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

April 25, 19:00

Tashkent | Palace of International Forums «Uzbekistan»

Tchaikovsky: Francesca da Rimini, Capriccio Italien, Romeo and Juliet

Symphony concert

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April 27, 20:00

Dubai | Dubai Opera

Tchaikovsky: Francesca da Rimini, Capriccio Italien, Romeo and Juliet

Symphony concert

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April 28, 20:00

Dubai | Dubai Opera

Richard Wagner: Ouvertures

Symphony concert

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May 26, 20:00

St. Petersburg | State Academic Capella

Dvořák: Alexander Sladkovsky and musicAeterna

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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