Evgeniya Sotnikova is a great soprano and very expressive.  For me she embodies true beauty.

С. Рахманинов концерт для ф-но с оркестром №2, 3 часть Национальный филармонический оркестр России Солист – Д. Мацуев, фортепиано, Дирижер – В. Спиваков

С. Рахманинов концерт для ф-но с оркестром №2, 3 часть.

3. Ф.Шопен (1810 - 1849) Колыбельная Соч.57

A. Marcello. Oboe concerto Part 3

Большая часть русской музыкальной культуры советского периода совсем неизвестна современному поколению. Нам хотелось бы, чтобы молодые люди познакомились с прекрасными образцами музыкального гения прошлого столетия, очаровались тончайшими лирическими мелодиями, прониклись красотой и гармонией так называемого «легкого» жанра. 
Объяснить, расшифровать, что такое талант невозможно, это можно только почувствовать. Шедевры и гении в этой книжке определяются лично автором и по его усмотрению.

Инструментальные кинохиты

Микаэл Таривердиев_Воспоминания_из к/ф "Ольга Сергеевна"

Айдар Гайнуллин - "ЭЙФОРИЯ" (музыка из кинофильма "ЭЙФОРИЯ")
Aydar Gaynullin - accordion, Artyom Dervoed - guitar, Borislav Strulev - cello, Arkady Shilkloper - horn, Pavel Novikov - bansuri, Sergey Shamov - cajon.
David Robert Coleman - conductor 
Chamber orchestra and chorus of the Staatskapelle Berlin
Aydar Gaynullin & Friends
Berlin Philharmonic hall - 12.01.2014
http://aydar.net/

Aydar Gaynullin - Euphoria

Petr Nalich - Tvoi glaza podobni moryu

София Лубянцева – флейта http://www.magicflute.ru/
Илья Кудрявцев – орган

Вольфганг Амадей Моцарт (1756-1791). Соната для флейты и органа, KV 285

ЕВАНГЕЛИЧЕСКО-ЛЮТЕРАНСКАЯ ЦЕРКОВЬ СВ. ЕКАТЕРИНЫ
СПб, Большой пр. В.О., д. 1-а
29 июня 2011

Sonata

Mozart. Sonata for Flute and Organ

Earth Recordings Announces Mikael Tariverdiev’s
‘Seventeen Moments Of Spring’ Original Soundtrack 
out 23rd November

FOR RUSSIA - WITH LOVE

A man enters a café, takes a drink and sits smoking. He watches as a woman enters with another man. They order coffee and converse at a table. Her companion says something quietly to her and gets up to leave. Alone, she looks around the café and suddenly sees the first man. For the next six minutes, they look at each other, around each other, through each other. Not a word is exchanged. The woman’s companion returns and leads her away.

This silent sequence, accompanied only by music, is from ‘Seventeen Moments of Spring’, a 1972 Soviet twelve part television series. The scene was resisted by the producers and included only on the insistence of the director Tatyana Lioznova, but it became one of the best-known in Russian film history, and its piano score one of the best-known pieces of Russian cinematic music.

The series tells the story of a Soviet spy (portrayed by the actor Vyacheslav Tikhonov) operating undercover in Nazi Germany as military officer Max Otto von Stierlitz. Stierlitz is on a covert mission to disrupt secret negotiations aimed at forging a pact between Germany and the Western Allies. He is sometimes referred to as ‘the Soviet James Bond’ and there are some correspondences, despite the World War II setting: both Bond and Stierlitz work for their respective countries’ secret service agencies and both, in various ways, reflect their cultures’ idealised alpha males.

But whilst Bond, is a hard-drinking, hard-loving, wisecracking free agent, Stierlitz is restrained, faithful to his wife, intellectual and modest. He spends much time looking out of windows rather than crashing through them.

There is a further link in that Seventeen Moments was made partly in response to the way the KGB was typically portrayed abroad in works such as the Bond series (where it appears as SMERSH). 

On broadcast, Seventeen Moments was immediately immensely popular with an estimated audience of between 50 and 80 million viewers for each episode.

Crime rates dropped significantly during the broadcasts, city streets were empty and power stations had to increase production to cope with a surge in the demand for electricity for TV sets. It is said that Brezhnev moved meetings of the Central Committee of the Communist Party in order not to miss an episode and that Vladimir Putin’s decision to join the KGB was influenced by watching the series when young. It became the most successful Soviet espionage thriller ever made. It was rebroadcast annually in the Soviet Union and throughout the Warsaw Pact nations and is still regularly shown in Russia where it remains one of the most popular television series of all time.

Without any doubt, the score by Mikael Tariverdiev contributed to this huge success. He wrote it after some initial reluctance to be involved but its popularity catapulted him to national fame. ‘Somewhere Far Away’ and “Moments’, remain some of the best-known and well-loved cinematic songs of the era. The main theme and his piano underscore to that famous café scene where Stierlitz and his wife meet-but-don’t-meet must have surely captured the haunted longings and romantic poignancy of a generation of Soviet citizens who had suffered their own forced separations, displacements, silences and losses.

The score presented here follows the narrative arc of the series’ story. It has been re-mastered from transfers made from original tapes in the Tariverdiev apartment in Moscow. The download and CD versions contain three additional tracks never before released – even in Russia - including the much-loved Waltz for Gaby.  

