Elena Yurchenko
In the choir since 2011
Elena Yurchenko is a laureate of the Bella Voce international competition (Moscow).
Elena Yurchenko was born in Novosibirsk. She is a graduate of the Glinka Novosibirsk State Conservatory (solo vocals; class of prof. N.I. Lubyanovskaya). She has a Master’s degree in music arts. During her studies, Elena sang the parts of Tatiana (“Eugene Onegin” by Tchaikovsky), Mimi (“La bohème” by Puccini), Iolanta (“Iolanta” by Tchaikovsky) and Stéphano (“Roméo et Juliette” by Gounod). She took part in the “Soul of Japan” International festival (Moscow) and in a master class by professor Akiko Mibe. As a soloist, she was a regular participant of orchestra, vocal, choral and organ concerts at the conservatory.
In 2007, Elena Yurchenko worked at the Moscow State Children’s Music Theatre directed by Gennadiy Chikhachev. In 2008–2011, she was a member of the New Siberian singers choir at the Novosibirsk State Opera and Ballet Theatre, where she sang Frasquita’s part in “Carmen” by Bizet.
In 2011, Elena became a member of the musicAeterna choir at the Perm State Opera and Ballet Theatre. Her repertoire included the following parts: Mercédès (“Carmen” by Bizet), Laura (“Iolanta” by Tchaikovsky), Tatar (“One Day of Ivan Denisovich” by A. Tchaikovsky), Charmion (“Cléopâtre” by Massenet), Hofmeisteress (“Twelve Months” by Banevich), Polovets Girl (“Prince Igor” by Borodin) and Annina (“Traviata” by Verdi). She sang the soprano parts in Nikolaev’s “Gereven” ballet and Dusapin’s “Medeamaterial” opera. Elena was a regular participant of vocal chamber concerts at the Perm State Opera and Ballet Theatre, the Perm Art Gallery and the “Triumph” philharmonic, and she also performed as a soloist in choral music pieces.
Since 2019, Elena Yurchenko has been a member of the musicAeterna choir in Saint Petersburg.
musicAeterna choir events
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
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
Johann Sebastian Bach (1685–1750)
The St Matthew Passion
a sacred oratorio for solo voices, double choir and double orchestra with libretto by Picander (Christian Friedrich Henrici), BWV 244 (1727–1729/1736)
MusicAeterna Choir and Orchestra
Guest soloists
Conductor Teodor Currentzis