Basses

Maxim Aksyonov

In the choir since 2024

Maksim Aksyonov graduated from the Krasnodar Institute of Culture and Arts (Department of Academic Singing and Opera Training).
From 2018 to 2021 he worked as an artist of the Krasnodar State Chamber Choir. Since 2021, he has been an artist at the Classical ART Academic Singers Workshop, a project of the Krasnodar G. Ponomarenko Philharmoniс Hall under the artistic direction of Aren Avetyan. Since 2024, he has been an artist of the musicAeterna choir.

He is a trained physical therapist and performs various types of massage, plays the accordion, and an amateur percussion player.

WHAT BROUGHT YOU INTO THE WORLD OF MUSIC?

As a child, I loved Jackie Chan movies and constantly imitated the characters—acting out monologues, singing in made-up languages, and copying their movements. My parents noticed my interest in acting but enrolled me in a music school for accordion instead. The instrument didn’t suit me—I was too small, and each lesson felt more like a hard workout than a music class. I finished the program without much enthusiasm, but eventually, I was expelled for skipping lessons. My parents understood and supported me when I switched to another music school, where I studied piano, vocals, and drums at the same time. This time, everything felt easier, and I graduated with three honors diplomas.

HOW DID YOU BECOME PART OF MUSICAETERNA?

I first heard musicAeterna and Teodor Currentzis in Sochi, performing works by Tchaikovsky and Rimsky-Korsakov. But it was their concert in Krasnodar last year, featuring Bruckner’s Ninth Symphony, that left me speechless. When I saw an audition announcement for the Diaghilev Festival Choir, led by Vitaly Polonsky, I didn’t hesitate—I immediately started looking for ways to join. At the festival, I soaked in every word, trying not to miss a single opportunity. Over time, I stopped seeing the idea of performing with such musicians as just a dream—it became a real goal. Being able to work and grow alongside these artists is a gift. Many ensembles call themselves a family, but in musicAeterna, it’s not just words—it’s the truth. Here, I feel at home.

WHICH COMPOSERS HAVE INFLUENCED YOU THE MOST?

I believe that all music is written around one of three great themes—God, love and humanity. These pillars help us endure suffering and find light in life. I think Johann Sebastian Bach understood this better than any other composer did. His St. Matthew Passion and keyboard partitas hold an immense power and crystal-clear purity. If I had to choose only one composer’s works to preserve from all of music history, it would be Bach’s.

WHAT DO YOU DREAM ABOUT?

I dream a lot, but I try to treat my dreams as goals. One of them is to perform Mahler’s Songs of a Wayfarer under the baton of Teodor Currentzis. I also want to work more with opera repertoire in musicAeterna. Teodor interprets opera in a way that makes it incredibly relevant while still preserving the essence of the era in which it was written.

HOW DO YOU RELAX?

I grew up in the Caucasus and practiced various martial arts as a kid—wushu, karate, and kudo—to be able to stand up for myself. Now, I no longer engage in combat sports, but I stay in shape with therapeutic physical training. I work out using only my body weight—no machines or dumbbells. On my days off, I always turn off my alarms and sleep as long as I want. I like starting my mornings with a slow, two-hour warm-up, which sometimes turns into cleaning, walking, or cooking. I try to keep at least half of my day completely free from any plans.

musicAeterna choir 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