Ksenia Viaznikova: "Aida" shows secrets of the human soul
04.02.2014
Ksenia Viaznikova: "Aida" shows secrets of the human soul
On February 4 Helikon-opera theatre will perform the concert version of Verdi’s “Aida” in Dmitry Bertman production in Svetlanovsky hall of Moscow International House of Music. Conductor Vladimir Ponkin. Soloists of the theatre Elena Mikhailenko (Aida), Vadim Zaplechny (Radames), Ksenia Viaznikova (Amneris), Sergey Toptygin (Amonasro), Alisa Gitsba (High Priestess), as well as Mikhail Guzhov (Ramphis), Alexander Kiselev (The King of Egypt), Mikhail Seryshev (The Messenger) are engaged in the performance.
Just before the performance we have talked with the performer of Amneris, the Honoured Artist of Russia, one of the leading soloists of Moscow musical theatre “Helikon-opera” Ksenia Viaznikova:
– Ksenia, do you think Aida’s dramaturgy actual for today?
– Love theme is actual in all times! The mankind has been always worried about the problem of choices in power and love and the dramaturgy of the opera exactly shows the secrets of human soul!
– Which arias are the most interesting for you in your creative work, what arises the great interest among public?
– My repertoire includes music from barocco to contemporary, I am interested in creative rushes of composers of all times. Well, “Habanera”, “Seguidilla”, Eboli’s aria, Lubasha’s aria and many other arise permanent delight among public. However, more often now I see the prepared public, who read the libretto or the program, before coming to a performance or a concert. It is always very pleasant!
– What is the difference between the concert performance from the chamber sound among the theatrical sets?
– The concert version differs a lot from the performance. Especially, in such an opera as “Aida” is, where the musical dramaturgy is so bright in musical fabric of the work! The music of this opera is so popular and beloved, that it has permanent successboth in concert performance, or in a production.
– What are the priorities, which the stage directors sets before you?
– Especially in our performance, Dmitry Alexandrovich was very delicate and precise in staging the relations of heroes in a love triangle! In my opinion, his decision coincides with the musical dramaturgy of the opera!!! This is what Verdi intended to say with his music!
Born in Moscow. Graduated from the Moscow State Conservatory in 1998. In 1996-1998 she worked on probation at the Viennese Musical Academy with professor I.Wamser. At the Vienna State Opera performed Azucena in Verdi’s “Il Trovatore”, Cherubino in Mozart’s “Le Nozze di Figaro”. In 1998 she made her debut at the Czech national opera in Brno in "Carmen" and "Samson et Dalila". In 2000 took part in the international project of Mozart’s «Le Nozze di Figaro», production jointly with the “Euro Stage” company - she performed Cherubino. In 2003 with Italian conductor Marko Boemi, and director Denis Krief participated in Verdi's "Nabucco" like Fenena. In 2003 became the participant of the first opera festival «Samara spring» where she performed Amneris in Verdi’s “Aida”. Took part in the Sobinov ans Chaliapin festivals.
First prize at the Schubert Contest. Second prize at the Pechkovsky Contest "Vocalists in the Bolshoi". Laureate of the Rimsky-Korsakov Contest. Laureate of the programme "New name of the Planet".
Cherubino in Mozart’s «Le Nozze di Figaro» for TV production.
Soloist of Helikon Opera since 2001. From 2003 she’s a full time Helikon’s soloist.
REPERTOIRE:
as Countess Geschwitz in Berg’s Lulu
as Carmen in Bizet’s Carmen
as Jezibaba (the Witch) in Dvorak’s Russalka
as Amastris in Handel’s Xerxes
as Cornelia in Handel’s Giulio Cesari
as Sextus in Mozart’s La Clemenza di Tito
as Zerlina in Mozart’s Don Giovanni
as Cherubino and Marcellina in Mozart’s Le Nozze di Figaro
as la Prieure (Madame de Croissy) in Poulenc’s Dialogues des Carmelites
as Prince Orlofsky in Strauss’s Die Fledermaus
as Amneris and Supreme Priestess in Verdi’s Aida
as Fenena in Verdi’s Nabucco
as Mrs.Quickly in Verdi’s Falstaff
as Ulrica in Verdi’s Un Ballo in Maschera
as Maddalena in Verdi’s Rigoletto
as Azucena in Verdi’s Il Trovatore
as Ortrud in Wagner’s Lohengrin
as Fricka in Wagner’s Die Walkure
as Konchakovna in Borodin’s Prince Igor
as Ratmir in Glinka’s Ruslan and Ludmila
as Vania in Glinka’s A Life for Tsar
as Marina Mniszek in Moussorgsky’s Boris Godunov (D.Shostakovich edition)
as Marfa in Moussorgsky’s Khovanshchina
as Khivria in Moussorgsky’s Sorochinsky Fair
as Babulenka in Prokofiev’s The Gambler
as Clavdia and Alexey’s mother in Prokofiev's Fallen from the Sky
as Lubasha in Rimsky-Korsakov ’s The Tsar’s Bride
as Kasheevna in Rimsky-Korsakov’s Kashchey the Immortal
as Podtochina in Shostakovich’s The Nose
as Mother in Stravinsky’s Mavra
as Olga in Tchaikovsky’s Eugene Onegin
as Countess and Polina in Tchaikovsky’s The Queen of Spades
as Empress Catherine the Great in "Tsarina" by D. F. Tukhmanov
as Adalgisa in "Norma" by V. Bellini
Solo in "Reqiem" by W. A. Mozart
Solo in "Reqiem" by G. Verdi
Mess B Minor by J. S. Bach
"Magnificat" by J. S. Bach
109th and 114th cantates by J. S. Bach
"Stabat Mater" by G. Pergolesi
"Romeo et Juliet" by G. Berlioz