Top.Mail.Ru
Altos

Elena Gurchenko

In the choir since 2019

Elena Gurchenko graduated from the Department of Music at the Pushkin Leningrad State University and the Music Department of the Faculty of Arts at Smolny Institute of the Russian Academy of Education. She has been the musicAeterna choir artist since 2019. Since 2020 she has performed as a soloist of the vocal ensemble musicAeterna4.

She was born in St. Petersburg. From the age of 6 she studied the domra, but at the age of 7 she transferred to the piano department. As a teenager, she manifested a passion for academic vocal and choral art. Having graduated from music school, she began singing in the Cantus ensemble with a wide repertoire from sacred music to jazz.

She gained tremendous experience in choral and solo performance in 2004–2014, working in the Studium Youth Choir under the direction of Irina Semenkova. From 2016 to 2019 she performed as a member of the State Chamber Choir “Petersburg Serenades”.

Since 2006, he has been practising academic solo vocals: “My teachers were the soloists of the Mariinsky and Mikhailovsky Theatres, wonderful singers and wonderful people who shared their experience and a perfect training with me, and I am very grateful to them for the unforgettable moments of creative revelation and self-belief.”

HOW DID YOU START YOUR MUSIC LESSONS?
My parents gave me the opportunity to study domra. At the age of 6, there could be no conscious desire to play this instrument in particular, but I remember that I truly enjoyed it. I had an excellent teacher, and some success (along with permanently bandaged fingers) followed. But a little later, my mother insisted that the piano become my main instrument, and I had to say goodbye to domra.
WHAT DO YOU DO BESIDES MUSIC?
I've always had a natural aptitude for languages for as long as I can remember. Even if I didn't understand the language when I was very young, I really enjoyed pretending that I was fluent in it, constantly singing songs in English, imitating it. Travelling and touring with musical ensembles gave me the opportunity to communicate a lot with foreigners and develop my skills in French, German and English. In addition, I have a higher philological education, and I know the laws of linguistics first-hand. The accumulated knowledge helps me a lot as a musician, because we sing music in different languages, including their archaic forms.
WHAT IS SPECIAL ABOUT THE MUSICAETERNA VOX ENSEMBLE IN WHICH YOU SING?
It warms my heart when the sound of our ensemble inspires composers to create music. At the same time, it is a great responsibility: to correctly interpret the author's idea and convey it to the listener. When you realize that a line was written specifically for your voice, a special connection arises inside: as if your voice was originally intrinsic to this music. Each part is a thread in the fabric that we weave together with other singers. This is how intricate patterns appear following the composer's clear plan. The interweaving of these invisible threads gives rise to an unusual magical feeling of unity and beauty, which is why we are grateful to the composers for the trust and honour of performing their works.
WHAT ARE YOUR FAVOURITE FILMS?
There are many films that have left a strong impression on me. Among the most striking that I have recently seen there are the Dance of Reality by Alejandro Jodorowsky, Tangerines by Zaza Urushadze, the Dust of Time by Theodoros Angelopoulos.
WHICH CONCERT HALL DO YOU DREAM OF PERFORMING IN?
I have a dream to sing with an ensemble in a cave or a grotto, something like the Waterfall Hall in Spanish Nerja or the Hungarian Baradla cave.

musicAeterna choir events

+

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
+

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