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Basses

Daniil Chesnokov

In the choir since 2022

Born in Kovrov, a city in Vladimirskaya oblast’. Graduated from the department of Vocal Studies at the Moscow State Conservatory. Since 2022 is a member of the musicAeterna choir.

During the years 2011 and 2012 was a choir soloist of the Sretensky Monastery Choir, as a member of which he toured Russia, China and the USA. From 2013 to 2016 performed at Bolshoi Theatre as a participant of the Youth Opera Program. He made his debut on the stage of the Bolshoi Theatre in the role of a Flemish envoy in Verdi’s opera Don Carlos. On the stage of Bolshoy he also sang Colline in La bohème, Dottore Grenvil in La traviata, Skula in Prince Igor, police officer in Boris Godunov etc. He took part in the recording of the opera The Children of Rosenthal by Leonid Desyatnikov under the conduction of Alexander Vedernikov, singing in the role of Rosenthal’s second colleague.

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He was a participant of the Yuri Bashmet International Music Festival in Yaroslavl and the Verbier Music Festival in Switzerland. He trained at the Academy of the La Scala Theatre in Italy, where he studied with Renato Bruson, Luciana d’Intino, Giuseppe Sabbattini and other singers. From 2016 to 2017, he completed an internship at the Komische Oper Berlin.

Over the season 2018-2019 he was a soloist of the Galina Vishnevskaya Opera Center. Since 2019, he has been actively collaborating with the National Philharmonic Orchestra of Russia, which is directed and conducted by Vladimir Spivakov.

HOW DO YOU MANAGE TO FIND A BALANCE BETWEEN A SOLO CAREER AND PERFORMING IN A CHOIR?
It so happened that in my musical career, solo and choral work are closely intertwined. There are certain challenges to it, but, on the other hand, it allows you not to get stuck in one place, gives an impetus to professional and personal development.
WHAT VOCAL PARTS AND WORKS WOULD YOU LIKE TO PERFORM?
The solo in Verdi's Requiem, I think, is a dream material in the oratorio genre for any bass. I would also like to go once more through the experience of performing the part of Raphael from Haydn's Creation. As for the choral repertoire, I would prefer polyphonic madrigals by Baroque and Renaissance composers.
WHAT ARE YOUR FAVOURITE VOCAL PARTS?
I have always been attracted to the role of Mephisto from Gounod's opera. The elegance of French music, the melody and expressiveness of the language, the versatility of the character make me want to someday present this character on stage. If to choose from not the most popular, but no less beautiful operas, I would single out Verdi's "Simon Boccanegra" with the bass role of Jacopo Fiesco.
WHAT'S ON YOUR PLAYLIST?
Allen Stone, Nickelback, London Grammar, and Seal have long established themselves in my playlist. I can listen to something heavier while working out. And among the latest musical discoveries are indie artists Sol Seppy and RY X.
WHAT IS YOUR PERFECT DAY OFF LIKE?
Taking a stroll in the woods or in the park, preferably without a smartphone (such a "digital detox" is very important nowadays). Doing sports — in my case, it's martial arts, table tennis, and lately quite often volleyball. Watching a good movie in the evening in a pleasant company.

musicAeterna choir 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