Tenors

Nikolay Stazyuk

In the choir since 2019

Nikolay Statsyuk is 1st prize laureate of the Lisitsian international opera competition (Vladikavkaz, 2017).

He is also a 2nd prize laureate of the “Tsarskoselskiy” international opera competition (Pushkin, 2018).

Nikolay Statsyuk was born on February 23. In 2011, he graduated from the Moscow Humanitarian Pedagogical University. Later the same year, he began his studies at the Benedetto Marcello Conservatory of Music (Venice). In 2013, Nikolay performed the solo part in Haydn’s “Mass” at Teatro La Fenice (Venice).

In February 2016, he made his debut on the La Fenice stage in Gluck’s “Chinese Women” and Mancuso’s “Return of the Hand Bells”. In May 2016, Nikolay Statsyuk performed the solo part in Rossini’s Solemn Mass at Teatro Olimpico (Vicenza).

What brought you to the world of music?

The church choir brought me to the world of music: my dad is an Orthodox priest, and I have been singing in the choir since I was a child. In general, everyone in our big family has always sung, so it could be said that I have been singing since birth. However, I first chose pedagogy as my professional path. I graduated from the Moscow Pedagogical University and was engaged in organizing leisure activities for children and adolescents. But the interest in music still outweighed, and I entered the Venice Conservatory.

What does music mean to you?

I really love beautiful vocals. The vocals, like the music itself, live inside me, and I want to always stay in this sound.

Is there a work of music that shocked you?

I am an emotional person, so this happens to me quite often. I greatly enjoy some parts of Giuseppe Verdi's Requiem. This is an emotional shake-up that anyone needs. Once I had a chance to perform the Requiem in the Great Hall of the Philharmonic. You know, there are 5D, 6D cinemas, but it's all-D, all senses at once. Schnittke's Choir Concerto set to the lyrics by Grigor Narekatsi simply won me over. One day, right at a concert while performing I felt a tear flowing down my cheek. Some people say that it is wrong to reach such an uncontrollable state. But I like it. I like those feelings.

If you had the opportunity to change one thing in the world, what would you change?

I am categorically against cruelty to children. I know what it is, so I would really like to stop that. I would like the strong never to offend the helpless…

What do you dream about?

I wish my parents see my progress and rejoice. This is what any parent wants — I know. If this happens, then my children will see it and act accordingly. The sequence will continue, and everything will be fine in the families.

What do you value most in working with musicAeterna?

The first thing that comes to my mind is the purity of execution. In the working process, such a crystal clear sound is achieved that it fascinates and surprises. Moreover, I'm trying to compare musicAeterna's performance with the versions of other choirs, and I can't find such a clear sound anywhere else. That's what my soul was drawn to. Besides, I have never met such a warm and sincere team.

musicAeterna choir events

April 26, 20:00

St. Petersburg | Nevsky, 62

Ο ῎Αγγελος ἐβόα: musicAeterna byzantina and musicAeterna Concert

Choral concert

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April 27, 20:00

St. Petersburg | Nevsky, 62

Ο ῎Αγγελος ἐβόα: musicAeterna byzantina and musicAeterna Concert

Choral concert

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May 7, 20:00

St. Petersburg | Nevsky, 62

Concert of the musicAeterna Choir. The sacred music of Poulenc and Britten

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An event of Diaghilev Festival

June 13, 20:00

Perm | House of Music (Shpagin plant)

Hændel. A Dedication Ceremony to George Frideric Handel. Opening concert of the festival

George Frideric Handel (1685–1759)

Augelletti, ruscelletti, aria of Mary Cleophas from the oratorio La Resurrezione, HWV 47 (1708)

Zadok the Priest, Coronation Anthem No. 1, HWV 258 (1727)

E pur così in un giorno – Piangerò la sorte mia, recitative and aria of Cleopatra from the opera Giulio Cesare in Egitto, HWV 17 (1724)

Welcome as the Dawn of Day, duet from the oratorio Solomon, HWV 67 (1749)

Disserratevi, o porte d’Averno, aria of the Angel from the oratorio The Resurrection (La Resurrezione), HWV 47 (1708)

Ah! Crudel nel pianto mio, aria of Armida from the opera Rinaldo, HWV 78 (1711)

Overture to the opera Agrippina, HWV 6 (1709–1710)

Sarabande from the Partita in G major for solo harpsichord, HWV 450 (1700–1705)

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)

Piangete sì, piangete, aria of Mary Cleophas from the oratorio La Resurrezione, HWV 47 (1708)

As With Rosy Steps the Morn, recitative and aria of Irene from the oratorio Theodora, HWV 68 (1750)

Alla Hornpipe, No. 2 from Water Music Suite No. 2 in D major, HWV 349 (1716–1717)

Pena tiranna, aria of Dardano from the opera Amadigi di Gaula, HWV 11 (1715)

Amarti sì vorrei, aria of Agilea from the opera Teseo, HWV 9 (1713)

Fermati! / No, crudel!, duet of Armida and Rinaldo from the opera Rinaldo, HWV 78 (1711)

He Saw the Lovely Youth, chorus from the oratorio Theodora, HWV 68 (1750)

Ah! Stigie larve — Vaghe pupille, recitative and aria of Orlando from the opera Orlando, HWV 31 (1733)

Oh Love Divine, Thou Source of Fame, chorus from the oratorio Theodora, HWV 68 (1750)

Performers:
musicAeterna orchestra and choir
musicAeterna Dance company
artists from the Anton Rubinstein Academy

Conductor – Teodor Currentzis

An event of Diaghilev Festival

June 14, 20:00