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Sopranos

Olga Maslennikova

In the choir since 2025

Olga Maslennikova graduated from the Ponomaryov Musical Choral School ‘Spring’, and later the Gnessins Music College (the class of Oksana Glazeva) in 2018, and the Tchaikovsky Moscow State Conservatory majoring in Choral Conducting (the class of Professor Alla Kulikova) in 2023.

From 2018 to 2025 she was a teacher of choir singing, solfeggio, listening to music, and conducting at the Children’s Musical Choral School ‘Vesna’. In 2025, she decided to experiment and worked in the field of IT recruiting. At the same time, she performed in the Arielle vocal ensemble under the direction of Elmira Dadasheva. In the autumn of 2025 she joined the musicAeterna Choir.

HOW DID YOU COME TO BE A MUSICIAN?
At the age of five, I entered the Children's Musical Choral School 'Vesna', which now bears the name of Alexander Ponomaryov. My mother, my aunt and uncle studied at this school — we are almost a dynasty. My studies at school and personal acquaintance with Alexander Sergeyevich Ponomaryov greatly influenced my attitude to music and my desire to become a choral conductor. We had highly qualified teachers, and the choir won the Grand Prix at competitions in Europe. Anyway, to me, it is more important that me and the other kids feel at home there.
HOW HAVE YOU BECOME A MEMBER OF MUSICAETERNA?
In my first year at the Conservatory, I returned to my music school as a teacher and worked there until 2025. It was a wonderful experience, but at some point I realized that I needed to move on. I participated in the Educational Programme of the Diaghilev Festival. I got into its spirit, got acquainted with musicAeterna, and received a positive response, but they didn't have time to audition me then. ln autumn, when I least expected it, I was invited first to audition, and then to join the choir. I had just moved into a new apartment in Moscow, but I grabbed my three cats, and in anticipation of future changes, we moved to St Petersburg in just a week.
DO YOU REMEMBER YOUR FIRST CONCERT?
I was most anxious about Esperia concerts at Dom Radio in November 2025. It was my first performance with musicAeterna, and I was trusted to sing a solo. Katerina Imsokva and I stood at different ends of the stage and took turns singing stanzas from Hildegard of Bingen's O Virga Ac Diadema sequence. It was technically challenging and exciting. To be honest, it was much easier for me to sing solo when I was a kid. And now I'm getting more anxious, probably because I'm thinking more about the quality and beauty of what I'm doing.
WHO WOULD YOU BECOME IF NOT A MUSICIAN?
Because I grew up in a large team, I've been good at communicating with people and organizing things since childhood. I have several creative project ideas, and I like to think of ways to combine music, light, and dance... So, if it weren't for choral conducting, I'd probably be creating projects that combine different art forms.
WHAT IS THE MOST IMPORTANT THING FOR AN ARTIST?
It seems to me that the first thing an artist needs is love for their work. And also honesty — art does not tolerate guile. Of course, in order to develop in the profession, an artist must be able to make connections and present themselves correctly. Health is also very important. However, the most important thing is still love.

musicAeterna choir events

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György Kurtág (b. 1926)
Songs of Despair and Sorrow for mixed choir with instrumental accompaniment, Op. 18 (1980–1994)

So weary, so wretched to the words of Mikhail Lermontov (1840)
Night, an empty street, a lamp, a drug-store to the words of Alexander Blok (1912)
Blue Evening to the words of Sergei Yesenin (1925)
Where can I go to in this January? to the words of Osip Mandelstam (1937)
The Crucifixion to the words of Anna Akhmatova (1939)
It’s time to the words of Marina Tsvetaeva (1941)

Grabstein für Stephan | Gravestone for Stephan for guitar and instrumental ensemble, Op. 15c
(1989)

Johannes Brahms (1833–1897)
Ein deutsches Requiem | A German Requiem for soprano, baritone, choir and orchestra, Op. 45 (1865–1869)

Selig sind, die da Leid tragen | Blessed are those who weep, for they will be comforted
Denn alles Fleisch, es ist wie Gras | For all flesh is like grass
Herr, lehre doch mich, dass ein Ende mit mir haben muss | Lord, teach me that I must have an end
Wie lieblich sind Deine Wohnungen, Herr Zebaoth! | How lovely is Thy dwelling place, O Lord of hosts!
Ihr habt nun Traurigkeit | Ye now therefore have sorrow
Denn wir haben hier keine bleibende Statt | For here we have no continuing city
Selig sind die Toten, die in dem Herrn sterben | Blessed are the dead who die in the Lord

The programme is subject to change.

