Lužnica u smiraj ljetnih noći - Duhovno

2. meðunarodne glazbene svetkovine
Lužnica u smiraj ljetnih noæi
A.D. 2011.
U èast 250-te obljetnice posveæenja grofovske kapele u dvorcu Lužnica
In Honour of the 250th Anniversary of the Count Chapel Consecration of the Lužnica Mannor
KOPRODUKCIJA / CO-PRODUCTION:
Puèko otvoreno uèilište / People Open University Zaprešiæ
Duhovno-obrazovni centar Marijin dvor / Spiritual-Educational Center Mary's Court Lužnica
Lifestyle d.o.o. za kulturno-umjetnièke djelatnosti / A Culture and Arts Project Management Agency
JAVNI POKROVITELJI / PUBLIC PATRONS:
Zagrebaèka županija / Zagreb County
Grad Zaprešiæ / City of Zaprešiæ
Turistièka zajednica grada Zaprešiæa /Zaprešiæ Tourist Board
Turistièka zajednica Zagrebaèke županije / Zagreb County Tourist Board
Talijanski institut za kulturu u Zagrebu / Italian Cultural Institute in Zagreb
PROGRAM:
Ponedjeljak / Monday, 20.6.2011. - najavni koncert / promotional concert
Madirosa
Službena koncertna promocija novoga albuma /
Official Concert Promotion of the New Album
Tamara Obrovac transhistria ensemble
& Gudaèki kvartet / String Quartet Époque, Prag / Prague - CZ
Petak / Friday, 8.7.2011.
Moje pjesme, moji snovi / My Songs, My Dreams
Povodom 30-te obljetnice umjetnièke karijere /
Due to the 30th Anniversary of the Artistic Career
Mira Vlahoviæ, sopran / soprano, Zaprešiæ - HR
Tamburaški orkestar HRT / Tamburitza Orchestra of the Croatian Radio-Television
dirigent / conductor Siniša Leopold
Tvrtko Stipiæ, tenor, Zagreb - HR
Subota / Saturday, 9.7.2011.
Najljepše filmske glazbene teme / The Most Beautiful Movie Soundtracks
Nino Rota Ensemble, Ancona - IT
Nedjelja / Sunday, 10.7.2011.
Božanska i svjetovna ljubav / Divine and Profane Love
Glazba Iberske Amerike 17. i 18. stoljeæa / Music of Iberian America, XVII & XVIII Century
Ansambl za staru glazbu / Early Music Ensemble
Ars Longa, Havana - CU
Credo umjetnika na dar
Da ima naroda kulturnijih i manje kulturnih, to je izvjesno. Sigurno nije u pitanju genetika, veæ
kulturna politika. Postoje osvještenije i manje osviještene vlade i politièari, postoji više ili manje
novca i postoji više ili manje slobode. Postoji potreba za stvaranjem – ona je imanentna, ali se
može njegovati ili zapustiti. Može se potirati i poticati. Postoji baština, i za nju vrijedi prethodno.
Postoji kriza kao suvremena anatema: univerzalna, globalna, lokalna, osobna, autoimuna kriza.
Prije svega, kriza odnosa meðu ljudima.
Ali postoji i druga strana, moglo bi se reæi svojevrsno ogledalo. Postoji èudesno lijepa priroda koja
krijepi. Postoji magija trenutka dragocjenija od svega materijalnog. Postoji ljepota vrijedna svake
muke, svakog odricanja. To je umjetnost kao spona, kao most izmeðu ljudskog i božanskog.
Umjetnici su sustvaratelji svijeta, rekao je blaženi Papa Ivan Pavao II.
U smiraj ljetnih noæi želja nam je pretoèiti njihov credo, njihovu vještinu, njihovu suptilnost i njihovu
snagu u zajednièki treptaj lijepog, krjeposnog i bajkovitog sna.
Sna i nade da je ljudska harmonija moguæa.
Višnja Goljaèki, ravnateljica POU Zaprešiæ
Jedinstveno mjesto duhovnosti i susreta
Ispunjen svjetlom, ljepotom i toplinom, ogrnut zelenim plaštem prostranog perivoja graðen je
dvorac Lužnica u osamnaestom stoljeæu za plemstvo. Ipak, vijenac razlièitih ljudskih likova iznad
dvorskih prozora kao da ga je veæ davno obilježio da svoja vrata otvori svima. Da bude znak da je
svaki èovjek po Bogu plemiæ, i da nema veæeg plemstva od onog što ga daje Kralj svemira.
Put preobrazbe dvorca za Božje plemstvo bi povjereno hrabrim i neumornim sestrama
milosrdnicama.
Dvorac kupuju teško zaraðenim novcem, održavaju ga, obnavljaju, èuvaju, u jednom trenutku bile
su spremne i umrijeti da bi ga zaštitile. I ispunjavaju ga molitvom. Osamdeset godina redovnièkog
života molitve, rada i pobožnosti polako i tiho pripremalo je u njemu mjesto okrjepe za tisuæe
posjetitelja, a godine obnove, obilježene velikim teškoæama ali i velikom hrabrošæu i ljubavlju,
priredile su jedinstveno mjesto mira i ljepote, duhovnosti i kulture, susreta i stvaralaštva – Božju
oazu u kojoj je svatko dobrodošao.
S. Miroslava Bradica, ravnateljica Duhovno-obrazovnog centra Marijin dvor, Lužnica
Èovjek u sebi mora imati kaos da bi rodio razigranu zvijezdu…
Ta mi se misao F. Nietzchea ciklièno vraãa... Produkcijska priprema glazbenih svetkovina na kojoj
radimo doslovno godinu dana, ima upravo tu odliku - stvaranje razigrane zvijezde iz kaosa. Kao
da je neka elementarna prirodna sila razbacala dijelove mozaika i spustila ih na pravo mjesto u
trenutku kad bi èovjek iznuren rekao: dosta, ne mogu više! Dugo bavljenje glazbenom
produkcijom i oèuvanjem baštine te nadahnjivanjem posjetitelja i partnera da je prepoznaju, nije
uspjelo otupjeti radost išèekivanja… Stoga s leptiriãima u nutrini željno èekam pramaljetni šušur u
magiènoj Lužnici - Madirosa, najavni koncert novog albuma Tamare Obrovac. Drugi srpanjski
vikend donosi nam krstarenje prostorom i vremenom, izuzetni vremeplov, ili još bolje – duhoplov!
Tako ãe nas sopranistica Mira Vlahoviã darivati bogatom lepezom opere i operete, tradicijskog,
sakralnog i popularnog repertoara. Talijanski ženski sekstet Nino Rota Ensemble dirnut ãe nas
najljepšim filmskim temama i prizorima, a èudesni kubanski ansambl stare glazbe Ars Longa
oduševit ãe nas autentiènošãu izvedbe o božanskoj i svjetovnoj ljubavi kojom otkrivaju
zaboravljenu povijest Starog i Novog svijeta!
