicAeterna choir since 2018. He graduated from the Sveshnikov Choral College, the Popov Academy of Choral Art (Moscow), and a graduate programme of Duquesne University (USA). He is the winner of the Metropolitan Opera Eric and Dominique Laffont Competition (2012) and Placido Domingo’s Operalia Competition (2014; III Prize).

He was the lead singer of the Mendelssohn in Pittsburgh, a soloist of the Metropolitan Opera, the San Antonio Opera (USA), the Royal Theatre in Victoria (Canada), took part in the Opera Festival in Pittsburgh, the Salzburg Festival, and many others. He has performed with various vocal and instrumental ensembles including The Pocket Symphony conducted by Nazar Kozhukhar, the Intrada vocal ensemble conducted by Ekaterina Antonenko, Questa Musica ensemble conducted by Philipp Chizhevsky, the Berlin Philharmonic, and maestro Vladimir Yurovsky.

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He performs as a soloist in numerous musical and theatrical projects.

HOW DID YOU GET INTO THE WORLD OF MUSIC?
My mother was the reason. When I was 4, she made me take piano lessons. At the age of 6, I entered Sveshnikov Choir College. Three years later, I performed on the stage of the Moscow Conservatory for the first time. We sang “The All-Night Vigil” by Georgiy Dmitriev. That was how my music life started.
WHAT HAS BEEN YOUR MOST MEMORABLE PERFORMANCE SO FAR?
Perhaps the most unusual place I have ever performed at is a plane pilot’s cockpit. I was going home from a tour together with the male choir of the Choir Art Academy. It was a charter flight and the pilots invited us into the cockpit. We sang a few songs for them. I loved it — it was a great experience!
HOW DO YOU CHANGE WHEN YOU GO UP ON STAGE?
When on stage, you have a peculiar feeling: not anxiety but rather a kind of ardor. You have to prove your command of your voice, and you need to make sure the audience gets whatever message your music carries. This ardor in anticipation of the concert is something very special. And of course, the satisfaction you feel after the performance when the audience applauds and cheers — it is something worth living for.
DO YOU HAVE A DREAM?
I do. I want to arrange some sort of a jazz concert. Jazz is my secret passion. I love Ella Fitzgerald, Laura Fygi, Mike Patton. I would like to try my hand at something like that. I also have an idea of giving some opera arias a jazz treatment — but I am super busy, so there has been no chance yet.
HOW DO YOU RECOVER AFTER LARGE PROJECTS?
Quite frankly, I want to do nothing at all and just to stay at home. After performances, I go to the dressing room, avoid any interaction with others and just try to relax. I really do not like post-concert parties, so I rarely attend them. After the concert, you are exhausted both mentally and physically. You have given away a ton of energy which takes time to replenish.
WHAT DOES MUSICAETERNA MEAN TO YOU?
It means love towards music and towards each other. Love on a molecular level. MusicAeterna is not just a troupe where every performer might have their own vision of music; instead, it is one single entity.

musicAeterna choir events

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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
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An event of Diaghilev Festival
June 20, 19:00
Perm | Great Hall of the Perm Philharmonic
Concert of musicAeterna: Bach

Johann Sebastian Bach (1685–1750)
The St Matthew Passion

a sacred oratorio for solo voices, double choir and double orchestra with libretto by Picander (Christian Friedrich Henrici), BWV 244 (1727–1729/1736)

MusicAeterna Choir and Orchestra
Guest soloists
Conductor Teodor Currentzis