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Teodor Currentzis and MusicAeterna: Bio

Teodor Currentzis is the Artistic Director of the Perm State Opera and Ballet Theatre, Artistic Director of the ensemble Musica Aeterna and of the Musica Aeterna Chamber Choir, both formed in 2004, during his tenure as Music Director of the Novosibirsk State Opera and Orchestra (2004-2010).  

Musica Aeterna, now resident in Perm, has been granted the status of first orchestra of the Perm State Theatre of Opera and Ballet.  Together with Mr Currentzis, they signed exclusively to Sony Music in 2012 and are recording all the Mozart Da Ponte Operas in the next years.  Previous recordings include Shostakovich's Symphony No. 14, Mozart Requiem and Dido and Aeneas all on the Alpha label and the Shostakovich Piano Concertos with Alexander Melnikov and the Mahler Chamber Orchestra on the Harmonia Mundi label.

These coming seasons are very exciting for both Teodor and Musica Aeterna; they return to the UK with a new stage version of The Rite of Spring directed by Romeo Castellucci and will give concerts in Paris, Berlin and Vienna.  In previous seasons,  the orchestra made their debut at the International Festival Baden-Baden, Bregenz Festival, Vienna Konzerthaus and the Concertgebouw, Amsterdam.

As well as his commitments in Perm and with Musica Aeterna, this year Teodor will make his debut with the Vienna Philharmonic at the Salzburg Mozartwoche and also return to the Munich Philharmonic and the Mahler Chamber Orchestra for concerts on tour in the Netherlands. As an opera conductor, in this and future seasons, Teodor will make his debuts in Zurich Opera with Shostakovich's Lady Macbeth of the Mtsensk District and at the Royal Opera Covent Garden with Puccini's Tosca. Teodor has a long standing relationship with Teatro Real, Madrid and returns every season. Future projects include a staged Verdi's Requiem, Wagner's Tristian und Isolde, Verdi's Don Carlos and a new co-commissioned Peter Sellars' production of Purcell's Indian Queen with Musica Aeterna.

Previous highlights include a successful debut at Paris Opera in 2008 which lead to Teodor returning in 2009 with a critically acclaimed production of Verdi's Macbeth directed by Dmitry Tcherniakov; the International Festival Baden-Baden with a new production of Bizet's Carmen, directing the Balthasar Neumann Choir and Orchestra; Weinberg's The Passenger at the Bregenz Festival with the Vienna Symphony Orchestra and his debut at the Bolshoi Theatre, with a new production of Berg's Wozzeck. He returned there in autumn 2010 for the premiere of Mozart's Don Giovanni and throughout the 2010/11 season for revival performances of both productions.

In 2006, combining his knowledge and passion for early music with contemporary composers and new music, Teodor started the Territoria Modern Art Festival, which in a short space of time has become the most prestigious and progressive annual music festival in Moscow.

Teodor has twice received the prestigious Russian "Golden Mask" theatrical award: for "brilliant performance of Prokofiev's score" (Cinderella, 2007) and for "outstanding results in the area of authentic performance" (The Marriage of Figaro, 2008).

Born in Greece, Russia has become Teodor's home since the beginning of the 1990s, when he began studying conducting at the state conservatory of St. Petersburg, under the tutelage of Professor Ilya Musin, whose pupils, among others, were renowned conductors Odyseuss Dimitriadis, Valery Gergiev, and Semyon Bychkov.

Teodor Currentzis and MusicAeterna

Beethoven: Symphony No. 7 in A Major, Op. 92

Sony Classical

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Sony Classical announces the release of Symphony No. 7 on April 9, 2021 - the long-awaited sister-recording to Teodor Currentzis and musicAeterna's Beethoven Symphony No. 5 album. Recorded at the Vienna Konzerthaus in August 2018, both albums are the Russia-based musicians' seminal contribution to the composer's 250th anniversary celebrations.

The recording promises to be as significant as their Beethoven 5, released in April 2020, which the German Newspaper Die Welt heralded as "The Fifth for the 21st century", and the UK newspaper The Times defined as "one of those incendiary accounts that blows away the crust of familiarity to suggest anew the revolutionary force built into this master score."