Vedrana Koceiã, direktorica Lifestyle d.o.o. Zaprešiã
Credo of the artist as a gift
That there are (nations!!!) cultural and less cultural, it is certain. Surely it's not a matter of genetics, but cultural policy.
There are more conscious and less conscious governments and politicians, there is more or less money and there is more or less freedom.
There is a need to create - it is immanent, but it can be nurtured or neglected. It can be potirati (discouraged, zatirati destroyed) and encouraged.
There is a heritage, and the previous refers to it too.
There is a crisis, as a contemporary anathema: universal, global, local, autoimmune crisis.
First of all, the crisis in relations between people.
But there is another side, one might say a sort of mirror. Miraculously beautiful nature that nurtures. There's a magic moment more precious than
anything substantive. There is beauty worth every pain, every sacrifice.
It is art as a link, like a bridge between the human and divine.
Artists are the co-creators of the world, said the blessed Pope John Paul II.
In the calm of summer nights, it is our wish to transform their credo, their skill, their subtlety and their power in the blink of beauty, virtuos and
fairy tale-like dream.
Dream and hope that the human harmony is possible.
Višnja Goljaèki, Director of the People Open University Zaprešiæ
A unique place of spirituality and encounters / meetings
Filled with light, beauty and warmth, wrapped in a green robe of spacious park, Lužnica mannor was built in the eighteenth century for the nobility.
However, it's as if the chaplet of the various human characters over the mannor windows marked it's doors a long time ago to be open to everyone.
To be a sign that every man is noble by God, and that there is no greater nobility than the one given by the the King of the universe.
The Mannor transformation for the nobility was entrusted to the brave and tireless Sisters of Mercy.
They buy it with hard-earned money, restore, preserve and take care of it, and at one point they were ready to die to protect it. And they fill it
with prayer. Eighty years of the monastic life of prayer, work and devotion, slowly and quietly prepared the Mannor to be a place of refreshment for
thousands of visitors, and years of reconstruction, marked by difficulties and great courage and love made it a unique place of peace and beauty,
spirituality and culture, encounters and creativity, a God's oasis where everyone is welcome.
Sister Miroslava Bradica, Director of Spiritual-Educational Center Mary's Court, Lužnica
“You must have chaos within you to give birth to a dancing star.”
This thought of F. Nietzche cyclically returns to me with new meanings. Production preparations of the music festivities that we have
been working on for a year, has exactly this characteristic - the creation of a dancing star from the chaos. As if some elemental force
of nature scattered already arranged complex mosaic pieces and dropped them in the right place at the moment when a jaded
man would say: Enough, no more!
Long engagement in music production and heritage preservation, inspiring visitors and partners to identify it, failed to blunt the joy of
waiting... Therefore, with butterflies in my stomach I'm eagerly awaiting for the June late spring excitement in magical Lužnica Madirosa, the announcing concert of the new album by Tamara Obrovac. The second weekend of July brings a real cruise through space
and time, extraordinary time machine, or better yet spiritual machine! So will soprano Mira Vlahoviæ on the worthy artistic occasion
jubilee present a rich variety of operas and operettas, mixed with traditional, sacred and popular repertoire. Italian female sextet Nino Rota
Ensemble will touch us with the most beautiful movie music themes and scenes, and miraculous Cuban early music
ensemble Ars Longa will amaze us with authenticity and excellence of the performance of divine and profane love, in which they reveal
the forgotten history of the Old and New World!
Vedrana Koceiæ, Director of Lifestyle d.o.o. Zaprešiæ
Nagrada publike ''Grof Èikulin''
The Audience Award ''Count Èikulin''
Idejna skica nagrade / Preliminary sketch of the Award
Nagrada ''Grof Èikulin'' dodjeljuje se
umjetnicima èija se izvedba po ocjeni
publike najbolje uklapa u jedinstveno
ozraèje Lužnice.
The ''Count Èikulin'' award is assigned
to artists whose performance by
audience rating best fits the unique
Lužnice atmosphere.
Pokrovitelj nagrade / Patronof the Award:
Irena Škrinjar, akademska kiparica, izlagala je na tri samostalne
i brojnim skupnim izložbama u zemlji i inozemstvu. Autorica je pet
javnih skulptura u drvetu (Hrvatska, Slovenija, Italija). Dobitnica je
Zlatne plakete na 1. Hrvatskom triennalu keramike u Zagrebu.
Predsjednica je Udruge likovnih stvaralaca Zaprešiã.
Irena Škrinjar, academic sculptor, has exhibited at three independent
and numerous group exhibitions at home and abroad. She is the author
of five public sculptures in wood (Croatia, Slovenia, Italy). She won the
Golden Plaque at the first Croatian Triennial of Ceramics in Zagreb. She is
the president of Zaprešiæ Art Creators Association.
www.irenaskrinjar.com
Koncertni programi i vodièi za slušanje
Concert programs and listening guides
MADIROSA
TAMARA OBROVAC transhistria ensemble / époque quartet
Službena koncertna promocija albuma / Official concert promotion of the album
transhistria ensemble
Tamara Obrovac glas, skladbe / voice ,composer
Uroš Rakovec, gitara, mandolina / guitar, mandolin
Žiga Golob, kontrabas / double bass
Fausto Beccalossi, harmonika / accordion
Krunoslav Levaèiæ, bubnjevi / drums
époque quartet, Prag - CZ
David Pokorny, violina / violin
Vladimír Klánský, violina / violin
Víd Petrášek, violonèelo / violoncello
Vladimír Kroupa, viola / viola
1. titanic / tango i èa èa èa / tango and cha cha cha
2. rožica / little rose
3. dube sanjan / daydreaming
4. lipota / beauty
5. daleko je / is faraway
6. zoven / I'm calling
7. lipo moje tilo / my beautiful body
8. madirosa /
9. sama / alone
10. villa idola /
Tamara Obrovac autorica je svih skladbi, aranžmana za gudaèki kvartet i stihova, osim za pjesmu Daleko je... (autorica stihova Anja Gasparini)
All lyrics, music and arrangements for the string quartet written by Tamara Obrovac, except on track Daleko je... (lyrics by Anja Gasparini)
MADIROSA*
Izmišljena rijeè, za autoricu znaèi mediteranska ruža i simbolizira njen osobni doživljaj Mediterana kao kulturološkog i glazbenog univerzuma
An invented word, for the author it means a Mediterranean rose,
representing her personal experience of the Mediterranean as a cultural and musical universe.
Koncert izravno prenose Hrvatska televizija i Hrvatski radio
The concert is directly broadcasted by Croatian Television and Croatian Radio
Iako se radi o složenim glazbenim djelima, u izvedbama Tamare Obrovac ona se doimaju poput igrarije - zvuèe
prpošno, rasplesano, kao da je upravo ta kombinacija rijeèi i nota zapisana u vjeènosti svemira, samo je netko
trebao prevesti na jezik smrtnika. Tamara je dosadašnjim radom zaslužila da ta neka viša sila svoju kreaciju
odašilje upravo kroz nju.