Performers:

Iveta Simonyan — soprano
Vladislav Chizhov — baritone

The musicAeterna Choir and Orchestra
Conductor — Teodor Currentzis 

 

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György Kurtág (b. 1926)
Songs of Despair and Sorrow for mixed choir with instrumental accompaniment, Op. 18 (1980–1994)

So weary, so wretched to the words of Mikhail Lermontov (1840)
Night, an empty street, a lamp, a drug-store to the words of Alexander Blok (1912)
Blue Evening to the words of Sergei Yesenin (1925)
Where can I go to in this January? to the words of Osip Mandelstam (1937)
The Crucifixion to the words of Anna Akhmatova (1939)
It’s time to the words of Marina Tsvetaeva (1941)

Grabstein für Stephan | Gravestone for Stephan for guitar and instrumental ensemble, Op. 15c
(1989)

Johannes Brahms (1833–1897)
Ein deutsches Requiem | A German Requiem for soprano, baritone, choir and orchestra, Op. 45 (1865–1869)

Selig sind, die da Leid tragen | Blessed are those who weep, for they will be comforted
Denn alles Fleisch, es ist wie Gras | For all flesh is like grass
Herr, lehre doch mich, dass ein Ende mit mir haben muss | Lord, teach me that I must have an end
Wie lieblich sind Deine Wohnungen, Herr Zebaoth! | How lovely is Thy dwelling place, O Lord of hosts!
Ihr habt nun Traurigkeit | Ye now therefore have sorrow
Denn wir haben hier keine bleibende Statt | For here we have no continuing city
Selig sind die Toten, die in dem Herrn sterben | Blessed are the dead who die in the Lord

The programme is subject to change.

Performers:

Iveta Simonyan — soprano
Vladislav Chizhov — baritone

The musicAeterna Choir and Orchestra
Conductor — Teodor Currentzis 

 

Sold out
+

György Kurtág (b. 1926)
Songs of Despair and Sorrow for mixed choir with instrumental accompaniment, Op. 18 (1980–1994)

So weary, so wretched to the words of Mikhail Lermontov (1840)
Night, an empty street, a lamp, a drug-store to the words of Alexander Blok (1912)
Blue Evening to the words of Sergei Yesenin (1925)
Where can I go to in this January? to the words of Osip Mandelstam (1937)
The Crucifixion to the words of Anna Akhmatova (1939)
It’s time to the words of Marina Tsvetaeva (1941)

Grabstein für Stephan | Gravestone for Stephan for guitar and instrumental ensemble, Op. 15c
(1989)

Johannes Brahms (1833–1897)
Ein deutsches Requiem | A German Requiem for soprano, baritone, choir and orchestra, Op. 45 (1865–1869)

Selig sind, die da Leid tragen | Blessed are those who weep, for they will be comforted
Denn alles Fleisch, es ist wie Gras | For all flesh is like grass
Herr, lehre doch mich, dass ein Ende mit mir haben muss | Lord, teach me that I must have an end
Wie lieblich sind Deine Wohnungen, Herr Zebaoth! | How lovely is Thy dwelling place, O Lord of hosts!
Ihr habt nun Traurigkeit | Ye now therefore have sorrow
Denn wir haben hier keine bleibende Statt | For here we have no continuing city
Selig sind die Toten, die in dem Herrn sterben | Blessed are the dead who die in the Lord

The programme is subject to change.

Performers:

Iveta Simonyan — soprano
Vladislav Chizhov — baritone

The musicAeterna Choir and Orchestra
Conductor — Teodor Currentzis 

 

Sold out
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Jean-Philippe Rameau (1683–1764)

Vocal and orchestral numbers from the works:
Les Indes galantes (1735), an opera-ballet
Castor et Pollux (1737), a lyrical tragedy
Les fêtes d’Hébé, ou Les talens lyriques (1739), an opera-ballet
Platée ou Junon jalouse (1745), a lyrical comedy
Zaïs (1748), a heroic pastoral
Zoroastre (1749), a lyrical tragedy
Abaris ou les Boréades (1763–1764), a lyrical tragedy

The programme is subject to change.

Performers:
The musicAeterna Orchestra and Choir
Artists of the Anton Rubinstein Academy
Musical Director and Conductor – Teodor Currentzis

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Jean-Philippe Rameau (1683–1764)

Vocal and orchestral numbers from the works:
Les Indes galantes (1735), an opera-ballet
Castor et Pollux (1737), a lyrical tragedy
Les fêtes d’Hébé, ou Les talens lyriques (1739), an opera-ballet
Platée ou Junon jalouse (1745), a lyrical comedy
Zaïs (1748), a heroic pastoral
Zoroastre (1749), a lyrical tragedy
Abaris ou les Boréades (1763–1764), a lyrical tragedy

The programme is subject to change.

Performers:
The musicAeterna Orchestra and Choir
Artists of the Anton Rubinstein Academy
Musical Director and Conductor – Teodor Currentzis