Moscow chamber orchestra Musica Viva, Peter Neumann

February 10, 2014 in the Concert Hall named after P.I. Tchaikovsky will host the third concert of the Moscow Chamber Orchestra Musica Viva's philharmonic subscription “Masterpieces and Premieres”. This evening, for the first time, the renowned German maestro Peter Neumann, director of the Cologne Chamber Choir and Orchestra Collegium Cartusianum, one of the world's most respected interpreters of the music of Handel, Bach and Mozart, will be at the orchestra's conductor's stand.

The upcoming concert will be only the fourth performance of the 73-year-old conductor in the Russian capital. Neumann came twice with the groups he led: in 2005, as part of the Moscow Easter Festival, he presented the premiere of “The Passion of St. John” by I.S. Bach in the 1725 edition, and in 2009, under his direction, the oratorio “Messiah” by G.F. was performed. Handel. In April 2013, Neumann conducted Handel's Acis and Galatea with Russian soloists, the Pratum Integrum orchestra and the Intrada vocal ensemble at the Moscow International House of Music. This time, Neumann will perform a Mozart program for the first time in front of the Moscow public, which he will perform together with the Musica Viva orchestra. Symphony No. 38 (“Prague”) will be performed in the first part, and the famous Requiem in the second part.

A brilliant international cast of soloists will take to the stage to perform the Requiem together with the orchestra and vocal ensemble Intrada. This is the famous German bass-baritone Wolf Matthias Friedrich, who has previously taken part in Musica Viva projects - the performance of the oratorio “The Creation of the World” (2007) and the evening for the 300th anniversary of Giovanni Pergolesi (2010), and the Russian debutante, Swedish soprano Maria Keohane, extremely in demand in the Baroque repertoire. Also participating in the performance will be young Russian singers who have already proven themselves on the professional stage - mezzo-soprano Daria Telyatnikova and tenor Alexey Neklyudov.

For the Musica Viva orchestra, historically accurate performance of baroque and early classicism music is one of the main directions of creative activity. Over the years, the team has implemented projects that have received high praise from the public and critics. Thus, the concerts featured Haydn’s oratorios “The Creation of the World” and “The Seasons,” Mozart’s opera “Idomeneo,” Vivaldi’s oratorios “Judith Triumphant” and Degtyarev’s “Minin and Pozharsky, or the Liberation of Moscow.” In collaboration with the British maestro Christopher Moulds, the Russian premieres of Handel's operas Orlando, Ariodante and the oratorio Hercules were performed. A unique musical and educational event was the “Classic Cavalcade” concert (2006), when for the first time a symphony orchestra was presented on the Russian stage, all the musicians of which played historical instruments from the times of Haydn and Beethoven. Collaboration with the world's leading musicians, specializing in historically accurate performances of 18th-century music, has also become one of the “trademarks” of the orchestra, which over the years has been led by such renowned masters as Christopher Hogwood and Roger Norrington. The first joint concert with Peter Neumann will continue this tradition. The performance of Mozart's works under his direction promises to be a major artistic event in the cultural life of the capital.

Peter Neumann– director of the Cologne chamber choir and orchestra Collegium Cartusianum, famous interpreter of Handel, Bach and Mozart. Neumann was born in 1940 in Karlsruhe. He studied organ playing with Michael Schneider in Berlin, and then improved his skills with Gaston Litez (a student of Marcel Dupré and Louis Vierne), as well as Olivier Messiaen at the Paris Conservatoire. He studied orchestral conducting with Sergiu Celibidache. Winner of numerous awards, including Gramophone and Diapason d'Or, Neumann performs with the world's leading bands and participates in major international festivals.

In recent decades, Neumann has gained an international reputation as the finest conductor of Handel's works. In 1999, he opened a series of concerts in Cologne called “250 Years of Handel’s Oratorios.” In it he performed those oratorios that were in the composer’s own repertoire exactly 250 years ago. The cycle continued for several years and was accompanied by the release of discs. Neumann's extensive discography also includes all of Mozart's masses and Requiems released on the EMI Classic label, sacred music by Schumann and Brahms, the second edition of Bach's St. John's Passion and other works.

Maria Keohane is a Swedish soprano whose repertoire covers a wide range of musical styles from baroque to contemporary. She often performs as a soloist in performances of works of the cantata-oratorio genre. The singer collaborated with many famous conductors, including Erik Erikson, Roy Goodman, Gustav Leonhardt, Jacob Lindberg, Andrew Manze and others. She has recorded several albums, among which special mention should be made of a recording with baroque trumpeter Niklas Eklund (Naxos) and an album of folk music recorded with the ensemble Folkmusik I Frack. Maria Keohane is the recipient of a number of awards, including the Reumert Prize (2005) for the role of Armida (Rinaldo by Handel).