Iako æe vas glazba na njezinu šestom albumu zadiviti veæ pri prvom slušanju, istinska vrijednost glazbe, poput
najvrednijih ostvarenja svjetske umjetnosti, otkriva se tek ponovnim preslušavanjima, a njima nikad neæe biti kraja
jer svako otkriva nove filigranske detalje, nove zvukove, nove diskretne interakcije, nove emocije, novu
profinjenost, novi šarm...
U izvedbama što ih je uvrstila na ovaj album, Tamara na prirodan i logièan naèin spaja ozbiljan pristup i šalu,
tradiciju i suvremeno, klasiku i etno, poštivanje forme i slobodu, melodiju i improvizaciju, regionalno i
srednjeeuropsko. Njezina je glazba unikatna, ali i univerzalna, bliska èoviku koji ore crljenicu, ali i svakoj osobi s
osjeæajem za ljepotu plodova što ih daje zemlja bilo koje boje.
Davor Hrvoj
The songs on this album are complex, but in Tamara's interpretation they seem a piece of cake - they sound
flippant, dancing, as if that very combination of words and music was recorded in the eternity of the universe, just
waiting for someone to translate it into the language of us mere mortals. With her work so far Tamara has
deserved to be the medium through which that higher power transmits its creation.
Although the music on Tamara's seventh album will thrill you right from the very
first hearing, its true value, like the value of the most valuable achievements of the world art, will be disclosed only
when you hear it again and again, and you will simply keep listening to it time after time because every new
listening will reveal some new filigree details, new sounds, new discreet interactions, new emotions, new
refinement, new charm...
In the interpretations included in this album, Tamara artlessly and logically
unites a serious approach and joke, tradition and modernity, classical music and ethno, formal demands and
freedom, melody and improvisation, regional and middle-European.
Her music is unique, but also universal, close to a man who is ploughing the red Istrian soil, but also to every
human being who feels the beauty of the fruits yielded by the soil of any colour.
Davor Hrvoj
MOJE PJESME, MOJI SNOVI / MY SONGS, MY DREAMS
MIRA VLAHOVIÆ
sopran, prvakinja Opere HNK u Zagrebu / Soprano, Primadonna of the CNT Opera in Zagreb
Povodom 30. obljetnice umjetnièkog djelovanja / Due to the 30th Anniversary of Artistic Work
Tamburaški orkestar HRT / Tamburitza Orchestra of the CRT
(70 godina djelovanja / 70 years of activity)
Dirigent / Conductor: Siniša Leopold
Gost veèeri / Guest: Tvrtko Stipiæ
tenor, solist Opere HNK u Zagrebu / Soloist of the CNT Opera in Zagreb
Božo Potoènik:
Meðimurske izvorne narodne pjesme
arr. Božo Potoènik:
arr. Zlatko Potoènik:
Juraj Stahuljak:
(in memoriam prof. Višnja Stahuljak - Chytil)
Cesar Franck - arr. Siniša Leopold:
Giacomo Puccini - arr. Tomislav Uhlik:
Ivo Tijardoviæ - arr. Tomislav Uhlik:
arr. Nikica Kalogjera
Henry Mancini - arr. Siniša Leopold:
George Gershwin - arr. Siniša Leopold:
Dohvati crvenu trešnju
Rascveti se ti modra fijolica
Ki so deèki èrlenejši
Plesna suita / uvod
(in memoriam prof. Višnja Stahuljak - Chytil)
Panis Angelicus
Arietta Laurette iz opere Gianni Schichi
Pjesma nostalgije iz operete Mala Floramye
(Daleko me biser mora)
Tema iz filma Pink Panther
Summertime / iz opere Porgy i Bess
Lionel Bart - arr. Ranko Puriæ:
From Russia with love / iz filma James Bond
Richard Rogers - arr. Željko Bradiæ:
Edelweiss / iz filma Moje pjesme, moji snovi
Sigmund Romberg - arr. Zlatko Èernjul:
Will You Remember / iz filma Bijeli jorgovan
~ ~~Uvertira operi Seviljski brijaè
Giacomo Rossini - arr. Nikica Kalogjera:
Georges Bizet - arr. Silvije Glojnariæ:
Emerich Kalman - arr. Stjepan Mihaljinec:
Habanera / iz opere Carmen
Gdje živi ljubav / iz operete Grofica Marica
xxx - arr. Marijan Makar:
Dubravko Èešnjak, truba, charango
C. A. Bixio - arr. S. Mihaljinec:
E. di Capua - Gi. Capurro - arr. Stjepan Mihaljinec:
A. Khachaturian - arr. Zlatko Èernjul:
Franz Lehar - arr. Željko Bradiæ:
Zagorec v južnoj Ameriki
Dubravko Èešnjak, truba, charango
Mamma
O Sole mio
Ples sa sabljama
Valcer Hanne i Danila iz operete Vesela udovica
Eldo di Lazzaro - arr. Siniša Leopold:
Chitarra Romana
Giuseppe Verdi - arr. Siniša Leopold:
Napitnica iz opere La Traviata
U prigodi obilježavanja 30-te obljetnice umjetnièke karijere neka Vas Mira Vlahoviæ osobno provede kroz sveèani program:
„Suradnja s Tamburaškim orkestrom HRT traje punih 30 godina i rezultirala je CD-om meðimurskih pjesama i izvedbama vrlo
širokog repertoara. Nedavno preminuloj hrvatskoj književnici, glazbenoj pedagoginji i profesorici solo pjevanja Višnji StahuljakChytil, koja me nauèila tehnici pjevanja, posveæujemo suitu J. Stahuljaka, te ariju Panis Angelicus C. Francka. Na sceni Opere HNK
u Splitu provela sam èetiri sezone gdje sam s velikim uspjehom otpjevala jednu od najznaèajnijih uloga u karijeri, Luciu u
Donizettijevoj operi “Lucia di Lamermoor“, kamen kušnje svakog koloraturnog soprana. Pjevala sam i Spliæanima omiljenu operetu
„Mala Floramye“ I. Tijardoviæa. Èuvenu Pjesmu nostalgije u pratnji TO HRT veèeras pjevam pred zaprešiækom publikom. Znaèajni
dio mog repertoara uz TO HRT su i pjesme iz poznatih filmova i mjuzikala. Za ovu prigodu, izdvojila sam èetiri broja. Meðu njima je
poznata pjesma iz filma „Moje pjesme, moji snovi“ R. Rogersa po kojoj veèerašnji koncert nosi naziv. Opera je moja glavna
vokacija, stoga izdvajam biser muzièke literature, ariettu Laurette iz Puccinijeve opere “Gianni Schicchi“. Opereta je glazbena
forma bliska mom temperamentu, rado je pjevam i izdvajam Èardaš iz Kalmanove operete “Grofica Marica“. Moj gost u ovom
obljetnièkom programu kolega tenor Tvrtko Stipiæ, u èijoj æete ljepoti glasa i muzikalnosti veèeras uživati, izvest æe dvije talijanske
kancone, a zajedno æemo otpjevati poznati duet-valcer iz Leharove „Vesele udovice“. Ulogom Violette u Verdijevoj operi „Traviata“
koja me pratila kroz èitavu karijeru, obilježila sam svoju prošlu obljetnicu u matiènoj kuæi, a u ulozi Alfreda partner mi je bio upravo
Tvrtko Stipiæ. Vjerujem da æete se svi pridružiti ovoj svevremenoj zdravici!
