Violаs

Lev Serov

In the orchestra since 2019

Lev Serov graduated from the Moscow Tchaikovsky State Conservatory in 2001, having studied viola (under professor G.I. Odinets) and chamber ensemble playing (under professor T.A. Gaidamovich). Along with his conservatory studies, Lev Serov was preparing for the international string quartet competition at V.A. Berlinsky’s class.

As a member of the “Romantic Quartet”, Lev Serov received his first award and seven special prizes at the Vth Shostakovich International Competition in 1999. He toured around Russia and the world, along with participating in several music festivals: the D. Oistrakh festival in Pärnu (Estonia), the A. Arensky festival, “The young for the young” festival at the Lingotto Center (Turin, Italy), and the “Art of Quartet — Beethoven-Bartók” festival (Moscow, Russia).

Lev Serov has taken part in concerts by the Borodin State Quartet at the Moscow Conservatory hall.

Since January 2008, he has been a member of the Glinka State Quartet. Since August 2019, Lev Serov has been part of the musicAeterna orchestra.

WHAT BROUGHT YOU TO THE WORLD OF MUSIC?

In fact, I became a musician against all odds. It wasn’t an easy path. There are no other musicians in my family. In addition, I was born in a small district near the city of Orel — a place where even a decent basic music education was hard to come by. Music was just one of my many hobbies as a child. However, I was lucky to meet a teacher who taught me the basics and, most importantly, made me understand there were opportunities for development. Everything did fall into place eventually: working with Maestro is the best opportunity I could have ever asked for.

WHAT DO YOU VALUE THE MOST IN WORKING WITH MUSICAETERNA?

A lot of music is now performed mechanically. That’s why academic music concerts can get pretty boring: there’s no spark, even among the performers themselves. They have no understanding of what they are doing and why; instead, they just play the notes. Maestro, however, has a unique gift. It isn’t just the result of education, outlook or experience — it’s something greater, something that few people possess. Right now, I’m happy to act as a transmitter of ideas the origin of which is often unknown to me.

HOW DO YOU TYPICALLY WORK ON A MUSIC PIECE?

The main body of work is done with Maestro. You can play a piece with no mistakes whatsoever, but it isn’t enough to actually turn it into music. What Maestro shows you is that a music phrase doesn’t exist on its own: instead, its interpretation stems from its very nature. He explains, he shows, he sings — and he reaches his goal: ultimately, we play music the exact way he hears it.

WHAT OTHER HOBBIES DO YOU HAVE ASIDE FROM MUSIC?

Visual art, I guess: cinema, photography. Sports as well, particularly football. I enjoy playing football with people from the orchestra when we have some free time.

WHAT IS YOUR DREAM?

Mine is quite mercantile: someday, I hope to purchase a very good instrument. And I dream to give my child the proper upbringing.

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