An outstanding phenomenon in modern Russian performing arts, the Novaya Opera choir does not just participate in the most of the theatre’s performances and concerts, but is justly considered to be the symbol of the theatre, the expression of its esthetic and artistic principles. Along with the opera, the choir’s
active memory includes a large repertoire of cantatas, oratorios and concerts: classical Russian and European choral compositions, a cappellasacred music and vocal-symphonic pieces.
In 2016, the Novaya Opera Chamber Choir conducted by Yulia Senyukova (now the chief choirmaster) and stage director Alexey Veiro contrived The Different choral music festival. Among the milestone events have been the Russian premiere of Penderecki’s St. Luke Passion, the trilogy about different people The Ebony – the Ivory – the Red, the performances of all-time masterpieces such as Bach’s Mass in B minor and St. Matthew Passion and Handel’s Messiah.
The programme of the Choral Music Soiree comprises two outstanding compositions for a cappella choir: Rachmaninoff’s Divine Liturgy of Saint John Chrysostom (1910) and Schnittke’s Concerto for choir to verses by Gregory of Narek (1985). Both compositions were written in the 20th century and are based on the traditions of Russian choral culture; however they are quite different musically.
Sergei Rachmaninoff’s music is closely related to the Russian Orthodox tradition and the echoes chant melodies. There are few sacred compositions among his works but they can be positively reckoned among the crown jewels of the genre. The liturgy is the most important service in the Orthodox Church where psalms and hymns are connected bylitanies (devotional petitions) and short verses. When working at the composition, Rachmaninoff often asked Alexander Kastalsky’s advice. Rimsky-Korsakov of Russian choral music, as Rachmaninoff called him later in his memoirs, Kastalsky brought along the golden age of the Moscow Synodal School and its choir in the late 19th and early 20th centuries. As a master in the cantabile polyphonic style in Russian sacred music, Kastalsky greatly influenced the style of Rachmaninoff’s sacred compositions. The work consequently is very different from the church service. The amazingly beautiful Liturgy is filled with warm lyricism and emotiveness, and specific methods of choir instrumentation make it at times sound like the sacramental ringing of bells.
Alfred Schnittke’s choral works are numerous and varied in genre. One of his outstanding compositions is Concerto for choir to verses by Gregory of Narek. The composer based the concerto on the third chapter of The Book of Lamentations by the medieval Armenian poet, monk, philosopher and theologian Gregory of Narek (951–1003). His poetry is like a private conversation of a human soul, full of repentance, with God. “I wrote the music that this text induced, not the one I myself wanted,” said Schnittke about his Concerto.
At the Novaya Opera the performing of the Liturgy and Concerto for choir will be accompanied by a video projection on a number of autonomous screens. An extra stereophonic effect – the location of the choir not only on the stage but also in the auditorium space – will create deep immersion in the sound of music. This will allow the audience to find out new dimensions in the well-known compositions.