Altos

Elena Shestakova

In the choir since 2013

WHAT BROUGHT YOU TO THE WORLD OF MUSIC?

Music has surrounded me for as long as I can remember. My grandmother used to sing when doing the housework. My aunt — a professional pianist — set up music nights, and I constantly performed at various children’s events. However, I only felt the strong urge to take music seriously around the time I was at music college. That’s where I got introduced to all sorts of music — old, ethnic, modern. This sparked my love towards it.

WHAT KIND OF MUSIC DO YOU PREFER NOW?

My playlist has all sorts of music in it. I often take a more thoughtful re-listen to classical pieces by Tchaikovsky, Mahler and Beethoven. But sometimes I want to hear something completely different: say, Apocalyptica or even pop music.

WHAT DO YOU VALUE THE MOST IN WORKING WITH MUSICAETERNA?

First of all, it’s the opportunity to work with Teodor Currentzis. Maestro is one of the few people who are able to hear music differently — and to teach that. I have no idea how he manages to do that. “The composer has outlined all the nuances in the score,” he usually says. “Let’s just follow what’s written there.” But as a result, the piece sounds in a different way. For example, Maestro has re-introduced me to Mozart’s “Requiem”. It’s one of the most famous academic music pieces, and I had thought I knew every single note in it — but after a few rehearsals, I realized it was totally unfamiliar to me. By the way, Maestro’s magical ability extends to revealing people’s undiscovered talents as well.

WHAT IS YOUR DREAM?

Like any professional, I strive to get even better at my craft. I want to sing in a way that I find even more satisfying. When you feel that inner satisfaction, you know you’re on the right way.

musicAeterna choir events

October 11, 19:00

Moscow | Zaryadye Hall

Hændel. A Dedication Ceremony to George Frideric Handel

Georg Friedrich Handel (1685–1759)

Prelude

Augelletti, ruscelletti, the aria of Maria Kleopova from the oratorio La resurrezione, HWV 47 (1708)

Zadok the Priest, Coronation Anthem No. 1, HWV 258 (1727)

Disserratevi, o porte d’Averno, the aria of Angel from the oratorio La resurrezione, HWV 47 (1708)

Ah! Crudel nel pianto mio, the aria of Armida from the opera Rinaldo, HWV 78 (1711)

Overture to the opera Agrippina, HWV 6 (1709–1710)

As with Rosy Steps the Morn, the aria of Irina from the oratorio Theodora, HWV 68 (1750)

De torrente in via bibet, duet with chorus from the psalm Dixit Dominus, HWV 232 (1707)

Oh, Let the Merry Bells Ring Round, aria with chorus from the oratorio L’Allegro, il Penseroso ed il Moderato, HWV 55 (1740)

Pena tiranna, the aria of Dardano from the opera Amadigi di Gaula, HWV 11 (1715)

Eternal Source of Light Divine, fragment from the cantata Ode for the Birthday of Queen Anne, HWV 74 (1713)

Alla Hornpipe, No. 2 from the orchestral suite
The Water Music No. 2 in D Major, HWV 349 (1716–1717)

He Saw the Lovely Youth, chorus from the oratorio Theodora, HWV 68 (1750)

Piangerò la sorte mia, the aria of Cleopatra from the opera Giulio Cesare in Egitto, HWV 17 (1724)

Ah! Stigie larve — Vaghe pupille, the recitative and aria of Orlando from the opera Orlando, HWV 31 (1733)

O Love Divine, thou Source of Fame, chorus from the oratorio Theodora, HWV 68 (1750)

Sing Ye to the Lord, chorus with solo soprano from the oratorio Israel in Egypt, HWV 54 (1739)

Performers:

artists of the Anton Rubinstein Academy
Tatiana Bikmukhametova, soprano
Yulia Vakula, mezzo-soprano
Ksenia Dorodova, soprano
Diana Nosyreva, soprano
Iveta Simonyan, soprano
Sofia Tsygankova, soprano
Andrey Nemzer, countertenor, soloist and vocal coach of the Anton Rubinstein Academy
musicAeterna Choir and Orchestra
musicAeterna Dance troupe

Music Director and Conductor Teodor Currentzis
Stage Director Elizaveta Moroz
Choirmaster Vitaly Polonsky
Assistant Conductor Evgeny Vorobyov
Production Designer, Costume Designer Sergey Illarionov
Choreographer Valentina Lutsenko

Buy Ticket

October 17, 22:30

Madrid | Auditorio Nacional de Música