On the occasion of the 30th anniversary of her artistic career, let Mira Vlahoviæ personally guide you through the festive program:
"My cooperation with the Tamburitza Orchestra of the Croatian Radio and Television has lasted throughout my carreer, for 30
years. It resulted in the realization of the CD ''The Songs of Meðimurje'', and we also performed a wide repertory ranging from
original folk songs, movie songs, musicals, Italian canzonas to opera and operetta arias. A few months ago, Višnja Stahuljak-Chytil,
a prominent Croatian writer, music pedagogue and solo singing teacher who taught me the technique of singing, left us. We
dedicate her the J. Stahuljak Suite performed by TO HRT and Panis Angelicus by C. Franck in my interpretation. I spent four
seasons on the scene of the Opera Theatre in Split. There I interpreted one of the most significant roles in my career - Lucia in
Donizetti's opera "Lucia di Lamermoor", the touchstone of every coloratura soprano, with great success according to the audience
and critics. I sang of Split's favorite operetta "Little Floramye" by Ivo Tijardoviæ. The famous song of nostalgia, accompanied by TO
HRT, I'm singing tonight in front of the Zapresiæ audience. An important part of my repertory with the TO HRT are also the songs
from famous movies and musicals. For this occasion, I have singled out four issues, among them the well-known song from the
movie "My Sound of Music" by R. Rogers, after which we named the concert tonight. Opera is my main vocation, therefore I single
out the pearl of musical literature, the arietta Laurette from Puccini's opera "Gianni Schicchi". Operetta is a musical form close to
my temperament, I'm happy to sing it and sort out Èardaš from Kalman's operetta "Countess Marica". My guest in this anniversary
program is a fellow tenor Tvrtko Stipiæ, whose voice , the beauty and musicality you will enjoy tonight. He will perform two Italian
canzonas, and together we will sing the famous duet-waltz from Lehar's "Merry Widow". With the role of Violetta in Verdi's opera
"La Traviata", which accompanied me throughout my career, I marked my previous anniversary at my theatre, when the role of
Alfred was played by my partner Stipiæ. I believe you will all join this timeless toast!
NAJLJEPŠA FILMSKA GLAZBA
THE MOST BEAUTIFUL MOVIE SOUNDTRACKS
NINO ROTA ENSEMBLE, Ancona-Italia
Tiziana Santarelli - sopran / soprano
Giannina Guazzaroni - violina / violin, Federica Torbidoni - flauta / flute
Graziana Giansante - oboa / oboe, Cecilia Amadori - violonèelo / violoncello
Deborah Vico - klavir i aranžmani / piano & arrangements
Alan Silvestri:
Nino Rota:
Forrest Gump
Amarcord
Ennio Morricone:
Nuovo Cinema Paradiso
Ennio Morricone:
Metti una sera a cena
Ennio Morricone:
Mission
Henry Mancini:
Nino Rota:
Moon River (iz filma “Doruèak kod Tiffanyja”)
La Strada Suite
Nicola Piovani:
La Vita è bella
James Horner:
My heart will go on (da “Titanic”)
Michael Nyman:
Ennio Morricone:
John Kander:
Deborah Vico:
Dolly Parton:
Ennio Morricone:
Andrew Lloyd Webber:
Nino Rota:
Lezioni di Piano
Bilo jednom na Divljem Zapadu
Cabaret
Giulietta's dream
I will always love you (iz filma “The Bodyguard”)
La leggenda del Pianista sull'oceano
Memory (iz mjuzikla “Cats”)
Osam i po
Pijanistica sam, saksofonistica, skladateljica i aranžerka i djelujem u svijetu glazbe više od petnaest godina.
Kad me je gradonaèelnik Ancone 1995. godine zamolio da razmislim o programu posveæenom glazbenim temama najpoznatijih filmova
povodom stote obljetnice kinematografije, odgovorila sam mu uz osmijeh da je djela pisana za velike simfonijske orkestre i zborove
nemoguæe izvesti u sastavu od samo šest glazbenika. No, ideja oživljavanja magiènih atmosfera orkestralne filmske glazbe s mojim
malim ansamblom, poèela me opsesivno opsjedati... Jednog mi se dana u rukama našla stara vinilska ploèa sa glazbenom temom filma
“Love Story” Francisa Laia. Kakva predivna glazba!
Èim je igla zapoèela ples po ploèi, moj je duh krenuo na putovanje u daleke neotkrivene svjetove, filmske scene odvijale su se u mojoj
glavi, dok je glazba pokretala u meni duboke osjeæaje i žive doživljaje. Tu je nešto kliknulo! Odjurila sam do klavira i poèela svirati uz
ploèu, slobodno, uz improvizacije. Nakon par minuta veæ sam, oboružana notnim listovima, aranžirala dijelove za violinu, flautu, obou,
zamišljajuæi note koje æu dati violonèelu... Veæ dan kasnije održala sam sa èlanicama mog sastava probu kojom smo oživjele rezultat
moga suludog rada toga dana kojeg neæu nikada zaboraviti. Prihvatila sam izazov! Uslijedile su stotine koncerata koje je moj sastav NINO
ROTA ENSEMBLE održao širom svijeta u posljednjih petanest godina.
Zašto filmska glazba postiže toliki uspjeh posvuda, u svakom kutku svijeta, u meðusobno sasvim razlièitim kulturama? Filmske glazbene
teme imaju izuzetnu evokativnu snagu, uspijevaju kod slušatelja / gledatelja u trenutku potaknuti najdublje osjeæaje. Skladatelji koji pišu za
filmove vrlo umješno skladaju jednostavne i jasne teme, koje publika prihvaæa i pamti veæ na prvo slušanje. Koliko smo puta izišli iz kino
dvorane pjevušeæi glavni motiv iz filma? I bilo je dovoljno sjetiti ga se da bismo oživjeli osjeæaje proživljene u kinu… Fantastièno!
Glazba može naglasiti akcije, stanja duše, dramatiènost i spontanost brojnih svakodnevnih situacija, daje izražajnost prizorima, obogaæuje
ih i pojaèava njihovu snagu. Ne preostaje mi drugo nego pozvati vas na magièno putovanje s nama, putovanje koje æe vas dovesti do
prekrasnih emocija, od ganuæa do smijeha, od veselja do melankolije…
Emocija koje obogaæuju naš život darujuæi nam sasvim poseban doživljaj.
Deborah Vico
Umjetnièka voditeljica i utemeljiteljica NINO ROTA ENSEMBLE
I'm a pianist and saxophonist, composer and arranger, operating in the music world for more than fifteen years ....
