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Mariia Oparina

What made you decide to become a musician?
According to my mother, I began singing before I learned to speak. I’ve always wanted to be a musician — but weirdly enough, my first degree was in engineering. Intuition told me I’d never want to work in that area, so I went to music college and later to conservatory.
What happens to you when you go up on stage?
The feeling of being watched by the audience makes me focus and enjoy the music about to be born. When performing, you give a lot but you also receive just as much. I’m energized by the idea of sharing thoughts and positive emotions with my listeners.
What do you dream to perform?
While at conservatory, I got enchanted by Baroque music. It is stunningly beautiful, complex and challenging. That’s what I want to play above anything else.
What inspires you to create?
This may sound trite but I’m inspired by spring: the first flowers emerging and blooming under the bright sun. I also love sunsets. The beauty in the surrounding world inspires me.
What does musicAeterna mean to you?
To me, musicAeterna has always been a beautiful dream. I wanted to play here but I’d never thought I’d actually become part of it. I’ve had experience of working at ensembles where people treated rehearsals as a factory job: they just showed up, did the job, and left. Things are different here: people are engaged in music and art at the highest level of professionalism. Everyone here is required to intonate cleanly. This troupe is constantly moving forward, and it makes each of its members do the same.

musicAeterna choir events

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November 11, 20:00
St. Petersburg | Nevsky, 62
The musicAeterna Choir and Timofey Golberg
Choral concert

Samuel Barber (1910–1981)
Adagio for string orchestra in B-flat minor, Op. 11 (1936), arranged for choir by Sergei Anashkin

Giya Kancheli (1935–2019)
Lulling the Sun for mixed choir and percussion (2008)

Alfred Schnittke (1934–1998)
Three Sacred Hymns for a capella mixed choir (1984)

Hail Mary, Full of Grace
Lord Jesus Christ
Our Father

Sergei Rachmaninoff (1873–1943)
Fragments from the Liturgy of St John Chrysostom, op. 31 (1910)

Bless the Lord, O My Soul
Praise Ye the Name of the Lord in Heaven,
Our Father
Blessed Be the Name of the Lord

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December 9, 20:00
St. Petersburg | Great Hall of the Philharmonic
Teodor Currentzis and musicAeterna. Tchemberdji, Wagner
Symphony concert

Katia Tchemberdji (b. 1960)
Nur zu weinen und zu singen…
Oratorio for orchestra, mixed choir and tenor solo set to the poems by Joseph Brodsky (2023). WORLD PREMIERE

I. Death alone gathers us
II. Clouds float over the grove
III. We want to be playing tag on the green
IV. But tell me, soul, what was the look of life
V. We won’t go up the hill anymore

Richard Wagner (1813–1883)
Der Ring Ohne Worte | The Ring Without Words
Symphonic suite based on the opera tetralogy The Ring of the Nibelung by Lorin Maazel (1987)

I. Das Rheingold |The Rhinegold
II. Die Walküre | The Valkyrie
III. Siegfried
IV. Götterdämmerung | The Twilight of the Gods

The musicAeterna Orchestra
Conductor Teodor Currentzis