Sopranos

Elizaveta Sveshnikova

In the choir since 2012

Elizaveta Sveshnikova graduated from the Conducting and Choral Faculty of the St. Petersburg State Conservatory in 2011 (the class of associate professor Vladimir Maksimkov), Vocal and Directing Faculty of the Rimsky-Korsakov St. Petersburg State Conservatory (the class of Professor Svetlana Gorenkova) in 2014. She is performing with the musicAeterna choir since 2012.

She is a laureate of the Grand Prix of the I All-Russian Vocal Competition Italian Nightingale in St. Petersburg, finalist of the International Opera Singers Competition Competizione Dell’Opera (Linz, 2013), winner of the first prize of the Alion Baltic International Competition (Tallinn, 2016), finalist and winner of the special prize of the International Opera Competition Le Grand Prix del’Opera (Bucharest, 2016).

Her repertoire includes works by such composers as Lully, Rameau, Charpentier, Bach, Handel, Vivaldi, Scarlatti, Galuppi, Purcell, Dowland, Mozart, Beethoven, Rossini, Bellini, Donizetti, Puccini, Verdi, Schumann, Schubert, Strauss, Rachmaninov, Rimsky-Korsakov, Tchaikovsky, Stravinsky, Shostakovich, Prokofiev, Schnittke, Berg, Poulenc, Chausson.

In the early 2010s, she performed solo parts in Mozart’s Requiem, Bach’s St. Matthew Passion, Pergolesi’s Stabat Mater, Handel’s oratorios and Vivaldi’s Gloria. She performed on the stage of the Milan Conservatory in the Verdi Hall in a production of Respighi’s opera La Bella Dormenta nell Bosco. In 2014, she made her debut as Galatea in Rameau’s opera Pygmalion on the stage of the St. Petersburg State Philharmonia. She performed the part of Madame Hertz in Mozart’s opera “The Director of the Theatre” (Yusupov Theatre, St. Petersburg). She took part in the I International Harp Festival Northern Lyre at the Mariinsky Theatre. She participated in the concert programme of the Vladimir Spivakov International Charitable Foundation.

In 2016, she became a regular participant of the St. Petersburg International Earlymusic Festival, having performed the main role of Cephalus in Francesco Araya’s opera “Cephalus and Procris” (Hermitage Theatre, St. Petersburg) together with the ensemble of early music The Soloists of Catherine the Great (artistic director – Andrey Reshetin). In December 2017, she became the first performer of the leading part in Francesco Araya’s opera “Cephalus and Procris” on the stage of the Bolshoi Theatre in Moscow.

In June 2017, on the stage of the Tchaikovsky Concert Hall (Moscow) she performed the soprano solo part in Mozart’s Requiem together with the orchestra and choir of musicAeterna conducted by Teodor Currentzis. In the summer of the same year, she became a participant in the Salzburg Festival as a member of the musicAeterna choir, participating in the production of Mozart’s opera “The Mercy of Titus” (directed by Peter Sellars). In September 2017, on the stage of the Vienna Konzerthaus she performed the soprano solo part in Beethoven’s Symphony № 9 conducted by Teodor Currentzis. In March, she made her debut on the stage of the Perm State Opera and Ballet Theatre as Astrea in Jean-Baptiste Lully’s opera “Phaeton” with the ensemble of early music Le Poème Harmonique (France) and the musicAeterna orchestra and choir conducted by Vincent Dumestre. In June of the same year, she performed the same part on the stage of the Royal Opera of Versailles (France).

She took part in master classes by Elena Obraztsova, Natalie Dessay, Giuseppe Sabbatini, Angelo Gabrieli and Ildar Abdrazakov. From 2015 to 2017, she taught academic vocals at the Elena Obraztsova International Academy of Music.

She is a soloist of the St. Petersburg Academic Philharmonia.

WHAT DOES MUSICAETERNA MEAN TO YOU?

MusicAeterna is not a job, it's a lifestyle. You are always on the move: performing on tour, spending many hours rehearsing at Dom Radio. It is quite difficult to combine this with a measured family life. On the other hand, the child gets used to watching such a real active life associated with lofty artistic goals.

WHAT IS YOUR PERFECT DAY OFF LIKE?

For me, it's a walk with my family somewhere out of town. Physical labour also helps to detach emotionally: lately I have taken up floristry, I like to go to the country and tinker with plants in the garden.

WHAT MUSIC DO YOU LISTEN TO IN YOUR FREE TIME?

In my free time I can listen to very different music depending on my mood. The Byzantine liturgy helps me to get into emotional balance, and when I want to add dynamics and rhythm, I can catch deep house or Eminem on the radio. While driving, I also often turn on early music, for example pieces for harpsichord solo, or — when driving with a child — classics adapted for children. The only thing I don't like is catchy pop music.

WHAT IS YOUR FAVORITE PERIOD IN THE HISTORY OF CULTURE?

In my opinion, the Renaissance is the pinnacle in the history of world art. I really love Tintoretto's painting and Bernini's sculpture. The Italian Renaissance is especially close to me in spirit, and having visited Rome and Florence for the first time, having seen these masterpieces with my own eyes, I was convinced that this art is from God.

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