Sopranos

Ganna Baryshnikova

In the choir since 2008

In 2006, Ganna Baryshnikova graduated from the Glinka State Conservatory (Novosibirsk). Since 2008, she has been part of the New Siberian Singers, a choir founded by Teodor Currentzis and later transformed into the musicAeterna choir. As a choirmaster, she has led a number of performances at the Perm State Opera and Ballet Theatre.

WHO HAS INFLUENCED YOU THE MOST?

I think maestro Currentzis has. When he came to Novosibirsk, we found his unbelievable energy and peculiar gestures a bit odd and even funny. But as soon as we started working with him, we realized what a unique experience it was. He pays attention to every single thing and never omits even the slightest detail. It was he who taught me to really hear music; this changed me a lot as a musician.

WHAT DOES MUSIC MEAN TO YOU?

It is my life: I have been doing it since childhood. Music is the voice of the soul. Through it, I can express my emotions, whether happy or sad ones. Music is the only life I know.

WHAT MUSIC DO YOU FIND MORE INTRIGUING TO WORK WITH: EARLY OR MODERN?

Any kind of music gets interesting once you start listening closely. Of course, when you first see the notation of some modern piece, it feels completely incoherent. But as soon as you start experimenting and analyzing, you get to discover a lot in such music.

WHAT MUSIC DO YOU LISTEN TO AT HOME?

It depends on the mood. Sometimes, it is about dancing; other times, I may want something more serious.

WHAT PIECE OF MUSIC DO YOU DREAM TO PERFORM?

In fact, my dream has already come true. I adore Brahms’s German Requiem, and we have already performed it several times. In reality, I enjoy whatever piece Teodor picks.

musicAeterna choir events

June 1, 21:00

St. Petersburg | Hermitage Museum

The musicAeterna Orchestra and Choir. Ars Vivendi

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

June 2, 19:00