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© Olya Runyova Ⓘ
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

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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
+
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