Stephen Coates

Performed by Mikael Tariverdiev (piano, cimbalon) with the Pop Symphony Orchestra conducted by Jury Silantiev and recorded in 1972 at Gorky Film Studio. ‘Seventeen Moments of Spring’ is released on 23rd November on LP (with download of all tracks) and CD.

Mikael Tariverdiev - Somewhere far away

Аве Мария (Реквием) Ave Maria

Bahianas Brasileiras No.5 - Ária (Cantilena), Heitor Villa-Lobos

Natalia Ardasheva - piano 
Rifat Kamachkov - contrabass 
Rustam Kamachkov - violoncello
Evgeniya Sotnikova - soprano

Records 2009

Евгения Сотникова, сопрано. Бразильская Бахиана №5, Эйтор Вила-Лобос. 
Запись 2009.

Фортепиано - Наташа Ардашева,
Контрабас - Рифат Камачков,
Виолончель - Рустам Камачков,
Сопрано - Евгения Сотникова.

https://sotnikova-soprano.com

Evgeniya Sotnikova - Bahianas Brasileiras No.5, Ária(Cantilena), Heitor Villa-Lobos

Antonio Lucio Vivaldi - Времена Года (Зима)

Evgeniya Sotnikova - russian soprano. She studied at the
Rimsky-Korsakov State Conservatory in St. Petersburg and was a prizewinner in many competitions. In 2009 she was awarded the special Oscar und Vera Ritter-Stiftung Prize at the International Singing Contest of Italian Opera in Dresden. This led to her joining the opera studio of the Bayerische Staatsoper in Munich, going on to join the Ensemble of the Bayerische Staatsoper. She went on to make her UK debut with the Glyndebourne Touring Company, singing the role of First Wood Sprite RUSALKA, following this with Ilia in IDOMENEO, Leïla in LES PÊCHEURS DE PERLES and Soeur Constance in Dialogues des Carmélites for the Stadttheater Klagenfurt. At the Zurich Tonhalle, she sang the soprano solo in Stravinsky LES NOCES, conducted by David Zinman and made a most successful return to the Bayerische Staatsoper as Jemmy GUILLAUME TELL for which she was awarded the Festspiele Preis of the Festspiele 2014. She sang at the Ruhrtriennale as Hadewijch in Louis Andriessen’s DE MATERIE. Later sang the title role of Rimsky-Korsakov’s SNOW MAIDEN for the Estonian National Opera. She made her Italian debut in Stravinsky’s LES NOCES with the Accademia di Santa Cecilia, conducted by Pablo-Heras Casado and her United States debut in New York’s Armory Hall as Hadewijch DE MATERIE, both with great success. Her role debut as Contessa LE NOZZE DI FIGARO was in concerts at the Copenhagen Opera Festival and at the Malmöfestivalen and she then repeated the role in a staged production for the Malmö Opera. Later in 2017 she sang Countess in Estonian National Opera and made her debut in Hamburg State Opera as Jemmy. In 2017 she sang in Bavarian State Opera parts of Jemmy and 1st Nymph again. Evgeniya made her debut at Elbphilharmonie Hamburg in Silvesterkonzert with Kent Nagano, later she sang in Beethoven’s 9th Symphony with Symphony Orchestra Innsbruck. In 2018 Evgeniya made her debut as Despina in Bolshoi Theater. In 2018 she sang part of Aleya in Janacek's new production “From the House of Dead” at Bavarian State Opera. In 2020 she sang fragments from the opera "Der Rosenkavalier"(part of Sophie) at Tchaikovsky Concert Hall with Svetlanov Symphony Orchestra and Vladimir Jurowski. In 2022 Evgeniya sang in the world premiere of the opera “The end of creation” by Bernhard Lang in Staatstheater Augsburg.
She worked with such conductors as: Kirill Petrenko, Andris Nelsons, Peter Rundel, Kent Nagano, Thomas Hengelbrock, Asher Fisch, Paolo Carignani, Constantinos Carydis, Karel Mark Chichon, Teodor Currentzis, Dan Ettinger, Stefan Soltesz, Pablo-Heras Casado, Simone Young, Vladimir Jurowski and with such stage directors as: Árpád Schilling, Antú Romero Nunes, Martin Kušej, Heiner Goebbels, Richard Brunnel and Peter Stein.


Российская оперная певица, сопрано.
В ​2008 ​году закончила ​Санкт-Петербургскую Консерваторию им.Римского-Корсакова​. Участвовала в спектаклях оперной студии при Санкт-Петербургской консерватории, где исполнила партию Иоланты из оперы Чайковского «Иоланта»​. В том же году была приглашена в труппу Московского театра «​Новая Опера​», где исполнила партию Татьяны ​из оперы Чайковского "Евгений Онегин". 2009 г​. ​На международном конкурсе в Дрездене получила специальную премию жюри «​Oscar und Vera Ritter ​Foundation​» и была приглашена в Оперную студию Баварской Государственной Оперы (Мюнхен), а затем и в труппу театра. С  Баварской Оперой выступала на сцене театра Шанз-Элизе в Париже с маэстро Нагано, гастролировала с концертами в Берлине, Арабских Эмиратах и др. 2012​г. ​Дебют в Гляйнборне (Англия) в партии ​1й Нимфы ​в"​Русалке​" Дворжака. 

Подробнее - https://sotnikova-soprano.com

Evgeniya Sotnikova - Bahianas Brasileiras No.5, Ária(Cantilena), Heitor Villa-Lobos

Evgeniya Sotnikоva

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