Second Violins

Kristina Taha

In the orchestra since 2023

Having graduated from the Tchaikovsky Moscow State Conservatory in 2023, Kristina Takha entered the internship programme of the Faculty of Historical and Contemporary Performing (classes of Associate Professor Oksana Tikhonova and Associate Professor Dmitry Sinkovsky).

Since 2021, as a guest artist she has been collaborating with the State Academic Chamber Orchestra of Russia conducted by Alexei Utkin. She is a member of the symphony ensemble Persimfans. She participates in projects of such Baroque music ensembles as Collegium musicum, Les Moscovites, and Pratum Integrum. She is an artist of the School of Dramatic Art Theatre.

WHY DID YOU CHOOSE YOUR INSTRUMENT?

When I was three years old, my mother brought me to a music school for rhythmic and general training. When it was time for me to choose an instrument, I asked for the violin out of pity; I felt sorry that most children wanted to play the piano while no one picked the violin.

WHICH MUSIC IS MORE INTERESTING FOR YOU TO WORK WITH: EARLY OR MODERN?

My path in music has been far from linear. At first, I studied at the Gnessin Academy of Music for a year. Then, inspired by the playing of violinist Dmitry Sinkovsky, I entered the Faculty of Historical and Contemporary Performance at the Moscow Conservatory. This year I'm finishing my postgraduate studies there. I believe that the difficulties at the beginning of my journey led me to where I was meant to be — Baroque music. So, now my professional activity is primarily related to historically informed performance.

WHAT DO YOU VALUE MOST IN WORKING WITH THE MUSICATERENA ORCHESTRA?

Now, the most valuable aspect of the orchestra for me is not the level of the musicians' skill (which goes without saying), but their human qualities: kindness and openness. There truly is atmosphere of support and mutual respect in our orchestra. It is a great honour for me to work in an ensemble where everyone is not only deeply passionate about the music, but also attentive to those who are nearby.

WHAT KIND OF MUSIC DO YOU LISTEN TO?

I love music written before Bach. Most of all, I enjoy early Italian Baroque music. I can listen to Monteverdi's operas or madrigals for hours. This music tells about something sincere and deep, but it is written in simple language. Biber's music holds a special place in my heart. I dream of performing all of his Rosary cycle one day. If to speak about Bach, then the interpretations of Isabel Faust are closest to me.

WHAT ELSE, ASIDE FROM MUSIC, CAPTURES YOUR FASCINATION AND INTEREST?

No other pursuit fascinates me as much as music, but I am a passionate figure skating fan. It organically combines sports and art. I try not to miss any major competitions and watch them online or at least on the record.

musicAeterna orchestra 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