Sopranos

Tamara Konstantinova

In the choir since 2025

Tamara Konstantinova was born in Chișinău, Moldova. She graduated from the vocal department of Novosibirsk Murov Music College and Moscow Popov Academy of Choral Art. She is the laureate of numerous festivals and competitions, including the XII Dargomyzhsky All-Russian Competition (I Prize, 2018), IV Prima Voce International Festival-Competition (III Prize, 2021), and Lemeshev International Vocal Competition (I Prize, 2021). Also, she is a Diploma winner of the VIII Shtokolov International Vocal Competition (2024).

Tamara Konstantinova is the soloist of the Palestrina Show vocal project of Moscow Popov Academy of Choral Art? As well as the soloist of the Lumisfera project.

WHAT BROUGHT YOU INTO THE WORLD OF MUSIC?

I've been involved in music since I was a child — I started singing at a music school when I was six. In kindergarten I was supposed to recite a poem for Santa Claus. My mom and I practiced it for two weeks. But when Santa asked if I wanted to say a poem or sing a song, I got scared and chose to sing instead. It was a complete improvisation, but after that, people started asking my mom where I was taking singing lessons and why I sang so well. That happy accident brought me into music.

HOW DID YOUR COLLABORATION WITH MUSICAETERNA BEGIN?

Last year, I applied to join the Youth Choir of the Diaghilev Festival but couldn’t make it in the end. Right before the festival, I wrote to Vitaly Anatolyevich Polonsky, and then I flew from Moscow to St. Petersburg for one day just for the audition. I sang the soprano part from the fugue in Verdi’s Requiem and the romance Rusalka by Glière. In January this year, I joined the choir.

MusicAeterna is the best ensemble in the country. I really love that even as a choir member, you have the chance to sing solo. I wasn’t expecting to do that so soon — I thought I’d grow into it gradually. But it happened that just a few days after joining, I performed a solo in mandorla by Alexey Retinsky.

WHAT’S YOUR FAVORITE MUSIC?

I don’t divide music into “high” and “low” — I just go with what fits my mood. Sometimes I’ll listen to indie music on repeat, and other times I’ll dive into Shostakovich and listen to his symphonies all week. I’ve really enjoyed working with contemporary music. It’s so free from stereotypes and rules — you want electronics? Go for it. You want to prepare a piano? Sure. That kind of freedom lets it express so much.

HOW DO YOU LIKE TO SPEND YOUR FREE TIME?

In Saint Petersburg, I have a favorite spot. There’s a pastry shop called Sever at the “Gostiny Dvor” metro station that’s been around since 1905. My great-great-grandmother took my great-grandmother there, then my grandmother went with my great-grandmother, and later she took me when I first visited the city. It’s a special place for me. Of course, it has changed a lot over the years, but it’s amazing that I can still go to the exact same place as generations of my family.

WHERE DO YOU FIND YOUR ENERGY?

I don’t like how TV series and reels mess with my focus. I prefer other kinds of entertainment — mostly lectures, especially about history and art. Lately, I’ve been exercising a lot — the long-lasting dopamine really helps. Once it warms up a bit, I’ll start running again, but for now I’m doing yoga and strength training. I also love to travel. I’ve been to Spain, Portugal, and Italy. I dream of going to Iceland, New Zealand, and the North Pole.

musicAeterna choir events

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

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An event of Diaghilev Festival

June 14, 20:00