Horns

Leonid Voznesensky

In the orchestra since 2015

HOW DIFFERENT DO REHEARSALS AND CONCERTS FEEL TO A MUSICIAN?

Rehearsals have a more relaxed vibe. Of course, concerts require maximum focus. At the concert, one should present the result of all the rehearsals.

HOW DO YOU GET READY TO PERFORM?

First of all, you need a good night’s sleep. And you should not drink coffee: before the concert, you feel nervous as is, and coffee will make your heart beat even faster. I think it is crucial to feel nervous: those who do not care cannot do great on stage. It should be a natural feeling of nervousness on stage. I have no special rituals as I am not superstitious. I do believe in God and have a small leather cross on my french horn. I make the sign of the cross and go up on stage.

WHAT DO YOU FEEL AFTER CONCERTS?

After concerts, I am super emotional. Sleeping is out of the question: I want to move and have fun. Even on the hardest day I feel as fit as a fiddle. After each concert, I feel life is only beginning.

WHAT ELSE CAN GIVE YOU SUCH STRONG EMOTIONS?

Fishing.

COULD YOU NAME THREE MUSICAL PIECES YOU CONSIDER THE PINNACLE OF MUSIC?

Speaking of the french horn, I would name all Mahler’s symphonies. They are very exciting and convenient to play on the french horn. The music itself is immaculate, too. Then, of course, comes Beethoven. And Wagner — his music is something otherworldly.

musicAeterna orchestra events

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

Sold out

An event of Diaghilev Festival

June 14, 20:00