First Violins

Dmitry Chepiga

In the orchestra since 2017

Dmitry Chepiga was born in 1968 in Novosibirsk. He has been a member of musicAeterna since 2017.

Dmitry is a graduate of the Novosibirsk specialized music school (M.B. Liberman’s class) and the Moscow State Conservatory (classes of A.B. Korsakov and S.I. Kravchenko).

He has extensive experience in working at chamber orchestras: he spent 17 years as part of the “Moscow Virtuosos” orchestra and about 10 years at the USSR State Chamber Orchestra (currently known as the Russian State Chamber Orchestra).

DO YOU STILL FEEL ANXIOUS WHEN YOU GO UP ON STAGE?

I am more anxious about the task at hand: I always want to do the best I can. This is especially true when working with Teodor Currentzis. In fact, Maestro’s work — and I am not exaggerating — starts at the point where it ends for most musicians. Playing a piece in a way that is technically proficient and good-sounding is hard enough, and many conductors call it a day at this point. Maestro, however, only begins his work upon reaching this result. He has his own unique view of music, and he knows how to convey it to each performer. You are seemingly giving your 100% in terms of technique, emotion and effort — and then a single glance or gesture from Maestro gives you a second wind; you tap into your hidden resources, and it feels like extra illumination has been switched on in the hall, and everything has become even brighter. This is a truly cathartic experience.

WHAT PIECE DO YOU DREAM TO PLAY AS PART OF MUSICAETERNA?

To be frank, I am ready to play absolutely anything under Maestro’s guidance; even music that does not really appeal to me becomes a joy to play with him. In fact, I first met Teodor Currentzis when he came to “Moscow Virtuosi” in 2002 to conduct Symphony No.14 by Shostakovich. I do not really enjoy Shostakovich’s music but working together with Maestro was amazing: he managed to hear, feel and understand that piece way better than the author had actually done. I can say the same about performing Shostakovish’s Symphony No.7. I would love to perform, say, Brahms’s Symphony No.4 together with Maestro: if there is anyone who could create a large-scale soundscape that would thoroughly thrill musicians and listeners alike, it must be him.

ASIDE FROM MUSIC, WHAT ELSE BRINGS YOU JOY AND POSITIVE IMPRESSIONS?

My hobbies are quite conservative. I love reading, and I often go to museums. To me, it is always thrilling to enter a gallery and see the very picture I had seen on a school textbook cover, or to read Remarque’s “Arch of Triumph” and later visit the same locations. It is a touching experience, so I often take tours around iconic locations from literature. I barely have time for anything besides work, though: I really want to keep developing creatively so that I have the right and opportunity to keep working with Maestro.

musicAeterna orchestra events

April 27, 20:00

Dubai | Dubai Opera

Tchaikovsky: Francesca da Rimini, Capriccio Italien, Romeo and Juliet

Symphony concert

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April 28, 20:00

Dubai | Dubai Opera

Richard Wagner: Ouvertures

Symphony concert

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May 26, 20:00

St. Petersburg | State Academic Capella

Dvořák: Alexander Sladkovsky and musicAeterna

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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)

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

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June 2, 19:00

St. Petersburg | Hermitage Museum

The musicAeterna Orchestra and Choir. Ars Vivendi

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

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