Sopranos

Irina Michailova

In the choir since 2023

She is currently studying at Rimsky-Korsakov St Petersburg State Conservatory at the assistant-internship programme specializing in Academic Choir Conducting, as well as at the International Elena Obraztsova Music Academy specializing in Academic Vocals. She is the laureate of All-Russian and international competitions, including the International ‘Singing Conductor’ Competition (Grand Prix, 2020), the All-Russian Competition for Young Conductors of Academic Choirs (Second Prize, 2020). She took part in master classes by Vitaly Polonsky (2021) and others, and completed an internship at the Estonian Academy of Music and Theatre with Professor Toomas Kapten (2022).

Since 2017 she has been an artist of the Festino Chamber Choir. She takes part in St. Petersburg festivals dedicated to the early and modern music performance.

HOW DID YOU GET TO KNOW MUSICAETERNA?

I first heard about musicAeterna when I was a student at a music college. Since then, I have been keeping track of the ensemble's activities, listening to recordings. I first heard musicAeterna play live at the Saint Petersburg Philharmonic: it was when the orchestra and choir presented Purcell's opera Dido and Aeneas in concert performance. I was struck by how boldly and imaginatively Teodor approached the artistic presentation of certain scenes in the opera. His interpretation of the orchestration was a particular delight to me: as you know, the author's score of Dido and Aeneas did not survive, so there is always an intrigue in how the conductor is going to interpret the work. And of course, the choir made a striking impression of its own on me then — the voices were so finely, elastically and colourfully woven into the musical fabric of the opera. Such a joint breathing sound could only be achieved by passionate performers who do the thing they love with total dedication. Now I work in this ensemble and I see how bright and talented the musicians here are — each in their own way — and how they come together to create something special for the audience. It is a great joy for me to be a part of this whole living ‘organism’.

WHEN DID YOU DECIDE TO BECOME A MUSICIAN?

I have been singing in a choir since music school, so the collective sound and participation in it accompanies me through all my life. I first appeared on stage as a solo performer back in my third year of music school: then I participated in an international competition. It was such a new feeling for me that I probably didn't even have time to get scared or overexcited. As a result, I unexpectedly received the first prize. It was probably then that I realized I could practice vocals.

WHAT DOES MUSIC MEAN TO YOU?

Singing as a ‘product’ of the soul is always a very personal and delicate process for me. Maybe that's why chamber music genres and working in an ensemble are so close to me. Here you can look into the material more closely, listen closely, and find a special contact with the performers and the audience. Early music, avant-garde, German and French chamber music — this is the repertoire in which I am constantly looking for and discovering something new.

PLEASE TELL US ABOUT YOUR EXPERIENCE IN CONDUCTING.

I've always enjoyed looking for and finding in the score something that is not on the surface, fishing out some ‘curiosities’, analysing them. As a conductor, you have the opportunity to share your thoughts with the musicians, to involve them, to tell a story from the stage together. To create musical time, involve performers in it and share it with the audience — if you have given it a try this once, you want to return to this experience again and again. You act as a carrier of musical thought, although you yourself do not make sounds on stage. During the training, conductors acquire theoretical knowledge, but understanding the essence of this process comes only through practice. That is why the experience of working directly with the ensemble is so important for novice conductors. It's only here that you really open up, gain confidence in your art. In this sense, conducting is truly a profession for the second half of life.

WHAT IS YOUR FAVOURITE TIME OF DAY?

I constantly combine study and work, communication and a massive flow of information. Therefore, the time when I can be alone with myself is especially important for me. Evening or night is a time for me to reflect and recover. At the same time, it is a period of high concentration: for example, thinking about and listening to serious music mostly happens to me at night.

musicAeterna choir events

April 26, 20:00

St. Petersburg | Nevsky, 62

Ο ῎Αγγελος ἐβόα: musicAeterna byzantina and musicAeterna Concert

Choral concert

Sold out

April 27, 20:00

St. Petersburg | Nevsky, 62

Ο ῎Αγγελος ἐβόα: musicAeterna byzantina and musicAeterna Concert

Choral concert

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May 7, 20:00

St. Petersburg | Nevsky, 62

Concert of the musicAeterna Choir. The sacred music of Poulenc and Britten

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An event of Diaghilev Festival

June 13, 20:00

Perm | House of Music (Shpagin plant)

Hændel. A Dedication Ceremony to George Frideric Handel. Opening concert of the festival

George Frideric Handel (1685–1759)

Augelletti, ruscelletti, aria of Mary Cleophas from the oratorio La Resurrezione, HWV 47 (1708)

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

E pur così in un giorno – Piangerò la sorte mia, recitative and aria of Cleopatra from the opera Giulio Cesare in Egitto, HWV 17 (1724)

Welcome as the Dawn of Day, duet from the oratorio Solomon, HWV 67 (1749)

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

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

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

Sarabande from the Partita in G major for solo harpsichord, HWV 450 (1700–1705)

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)

Piangete sì, piangete, aria of Mary Cleophas from the oratorio La Resurrezione, HWV 47 (1708)

As With Rosy Steps the Morn, recitative and aria of Irene from the oratorio Theodora, HWV 68 (1750)

Alla Hornpipe, No. 2 from Water Music Suite No. 2 in D major, HWV 349 (1716–1717)

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

Amarti sì vorrei, aria of Agilea from the opera Teseo, HWV 9 (1713)

Fermati! / No, crudel!, duet of Armida and Rinaldo from the opera Rinaldo, HWV 78 (1711)

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

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

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

Performers:
musicAeterna orchestra and choir
musicAeterna Dance company
artists from the Anton Rubinstein Academy

Conductor – Teodor Currentzis

An event of Diaghilev Festival

June 14, 20:00