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

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

June 2, 19:00