When I was was asked by the mayor of Ancona in 1995 to think about a program dedicated to the musical themes of the most famous
movies, the occasion was the centenary of cinema, I answered with a smile saying that works written for large symphonic orchestras and
choirs are impossible to perform by a group consisting of only six musicians. However, the idea of ??reviving the magic atmosphere of
orchestral film music with my small ensemble, began to me obsess me...
One day I came across an old vinyl record with the musical theme of the movie "Love Story" by Francis Lai. What beautiful music! As
soon as the needle began dancing around the board, my mind went on a journey to distant undiscovered worlds, film scenes took place in
my head, while the music moved my deep feelings and live experiences in me. Something clicked then! I rushed to the piano and began
performing freely, with improvisation while listening to the vinyl. After a few minutes, I was already armed with and music paper, arranging
pieces for violin, flute, oboe, imagining the notes I will give the cello... A day later, I had a rehearsal with the members of my band in wich
we revived the result of my crazy work that day, the day I shall never forget. I accepted the challenge! This was followed by hundreds of
concerts that my group NINO ROTA ENSEMBLE held around the world in the last fifteen years.
Why does film music achieve so much success everywhere, in every corner of the world, in completely different cultures? Film music
themes have exceptional evocative power, they manage to provoke the deepest feelings in the listener / viewer imediately. Film music
omposers are very skillful at composing simple and clear themes, that the audience accepts and remembers, even at first listen. How
many times have we left the cinema humming the main theme from the movie? And it was enough to remember it to be able to revive the
feelings experienced at the cinema... Fantastic!
Music can emphasize the actions, the state of the soul, the drama and spontaneity of many everyday situations... It gives expression to
scenes, it enriches and enhances their strength. I have no choice other than to invite you on a magical journey with us, a journey that will
lead you to wonderful feelings, from emotion to laughter, from joy to melancholy... Emotions that enrich our lives giving us a very special
experience.
Deborah Vico
Artistic director and founder of the Nino Rota Ensemble
Božanska i svjetovna ljubav: glazba Iberske Amerike 17. i 18. stoljeæa
Divine and Profane Love: Music of Iberian America, XVII and XVIII century
ARS LONGA - Havana, Cuba
Ansambl za ranu glazbu / Early Music Ensemble
Aland López: gitara, voditelj / guitar and director
Arianna Ochoa i Laura Valdés: violine / violins
Anolan Gonzalez: viola
Alejandro Martínez: violonèelo / violoncello
Roger Quintana: tenor
Yulnara Vega: oboa i kljunasta flauta / oboe & recorder
Moises Santiesteban: èembalo / harpsichord
Nepoznati skladatelj
(Cuzco, Peru, cca 1700.)
Nepoznati skladatelj
(La Plata, 18. st.)
Nepoznati skladatelj
(Chiquitos, Bolivija, 18. st.)
Manuel de SUMAYA
(C. de México, cca 1678. - Oaxaca, 1755.)
Santiago de MURCIA Cumbés
(Španjolska, cca 1682. - cca 1740.)
Clemente IMAÑA
(Španjolska, 17. st.)
José de NAVAS
(Španjolska, cca 1650. - Madrid, 1719.)
Antonio SOLER
(Gerona, 1729. - El Escorial, 1783.)
Xavier NEBRA
(Zaragoza, 1705. - Cuenca, 1741.)
Luigi BOCCHERINI
(Lucca, 1743. - Madrid, 1805.)
Canción za dva instrumenta
Animado Galeón - Bolivijski nacionalni arhiv;
Kantata za solo glas i violinu posveæena Djevici
Recitativ /Arija /Recitativ / Arija
Sonata u F-duru - Glazbeni arhiv Chiquitos
Allegro/ Adagio/ Presto
Como aunque culpa - Glazbeni arhiv katedrale iz Oaxace
Božiæna kantata za solista i violinu
Recitativ/Arija
Cumbés - Saldivar Codex, cca 1730.
Filis yo tengo
Tono humano
La Rosa que Reyna
Tono humano
Sonata u G–duru
Descuidado el ruiseòor
Partita amorosa
Kvintet u D-duru za gudaèe i gitaru Fandango
Pastorale/Allegro maestoso/Grave assai fandango
U suradnji s / In association with:
U 18. stoljeæu podjednako se intenzivno razvijala španjolska svjetovna kantata - Cantada humana, kao i ona duhovna, sakralne
provenijencije - Cantada al Santissimo ili Cantada de Navidad i Cantada de Reyes. Izvodili su je i skladali glazbenici istodobno aktivni
u operi i zarzueli. Pjesma, tj. canzona za dva instrumenta dolazi od Cuzcoa, vrste uvodne pjesme raširene na podruèju Španjolske i
Amerike. Nepoznat je skladatelj kantate Animado Galeón èiji su stihovi upuæeni Djevici Mariji koja pobjeðuje zlo, no zna se da je rado
bila izvoðena u katedrali La Plata (Caracas). Poznati kodeks Saldivar u Meksiku svjedok je vremena važne razmjene manuskripata i
kružnog putovanja izmeðu Starog i Novog svijeta (tu je pronaðen manuskript španjolskog skladatelja Santiaga de Murcije), a u arhivu
Ciquitos (danas u Boliviji) jezuitski su misionari pronašli brojne sonate. Autor Sonate u Fduru za dvije violine i continuo nije otkriven,
iako postoje nevjerojatne sliènosti s djelima talijanskog majstora Arcangela Corellija. Manuel de Sumaya bio je istaknuti meksièki
skladatelj i orguljaš te i kapellmeister katedrale u Oaxaci. Njegove brojne kantate za soliste vješta su mješavina talijanskog i
španjolskog stila. Tono (naziv za bilo koju španjolsku melodiju), u 17. se stoljeæu èesto koristio kako bi oznaèio kratku duhovnu skladbu
za glas solo: Tono humano bila je svjetovna (u programu su dvije), a tono a lo divino duhovna melodija. Djela katalonskog skladatelja i
orguljaša iz samostana Escorial Antonija Solera, najèešæe sonate za instrumente s tipkama, preživjele u arhivima u obliku
manuskriptirane kopije te svjedoèe o razvoju instrumentalne glazbe u Španjolskoj. Luigi Boccherini jedan je od najkarakternijih i
najpoznatijih talijanskih skladatelja svojega vremena. Kvintet u Dduru osobito popularnim uèinio je fandango kojim autor odaje
svojevrsni hommage Španjolskoj u kojoj je proveo posljednjih 37 godina, te utjecao na razvoj tamošnje instrumentalne glazbe.
The sacred and the profane subjects intermingle in musical pieces, singing to the love, divine and human, as one of the favorites
thematic of Baroque Style in the territories of Spanish Kingdom and its American colonies during 17th and 18th centuries. The 18thcentury Spanish cantata was cultivated both as a secular and as a sacred genre, called “cantada al Santísimo”, “cantada de Navidad”,
and “cantada de Reyes”, frequently composed and performed by musicians also active in producing zarzuelas and operas in theatres.