Wolf Matthias Friedrich– German bass-baritone specializing in Baroque music. He gives many solo concerts and also collaborates with such ensembles as Musica Fiata and Cantus Cölln, focused on historically accurate performance of early music.

The wide range allows the singer to perform Handel's complex operatic arias flawlessly from both a technical and musical point of view. In 2008 - 2010, he shone as Zoroaster in the opera Orlando at the famous Handel Festival in Göttingen, at the Drottningholm Opera House in Stockholm and the Comic Opera in Berlin.

His musicality and acting abilities allowed him to brilliantly perform a number of Mozart's roles. He performed the role of Publius in La Clemenza di Titus at the Prague Opera House in the 2006-07 season and the role of Osmin in The Abduction from the Seraglio at the Cologne Opera House in 2010. The singer's repertoire also includes romantic and modern music. His discography includes a number of recordings that received positive reviews from the press.

Daria Telyatnikova– mezzo-soprano, laureate of the international competition “St. Petersburg in the Mirror of World Musical Culture” (2007). From 2010 to 2012 she was a soloist at the Mariinsky Theater Academy of Young Singers. In 2011 she made her debut at the Mariinsky Theater as Nicoletta (The Love for Three Oranges), and in 2012 she performed the role of Cherubino (The Marriage of Figaro). Since the 2012-13 season she has been an artist at the International Opera Studio in Zurich. On the stage of the Zurich Opera she performed the roles of viola (Unrest in Tahiti by Bernstein), Page and Flower Maiden (Parsifal), Amita (Patient Socrates by G.F. Telemann). In 2013, the singer made her debut at the Bolshoi Theater, performing the roles of the Couch, the Cat, the Squirrel and the Shepherd (“The Child and the Magic” by Ravel).

Alexey Neklyudov– tenor, studied at the Gnessin State Music College and the Viktor Popov Academy of Choral Art. In 2007, the young performer became a laureate of the International Student Vocal Competition Bella Voce and the International Competition-Festival “Contemporary Art and Education” in Moscow, and in 2008 he received awards from the International Competition-Festival “Hope, Talents, Masters” in Bulgaria and competitions “ Delphic Games" in Minsk and Novosibirsk.

In 2010, Alexey Neklyudov made his debut on the stage of the Great Hall of the Moscow Conservatory with the National Philharmonic Orchestra of Russia conducted by Vladimir Spivakov, performing the tenor role in Saint-Saëns' Requiem. Since then, he has been constantly performing with this group, taking part in the “Vladimir Spivakov Invites” and “Cherry Forest” festivals in Omsk and Perm. In 2011, the singer was awarded a charitable grant from the NPR.

In 2010-2012 - soloist of the Mariinsky Theater Academy of Young Singers.
In 2011 she made her debut at the Mariinsky Theater as Nicoletta (The Love for Three Oranges by S. Prokofiev), in 2012 she performed the role of Cherubino (The Marriage of Figaro by W. A. ​​Mozart).

In the 2012/2013 season she was an artist at the International Opera Studio in Zurich.

In 2013 she made her debut at the Bolshoi Theater, performing the roles of the Couch, the Cat, the Squirrel, and the Shepherd (The Child and the Magic by M. Ravel). In the same year she performed the role of Laura (Iolanta by P. Tchaikovsky). In 2015 she performed the role of Cherubino (The Marriage of Figaro by W. A. ​​Mozart).

Since 2013 - soloist-trainee of the opera troupe of the Perm Academic Opera and Ballet Theater named after. P.I. Tchaikovsky.

She took part in the Stars of the White Nights festival (St. Petersburg).
She has performed on the stage of the Teatro Comunale Ferrara (Italy), the Berlin Philharmonic, the Megaron Concert Hall (Athens), the Paris Music City / Cite de la Musique, the concert hall of the Calouste Gulbenkian Foundation (Lisbon), the Concert Hall. P.I. Tchaikovsky, Great Hall of the Moscow Conservatory, St. Petersburg Philharmonic. D.D. Shostakovich.

Repertoire: Cherubino (“The Marriage of Figaro” by W. A. ​​Mozart), Zerlina (“Don Giovanni” by W. A. ​​Mozart), Dido (“Dido and Aeneas” by H. Purcell), Olga (“Eugene Onegin” by P. Tchaikovsky ), Nicoletta (“The Love for Three Oranges” by S. Prokofiev), Couch, Cat, Squirrel, Shepherd (“The Child and Magic” by M. Ravel), Page, Flower Maiden (“Parsifal” by R. Wagner), Amitta (“Patient Socrates” by G.F. Telemann), Alcina (“Furious Roland” by A. Vivaldi), Laura (“Iolanta” by P. Tchaikovsky), Polina (“The Queen of Spades” by P. Tchaikovsky), viola roles in the ballet “A Midsummer Night’s Dream” "to the music of F. Mendelssohn-Bartholdy, the opera "Unrest in Tahiti" by L. Bernstein, Requiem by W. A. ​​Mozart.

