Sopranos

Victoria Vaksman

In the choir since 2018

WHAT BROUGHT YOU INTO THE WORLD OF MUSIC?

Ever since my first steps, I have been lucky with my wonderful teachers. They made me realize that there was a radical difference between me within the music world and me beyond it. And I did want to be a part of that world.

WHAT PEOPLE OR EVENTS INFLUENCED YOU THE MOST, BOTH AS A PERSON AND AS A MUSICIAN?

My mother is always the first person that comes to my mind when I am asked such questions. And I do not just say it out of gratitude or mere politeness. My mother shaped the tiniest particles of my tastes and my personality. I spent my whole childhood listening to her stories of great artists, singers and conductors (and at the time of her youth, pretty much all of those were indeed great). At the times she left me alone, I entertained myself looking through countless art catalogues. I remember sitting on the floor at 6 years of age and skimming through Bryullov’s catalogue. I found Bryullov’s art scary at times; Picasso’s, on the other hand, seemed absolutely unintelligible but extremely captivating.

Presently, working with Teodor Currentzis is definitely the brightest part of my life. I first met him 7 or 8 years ago and instantly realized what a unique and otherworldly phenomenon he was. Yet as much as I admired his creative output, I could not even imagine that the audience only got to see the tip of the iceberg that his actual work comprised. You can only realize its true scale once you become directly involved in it. All his projects are a chance for each of us to discover something we have yet to acknowledge about ourselves. This happens every single time — can you believe that? While speaking to the whole troupe, he manages to communicate with each member on a personal level. This is my impression, at least: I am but a drop in the ocean, yet Maestro is speaking to me. And we cannot imagine it any other way. We grow due to this dialogue in which both parties trust each other unconditionally. This is amazing!

WHAT IS YOUR SOURCE OF INSPIRATION? WHERE DO YOU GET YOUR CREATIVE IDEAS FROM?

I find talented people incredibly inspiring. Their popularity and scale do not matter: both a well-known public figure and a “no-name” street artist can be hugely talented. To quote Anna Demidova’s recent interview, “talent nourishes talent”. I think this is spot on: I am surrounded by so many outstandingly gifted people that inspiration comes to me seamlessly. Those people energize me and jump-start my creativity. I become interested in what they find inspiring. To my mind, there is nothing wrong with following in the footsteps of geniuses!

DO YOU HAVE A CREATIVE DREAM?

I believe dreams are not really meant to be to be discussed in much detail. All I can say that aside from music school, I also went to folk dance school as a child. Both schools had teachers that were truly faithful to their calling. Ever since then, my second greatest passion in life has been dancing, motion, plastic movement… I should probably stop here. My dream is to bring all my skills and my intuition into a state of perfect synergy. I also hope everything that makes up my whole life right now — the time, the people, the music, the friends — lasts as long as possible!

WHAT DOES MUSICAETERNA MEAN TO YOU?

It is my oxygen! It is a place where inspiration is born. It is a place where people have a blast working, exploring, and dedicating themselves to their ideas. If there is music, there is God. And where God is, there is Love!

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

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June 2, 19:00