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Sopranos

Nadezhda Boyko

In the choir since 2019

Nadezhda Boiko (soprano) was born in Moscow. She studied at the Academic music college at the Tchaikovsky Moscow State Conservatory and later graduated from the choir conducting department of the Conservatory. She has worked as a chorus master, concertmaster and choir singer with various choirs (including her work as a chorus master and choir singer at the “Russian Opera” theatre in 2009–2011). She is also the founder of the “Force MAJEURE” student choir band at the Higher School of Economics.

In 2012–2014, Nadezhda Boiko earned her master’s degree at Hochschule für Musik (Dresden) where she studied conducting (under Hans-Christoph Rademann) and singing (under Semperoper soloist Christiane Hossfeld).

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At the same time, she attended madrigal singing master classes in Urbino, Austria Baroque Academy courses in Gmunden, and a medieval music master class in Besalu. She also took lessons from baroque singer Deborah York.

Upon returning from Germany, Nadezhda Boiko began her singing career and collaborated with such ensembles as La Villa Barocca, Musica Dulci Sono, Sine Nomine, Capella 415, Eidos, Questa Musica, and Intrada.

A mother of two 3-year-olds, Nadezhda Boiko has been a member of the musicAeterna choir since autumn 2019.

HOW DID YOU COME TO BE A MUSICIAN?
My career choice was largely determined by my parents, but when I joined the children's choir, I fell in love with music once and for all. That's when I decided to enter the Choral Conducting department. At the rehearsals with musicAeterna, many years after the first impression of the music, I still feel thrilled when analysing the material and while singing.
DO YOU REMEMBER YOUR FIRST CONCERT?
It was Mozart's Requiem. I was in my first year, I didn't feel confident being in the choir yet. However, it felt incredible: as if I was part of every chord, part of the overall harmony, part of a large ensemble with the orchestra and soloists, and, ultimately, part of the music.
WHAT IS YOUR FAVOURITE MUSIC?
I especially love Renaissance madrigals and medieval music. I studied madrigal singing in Urbino, took private vocal lessons from the Baroque singer Deborah York. I can listen to Claudio Monteverdi non-stop. His Amor, part of the madrigal Lamento della Ninfa, helps me to harmonize myself. I dream of performing this kind of music more.
WHAT DO YOU DO IN YOUR FREE TIME?
I was born in Moscow, lived and studied in Germany, travelled a lot, but I always dreamed of living in St Petersburg. I am happy that I managed to make this dream come true, and even together with my beloved colleagues. If I hadn't been into music, I would have connected my life with travelling or with cinema. I don't enjoy routine. Trips help me to switch from it, they revitalize me.
WHAT DO YOU VALUE MOST IN LIFE?
Family and quality time spent with the loved ones is very important to me. I have two children, interacting with them helps me to get to know myself in new ways. I constantly think about what I could do to make their future bright. It's difficult to combine frequent touring with parenting, but I do my best.

musicAeterna choir events

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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)

  1. Allegro non molto
  2. Adagio
  3. 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

Sold out
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June 2, 19:00
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)

  1. Allegro non molto
  2. Adagio
  3. 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

Sold out
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An event of Diaghilev Festival
June 20, 19:00
Perm | Great Hall of the Perm Philharmonic
Concert of musicAeterna: Bach

Johann Sebastian Bach (1685–1750)
The St Matthew Passion

a sacred oratorio for solo voices, double choir and double orchestra with libretto by Picander (Christian Friedrich Henrici), BWV 244 (1727–1729/1736)

MusicAeterna Choir and Orchestra
Guest soloists
Conductor Teodor Currentzis