She has collaborated with such conductors as Vladimir Jurowski, Teodor Currentzis, Alexander Rudin, Marco Zambelli, Peter Neumann.

In the summer, Daria and Ilya got married in St. Petersburg. I gave them the book “One on One.” There were materials about Daria’s older sister, Natalya Loshchinina, and Ilya’s father, Valery Mezhevich. However, Dasha does not need “high” family ties. She herself is an opera diva of Russia. And so Daria Telyatnikova, one of the best mezzo-sopranos in the country, came to her small homeland. It would have been a sin not to take advantage of such an opportunity.
I’ll tell you an open secret - Dasha is nine months pregnant. She continued to work and sing until December. I recently read that 18-time Olympic champion in artistic gymnastics Larisa Latynina, who recently turned 80 years old, was preparing for her next competition at the 1958 World Championships in Moscow while “deeply pregnant.” Truly, there are no stronger and more beautiful Russian women in the world!
I’ll say right away that for me the opera is on the level of Frosya Burlakova from the film “Come Tomorrow” and “Toreador, boldly into battle!” Therefore, I agreed with Daria on the shore: I will be a loser in this action. And she should act as a guide. And this is what came out of it.
The crowning number is a parody of Rasputin.
– Don’t you think, Dasha, that your parents stole your childhood? In my opinion, music lessons are drill, coercion, constant control from parents and teachers.
- Absolutely not. I was eight years old, I was in second grade. And suddenly I found out that not far from my school there is a music school where children study music. She forced my parents to take me there. It all started when I started parodying Masha Rasputin at home. I remember it now: my mother and Natasha were doing renovations in a large living room, I came out with my father’s medical chair (leather, swiveling, a rarity in those days): “Now I’ll sing for you!” This number has become a family, corporate number. Guests arrive, and mom: “Dasha will perform now!”
In general, if my parents are fed up with it, take me to a music school. Dad laughs: “Dasha, the bear stepped on your ear.” They took me away. I remember very well how my dad put me in the car and took me to the music school, I remember Tatyana Vladimirovna Polikarpova, who received me. She tested her hearing and rhythm by clapping her hands.
After a successful entrance audition, I was sent to the piano class, there was no talk about vocals. After a couple of months I bucked - it’s not my thing. And opposite there was a class taught by Vladimir Efremovich Artamonov (where is he now?). He used to be a soloist at the Kazan Opera, somehow he and my dad became friends, and I started going to him for vocals. In class I played around terribly and played pranks. My vocal alphabet began with Pyotr Ilyich Tchaikovsky (“My Lizochek”). Then for some reason Vladimir Efremovich moved to a music school in Novobaturino. And dad started taking me there. But after a while I moved to the class of Rosa Shagaleevna Butakova. I was about nine years old. Since then, and for many years, Roza Shagaleevna became my mentor, friend and person who always supported me and believed in me. I am very grateful to her and love her. I believe that he is a talented teacher from God.
– I know how athletes train. But I don’t know how the vocalists do it.
– When a child is small, he cannot be overworked, although pianists and violinists must work like galley slaves. If, of course, you want to succeed. And yet, each child must have an individual approach. Only truly talented teachers can do this.
– Did you immediately expect that you would perform classics?
- No. Until the age of fourteen there was no particular fanaticism for the classics. I sang everything, starting with the most primitive chanson (now it’s scary to name these performers!). At some point I became interested in Russian folk songs. I went to study at the Palace of Culture, where a young woman from the village of Rozy taught folk vocals - beautiful, tall, with a long braid. Unfortunately, I don't remember her name. She was also interested in pop singing, and even managed to sing in the rock group “Version X”. She began performing at all city festivals. At the same time, she did not leave Rosa Shagaleevna’s class; she studied academic singing with her. She swore: you can’t break up!
– What did your parents say?
– Mom, Elena Orestovna, my constant companion in life, first assistant, always shared what I do. I am very grateful to her. She never praised or scolded me; the relationship between us was always built on conscience, and not on fear or overly forced care. We need a phonogram - mom helps, sew a suit - again, we go with her to the tailor and sew. My dad died when I was 12 years old - Vladimir Dmitrievich Telyatnikov was a well-known prosthetist and dentist in the city. He loved us more than anything in the world and managed to invest something important in each of the family members. Dad…
He bought a piano, took me to a music school, and was just happy that I was singing and making music. Parents never said: you are doing nonsense. My older sister Natalya Loshchinina took me to St. Petersburg, where Aunt Olga Orestovna took over my upbringing; I consider her my second mother. I also have a brother, Mitya Telyatnikov, he is two years older than me...