Manuel de Sumaya, one of the most remarkable
mexican composers and organists, chapel master of Mexico and Oaxaca Cathedral, composed many “cantadas” to soloist which testify
a successful mix between Italian and Spanish style. The lyric of the cantata Animado Galeón is focused on the triumph of the Virgin
Mary over evil. It is only known that toward 1730 it was sung in La Plata Cathedral. “Tono” is a general term for any Spanish tune or
melody in the 17th century, meaning a short secular or sacred song, generally for solo voice. “Tono humano” was widely used as
secular song (two examples in this program) and “tono divino” as sacred song. An important exchange of printed and manuscript
scores took place among all the territories of Iberian-America. Very important is the Saldivar's Library in Mexico, as well as the Musical
Archive of Chiquitos (now, Bolivia), where the Jesuit missioners found and stored a collection of “sonatas”. The author of these works is
never consigned, although some of them show incredible similarities with Italian composers Arcangelo Corelli. The musical pieces of
Antonio Soler, the Catalan composer and organist, are a testimony of the instrumental music's development in Spain. Most of his
keyboard works, mainly sonatas, survived in manuscript copies. The song or “canzone” for two instruments that comes from the
“Cuzco”, is a kind of an introduction to the songs and chorus. It is based on a basic chord sequence whose function is to set the tone of
the song Luigi Boccherini, the chief representative of Latin instrumental music during the Viennese Classical period is a kind of musical
painter! His Quintet # 4 in D major is maybe the most famous, mainly for the third movement "The Fandango" due to his relationship
with Spanish music during his stay in Spain for the last 37 years of his life, and the use of castanets to accentuate the popular substrate
of that piece.
Miriam Escudero
20
Životopisi / Biographies
ARS LONGA, kubanski ansambl za ranu glazbu osnovali su Teresa
Paz i Aland López 1994. godine. Sastav je usredotoèio izvedbu, studij i
istraživanje na razdoblja i stilove od srednjeg vijeka do baroka,
posebno na glazbu Španjolske i amerièkog teritorija njezina kraljevstva,
predstavljanje djela i skladatelja nepoznatih suvremenoj publici. Od
1995. godine ansambl djeluje pri Povijesnom uredu grada Havane
(Kuba); sastavljen je od studenata i diplomanata glazbenih
konzervatorija i havanskih visokih umjetnièkih instituta. Od samog
osnivanja prireðivao je koncerte u prestižnim koncertnim dvoranama u
zemlji te sudjelovao na važnim nacionalnim i meðunarodnim festivalima
za ranu glazbu: Festival de Músiques de Torroella de Montgrí,
Španjolska, 2005; Festival glazbe i poezije San Maurizio, Italija, 2005,
Festival de la Music Ancien of Coignieres and Angers, Francuska,
2005, V Festival La Música del pasado de América, Venezuela, 2006,
XVIII Festival Internacional de Música de Morelia, Meksiko, 2006,
Bilbao Ars Sacrum, 2007, SEVIQC Brežice, Slovenija, 2007, te
Boffrand Hall u sjedištu francuskog Senata, 2008., Festival de Música y
Danza de Granada, 2010, 49 Semana de Música Religiosa de Cuenca,
2010. te beèki Konzerthaus, 2011. Bogata diskografija obuhvaæa osam
realiziranih naslova za koje je ansambl ARS LONGA dobio ugledne nagrade. Specijalizirane glazbene kritike objavljene su u Francuskoj:
Diapason, Le Monde de la Musique, Télérama i Classica, a tekstovi u rubrikama kulture èasopisa Times i magazina Scherzo. Dajuæi doprinos u
promicanju interpretacije rane glazbe na Kubi, ARS LONGA je stalan gostujuæi ansambl na Meðunarodnom festivalu stare glazbe Esteban Salas
koji se svake godine održava u Havani. U scenskim nastupima ansambl kombinira nekoliko umjetnièkih formi poput plesne, kazališne i likovne
(oblikovne).
Created by Teresa Paz and Aland López in 1994, the Early Music Ensemble ARS LONGA belongs, since 1995, to the Historian's Office of
Havana City. The music of the virreinal period in America and Cuban colonial music occupies an important place within its repertoire. Since its
foundation it has offered numerous concerts in the must prestigious music halls of the country, as well as presentations in important international
events such as: Festival de Músiques de Torroella de Montgrí, Spain, 2005; Festival of Musica e poesia a San Maurizio, Italy, 2005, Festival de la
Music Ancien of Coignieres and Angers, France, 2005, V Festival La Música del pasado de América, Venezuela, 2006, XVIII Festival Internacional
de Música de Morelia, México, 2006, Bilbao Ars Sacrum, 2007, SEVIQC Brezice, Slovenia, 2007, and Boffrand Hall in the Presidency of French
Senate, 2008., Festival de Música y Danza de Granada, 2010, 49 Semana de Música Religiosa de Cuenca, 2010 and Wiener Konzerthaus, 2011.
A promotional asset of the interpretation of ancient music in Cuba, Ars Longa is in addition the host group to the Esteban Salas International
Festival of Ancient Music that every year is celebrated in Havana. Ars Longa's discography integrates for titles such as: Esteban Salas. Nativité à
Santiago de Cuba, 2001; Fiesta criolla, 2002; Esteban Salas. Cantus in honore Beatae Mariae Virginis, 2002; Gaspar Fernandes, 2003; Esteban
Salas. Passio Domini nostri Jesu Christi, 2004; Juan Gutiérrez de Padilla, 2005, and Pedro Bermúdez. Música de la Catedral de Guatemala, siglo
XVI, 2008, which have deserved important prizes of the specialized musical critic of France: Diapason, Le Monde de la Musique, Télérama and
Classica.
GUDAÈKI KVARTET EPOQUE iz Praga osnovan je poèetkom 1999. godine. Èetiri prvoklasna solista i komorna glazbenika s bogatim
iskustvom na pozornici u ansambl su donijeli ne samo sinergiju u glazbenim promišljanjima te u odnosu prema umjetnièkoj prirodi njihova
poslanja, veæ i svoj izvanredan interes prema glazbenim žanrovima koji ne spadaju pod zajednièki nazivnik „klasièna glazba“ poput jazza, rocka i
funka. Buduæi da kompozicije klasiène literature za kvartet ostaju integralnim dijelom programa ovoga ansambla, senzibilan pristup
nekonvencionalnim obradama donosi im nove moguænosti u korištenju gudaèkih instrumenata, omoguæujuæi im istovremeno proširenje repertoara,
koji tako postaje jedinstven kako na èeškim tako i na inozemnim pozornicama. Èlanovi kvarteta laureati su nekoliko meðunarodnih natjecanja. U
inozemstvu su izmeðu ostalog koncertirali u Njemaèkoj, Austriji, Švicarskoj, Francuskoj, Italiji, V. Britaniji, Izraelu, Japanu, Grèkoj, Nizozemskoj,
Poljskoj, Bosni i Hercegovini itd. Epoque kvartet redovito nastupa u pretplatnièkim ciklusima Simfonijskog orkestra Èeškog radija, svira za
Udruženje komornih glazbenika, suraðuje s Èeškom televizijom te gostuje na prestižnim glazbenim festivalima. U podruèju jazza Kvartet Epoque
nastupao je s osobnostima poput George Mraza, Benny Beaileya, Yoshiko Kishino. Ansambl redovito suraðuje sa Triom Roberta Balzara.
