Miriam Prandi
In the orchestra since 2019
Italian cellist Miriam Prandi was praised by the Schweizer Musikzeitung for her “sincerity of expression which is surprising” and that “one gets the impression that the cellist lives only within her playing’, following her performance of the Dvořák Cello Concerto at the Zurich Tonhalle as the only 1st Prizewinner in all string categories of the Rahn Musikpreis 2014.
Miriam Prandi has been a featured artist at Teatro alla Scala in Milano for the Festival MITO, at the Opera di Firenze for the Festival of Maggio Musicale Fiorentino where she performed both as cellist and pianist Mozart K595 Piano Concerto and Haydn C major Cello Concerto, at the Auditorium Rai in Torino for the Unione Musicale, at Al Bustan Festival in Beirut, at the Menuhin Festival Gstaad in Switzerland, at the Cultural Days of the European Union Bank in Frankfurt am Main, and at New York University and Santa Clara University in the USA, among others.
Miriam Prandi has performed as a Soloist under the baton of Vladimir Fedoseyev, Neeme Järvi, Andris Poga, Gianluca Marcianò, Michele Mariotti, Douglas Bostock, among others.
Born in Mantova, Italy in 1990, Miriam Prandi began her musical studies on piano with her father at the age of five, and continued her piano studies at the International Accademia Pianistica in Imola. Later she pursued her Cello studies with Natalia Gutman in Fiesole and Vienna. Ms. Prandi received her Soloist Master degree with ‘Distinction’ from the Hochschule der Künste Bern where she was a student of Antonio Meneses and she is also strongly influenced by her final studies with Ivan Monighetti.
Between 2015-2018 she has performed as cellist of the delian::quartett
throughout Europe in prestigious venues as Berlin Philharmonie, Konzerthaus Berlin, Rheingau Music Festival, Konzerthaus Vienna, Ludwigsburger Schlossfestspiele among others,and recorded both as cellist and pianist the complete Bach’s the Art of Fugue at the German Radio Deutschlandfunk in Cologne for the label Oehms Classics.
Miriam Prandi performs on a cello by Giovanni Grancino (Milan, 1712), a generous loan from Fondazione Pro Canale Onlus.
— Corelli concerti grossi by Trevor Pinnock and The English concert
— Elton John ‘Love Songs’ (1995)
musicAeterna orchestra events
Pyotr Tchaikovsky (1840–1893)
Francesca da Rimini
Symphonic fantasy after Dante, Op. 32 (1876)
Capriccio Italien
A fantasy for orchestra, Op. 45 (1880)
Romeo and Juliet
An overture-fantasy after Shakespeare, TH 42 (1869–1880)
musicAeterna Orchestra
Conductor — Teodor Currentzis
Pyotr Tchaikovsky (1840–1893)
Francesca da Rimini,
Symphonic Fantasy after Dante, Op. 32 (1876)
Capriccio Italien
on folk tunes for orchestra, Op. 45 (1880)
Romeo and Juliet,
Overture-Fantasy after Shakespeare, TH 42 (1869–1880)
musicAeterna Orchestra
Conductor — Teodor Currentzis
Richard Wagner (1813 – 1883)
Vorspiel to the opera Parsifal (1882)
Overture to the opera Tannhäuser (1843–1845)
Vorspiel und Liebestod from the opera Tristan und Isolde (1857–1859)
Vorspiel to the opera Lohengrin (1845–1848)
Overture to the opera Die Meistersinger von Nürnberg (1868)
musicAeterna Orchestra
Conductor Teodor Currentzis
Antonín Dvořák (1841–1904)
Cello Concerto in B Minor, Op. 104, B. 191 (1894–1895)
Allegro
Adagio ma non troppo
Finale. Allegro moderato
Symphony No. 8 in G Major, Op. 88, B. 163 (1889)
Allegro con brio
Adagio
Allegretto grazioso — Molto Vivace
Allegro ma non troppo
The musicAeterna Orchestra
Soloist Alexey Zhilin
Conductor Alexander Sladkovsky
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