Altos

Arina Mirsajetova

In the choir since 2005

In 2003, Arina Mirsaetova graduated from the music theory and choir conducting faculties of the Biysk music college. In 2008, she graduated from the Glinka State Conservatory (Novosibirsk) with a specialization in choir conducting. Since 2005, she has performed with the New Siberian Singers chamber choir which was founded by Teodor Currentzis and later transformed into the musicAeterna choir.

At the moment, Arina Mirsaetova is also the choirmaster, inspector and librarian at musicAeterna. She is a laureate of the cross-regional German Songs Competition (Novosibirsk) and the All-Russian Vocal Olympiad (Ekaterinburg).

WHAT IS THE HARDEST PART OF BEING A PERFORMER?

It is probably the requirement to give your 100% at all times. If you do not put in your maximum effort, the quality of your performance will suffer. So you have to do your absolute best at rehearsals and concerts alike. As a result, it can sometimes be difficult to replenish your inner resources.

HOW DO YOU REPLENISH THEM? WHERE DO YOU DRAW INSPIRATION FROM?

My biggest source of inspiration is my family. When I come home, I try to leave my job at the door and switch to household matters. When I have a day off, I like to spend some quality time with my husband and my son. But sometimes I just need to be alone for a while — just sit around in silence, maybe read a book. My job includes a number of administrative duties along with creative work, so I sometimes suffer from communication overload.

HOW DO YOU MANAGE TO FOCUS ON CREATIVE WORK?

In fact, it comes naturally. When you go up on stage, something changes within you. Everyday worries cease to matter anymore, and you are left with just one desire: to successfully bring the director’s and conductor’s vision to life.

WHAT DOES MUSICAETERNA MEAN TO YOU?

Ever since I was a student, musicAeterna has been the project of all my conscious creative life. Working with musicians and directors of this caliber is a true blessing. You know, I came to Novosibirsk to study at the Conservatory from a small town that had no philharmonic and no music theater. It was only when I moved to Novosibirsk that I got to experience a symphonic concert as well as an opera and ballet performance live. As luck had it, during my first year of studies I was offered to take part in the “Aida” opera, which was a project by Teodor Currentzis and Dmitriy Chernyakov. This gave me a huge boost of confidence and an incentive to work at the theater. In a word, musicAeterna is my school where I keep learning something new every day. It is amazing to work with the world’s best performers, to gain emotional and professional experience, and to discover my own abilities in the process.

musicAeterna choir events

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)

Allegro non molto
Adagio
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

June 2, 19:00