The Prague string quartet EPOQUE QUARTET was founded at
the beginning of the year 1999. Four excellent soloists and chamber
musicians with abundant stage experiences brang not only their
unanimity in musical opinions and the relationship in their artistic
nature together, but even their extraordinary interest in musical genres,
which do not belong under the title „classical music“ jazz, rock and
funk. As compositions of the classical quartet literature stay an integral
part of the programmes of this ensemble, the sensitive approach to
unconventional arrangements brings him new possibilities in using the
string instruments and at the same time it enables them to widen
the repertoire, which on our and on stages abroad is unique.
The members of the quartet are laureates of several international
competitions (for two times the first place in the competition of Liezen
in Austria, the first price in the international competition Ludwig van
Beethoven for string quartets, the price Jeunesse Musicale) and the
ensemble took part in some other competitions (for example the
competition Paolo Borciani), too. Abroad the quartet gave among
others concerts in Germany, Austria, Switzerland, France, Italy,
England, Israel, Japan, Greece, in the Netherlands, Poland, Bosnia
and so on. Regularly the Epoque Quartet performs in the subscription
Cycles of the Symphonic Orchestra of the Czech Broadcasting, the Czech Nonet, plays for the association for chamber music, cooperates with
the Czech television and the Czech Broadcasting and is guest on prestigious music festivals for example the Schleswig-Holstein Musikfestival,
Concentus Moraviae, the Music Festival of Èeské Krumlov, Chamber music Cycle of the Stuttgarter Philharmoniker, Metamorphoses
(Switzerland), Music Festival Ludwig van Beethoven, Moravský Podzim (Moravian autumn) an so on.In the year 2000 the members of the
Epoque Quartet led a master class in jazz interpretation at the Music Academy of Jerusalem. In the field of jazz the Epoque quartet came
together with personalities like George Mraz, Benny Beailey, Yoshiko Kishino. Digestedly the ensemble works together with the Trio Robert
Balzar.
SINIŠA LEOPOLD, skladatelj, glazbeni pedagog, dirigent i publicist (1957.)
diplomirao je na Muzièkoj akademiji u Zagrebu gdje djeluje kao viši predavaè od 1985.
godine. Posebno se posvetio folklornom glazbenom izrazu i radu s tamburaškim
orkestrima. Jedan je od autora prvoga udžbenika za tambure (1992.), a napisao je i
knjigu Tambura u Hrvata (1995.). Njegove skladbe i glazbene obrade nezaobilazan su
dio repertoara mnogih ansambala i orkestara, a svoj rad on i dalje usmjerava prema
promicanju glazbenih izrièaja na podruèju orkestralne tamburaške glazbe. Autor je filmske
i scenske glazbe te dobitnik mnogobrojnih uglednih nagrada i priznanja (godišnje
nagrade HRT-a, godišnje Nagrade za kulturu grada Samobora, diskografske nagrade
Porin, za doprinos u kulturi Redom Danice Hrvatske s likom Marka Maruliæa, Zlatne
Arene za filmsku glazbu itd.)
Siniša Leopold (1957), composer, music pedagogue, director and publicist, graduated
at the Zagreb Music Academy where he has been engaged as senior lecturer since 1985.
He has devoted his work to folklore music, particularly to tamburitza orchestras. He has
been Chief Director of the Croatian Radio and Television (HRT) Tamburitza Orchestra since
1985. He is the co-author of the first text-book for tamburitza (1992), and the author of the
book Tambura u Hrvata (Croatian Tamburitza) (1995). His compositions and interpretations
have become inevitable parts in the programs of many ensembles and orchestras and he
continues to focus his work on promoting orchestral tamburitza music. He is the author of
a variety of works – compositions and arrangements, film and performing arts music. He is also active as a pedagogue at the School of Croatian
Folklore and a host of international seminars. With various ensembles he has visited all continents. He has won many awards and recognitions
(HRT Annual Award, the town of Samobor Annual Award, the recording industry award Porin, the Order of Croatian Danica with the image of Marko
Maruliæ for contributions to culture, Golden Arena for film music, etc.).
NINO ROTA ENSEMBLE nastao je 1995. godine prigodom
proslave stote obljetnice kinematografije. Ovaj atraktivni sekstet èine
vrsne talijanske glazbenice povezane dvjema zajednièkim strastima prema glazbi i prema filmu: Tiziana Santarelli (sopran), Giannina
Guazzaroni (violina), Federica Torbidoni (flauta), Graziana Giansante
(oboa), Cecilia Amadori (violonèelo) i Deborah Vico (klavir i aranžmani)
Od samog osnivanja, ansambl intenzivno koncertira afirmirajuæi se
svojim umijeæem i originalnošæu sastava diljem Europe i u nekim
vaneuropskim zemljama, s izvedbama u najprestižnijim dvoranama u
Švedskoj, Portugalu, Egiptu, Njemaèkoj, Francuskoj, Hrvatskoj, Grèkoj,
Turskoj, Azerbejdžanu, Tajvanu, Brazilu, Tunisu, Maroku, Cipru,
Libanonu, Libiji i Siriji, Luksemburgu, Litvi, Indoneziji i Nigeriji. Meðu
brojnim nastupima ansambla u razlièitim dijelovima svijeta, posebno se
istièu važni koncerti uz otvaranje meðunarodnih filmskih festivala, poput
festivala u Solunu, Annecyju, Villeruptu, Stockholmu, Luksemburgu.
Glazbenice èlanice Ansambla nagraðivane su na državnim i
meðunarodnim natjecanjima, usavršavale su se i pohaðale seminare kod
najuglednijih profesora meðunarodnog ugleda, te su poznate i cijenjene
kao solistice u raznim komornim sastavima, a kontinuirano suraðuju i s
najboljim talijanskim orkestrima. Nino Rota Ensemble predstavlja poseban repertoar, izvodeæi najslavnije kompozicije nekih od najveæih talijanskih
i svjetskih skladatelja filmske glazbe, kao što su Nino Rota, Ennio Morricone, Stelvio Cipriani, Riz Ortolani, Nicola Piovani, George Gershwin,
Leonard Bernstein, Max Steiner i drugi, u originalnim aranžmanima koje je pijanistica Deborah Vico priredila i prilagodila za Ansambl.
Prigodom obilježavanja stote obljetnice smrti Giuseppe Verdija godine 2001, održale su niz koncerata kao predstavnice Italije, meðu ostalim u
prestižnom Teatru Municipal u Sao Paolu u Brazilu, suraðujuæi s nekima od najslavnijih imena talijanske vokalne lirike, poput Cecilie Gasdia,
Pietra Ballo, Giorgia Merighi i Fiorenze Cossotto. Imale su èast nastupiti i na velikim dogaðanjima vezanim uz film, u nazoènosti slavnih režisera i
skladatelja (Stelvio Cipriani, Ennio Morricone, Ettore Scola, Francesco Rosi i Marco Bellocchio). Pored brojnih diskografskih snimki, koncerte
Ansambla prenosila je RAI, Radio Vatikan, Portugalska nacionalna televizija te brojne nacionalne i meðunarodne mreže.
THE NINO ROTA ENSEMBLE was founded in Italy (the Marches) in 1995 and has since performed continuously throughout Europe and
abroad, playing in important theatres in Sweden, Portugal, Egypt, France, Germany, Taiwan, Greece, Croatia, Brasil, Turkey, Azerbaigian,
Morocco, Tunis, Cyprus, Liban, Syria, Luxemburg, Letonia. The group consists of six Italian female musicians: Tiziana Santarelli (soprano),
Giannina Guazzaroni (violin), Federica Torbidoni (flute), Graziana Giansante (oboe), Cecilia Amadori (cello) and Deborah Vico (piano and
arrangements). The ensemble members usually play classical repertoire as soloists, with many chamber groups (duo, trio, quartet, quintet, sextet)
and Italian orchestras. As the Nino Rota Ensemble, they always play a particular repertoire composed by such famous Italian and foreign
composers as Nino Rota, Ennio Morricone, Stelvio Cipriani, Riz Ortolani, Nicola Piovani, George Gershwin, Leonard Bernstein, Max Steiner and
others. The music comes from such well-known soundtracks as “Gone with the Wind”, “Once Upon a time in America”, “Romeo and Juliet”,
“Amarcord”, “Singin' in the Rain”, “Mission” and many others. Recently they have worked with some of the most famous international singers, like
Cecilia Gasdia and Fiorenza Cossotto, playing in the Municipal Theatre of San Paolo (Brasil). The pianist Deborah Vico is responsible for the
transcriptions and arrangements used in the program, with great expressive effect and utmost refinement. The six musicians have received
awards in national and international competitions; they have also attended courses and seminars of important musicians and composers. Their
performances have been broadcast by National Portugal Television and Radio of Lisbon, RAI, Vatican Radio and by national and private TV. The
recent compact disc recording of their repertoire in program is enjoying great success around the world.
TAMARA OBROVAC pjevaèica, flautistica, skladateljica i
autorica tekstova, jedna je od najznaèajnijih i najsvestranijih
osobnosti na hrvatskoj glazbenoj sceni, a zahvaljujuæi utjecajima
istarske narodne glazbe i dijalekta koje koristi u kreiranju svog
glazbenog izraza, u nekoliko je posljednjih godina stekla veliku
popularnost. Uz internacionalnu koncertnu aktivnost Tamara sklada
glazbu za balet, kazalište i film, za što je višestruko nagraðivana.
Alkemijom s izvanrednim glazbenicima njenog internacionalnog
transhistria ensemble-a koji vješto i prirodno spaja elemente
istarske, mediteranske glazbe, jazza s elementima suvremene
glazbe, postiže nevjerojatnu lakoæu izrièaja svojstvenu zaista samo
najveæim umjetnicima. Njihovi su nastupi prožeti spontanošæu,
inventivnim improvizacijama, slobodom, humorom i snažnom
komunikativnošæu, a njen je glas jednako efektan u pjevanju
tekstova kao i vokalizama kada postaje dodatni instrument. Upravo
taj prirodni suživot razlièitih glazbenih formi i improvizacije
definitivno etablira Tamaru Obrovac kao iznimnu umjetnicu koja je
koristeæi elemente vlastite tradicije stvorila osebujan glazbeni
izrièaj, bivajuæi time sve više prepoznatljiva i prisutna na svjetskoj
glazbenoj sceni. Njen daljnji iskorak na svjetsku glazbenu scenu
pojaèan je i nominacijama za BBC Radio 3 World music Awards 2004 - u kategoriji Europske glazbe i Nagrade publike, kao i mnogobrojnim
pozitivnim reakcijama internacionalne kritike i publike... Jon L. Walters u britanskom Guardianu, 20. 02. 04. u povodu objavljivanja kompilacijskog
CD-a nominiranih za BBC jevu World music nagradu bilježi: "Na svu sreæu, moguænost nasumiènog biranja na ovakvim kompilacijama omoguæuje
traganje za neèim što nikada prije niste èuli. U mom sluèaju "blind date" umjetnica je Tamara Obrovac. Cansoneita (A small song) u izvedbi
Obrovac i transhistria ensemble-a, lebdeæa je, oèaravajuæa stvar, s bubnjevima što se šire prostorom, zvuènom harmonikom i divnim vodeæim
vokalom Obrovac." Izdala je 7 autorskih CD-a 1996 "Triade", 1998, "Ulika", 2000. "Transhistria", 2002., "Sve pasiva", 2003., "Daleko je", 2005.,
“Neæu više jazz kantati”, 2009., te najnoviji “Madirosa”u suradnji s gudaèkim kvartetom Epoque, kroz koje profilira autorski pristup stvarajuæi
unikatnu autorsku formu koja inspirirana istarskom i širom mediteranskom tradicijom etablira "osobnu poetiku autorice".
The composer singer and flutist TAMARA OBROVAC from the Croatian city of Pula is one of the most impressive artists on the Croatian
music scene, and in the past few years she has become very popular due to the influence of the Istrian folk music that has been the creative force
of her works. Istria is a beautiful Croatian region, a North Adriatic peninsula, particular for it's musical and dialectal tradition. She writes lyrics in a
local dialect and sings in an ancient dialect which is not spoken any more - the Istriotic dialect. Her international Transhistria Ensemble
incorporates elements of Istrian and Mediterranean national music, jazz, and many elements of modern music skilfully and naturally, "the warm
bowed and stringed instruments played by the excellent musicians from her current Transhistria Ensemble make up genuine musical mohair,
warming and softening even the chilliest of souls." Her music, completely original and autochthonous, goes beyond time and geographical
boundaries, thus becoming a universal artistic message, establishing Tamara Obrovac as an exceptional artist who managed to create her own
unique musical expression. This creative musician has become known for her highly aesthetic performances, her interpretations are suffused with
spontaneity, inventive improvisation, freedom, humour and the ability to communicate with the audience, an artist of a strong persona, a life and
artistic force able to enchant any audience; there is undeniably more than a few ways to define Tamara Obrovac. It's like those who write about
her are competing to produce the most extravagant discourse to describe her stroke. International recognition came also through the nomination
for the BBC Radio 3 World music Awards 2004 (European Music and Audience Award). Here is what John L. Walters, Guardian, 20/02/2004 said
while browsing the Double CD with all the nominees songs: "Fortunately, the random nature of awards compilation like this provides the
opportunity to browse and skip and fall headlong for something you've never heard before. In my case, the "blind date" artist is Tamara Obrovac.
Cansoneita (A Small Song) performed by Obrovac with the Transhistria Ensemble, is a floating, beguiling track, with spacious drumming, tuneful
accordion and a delicious lead vocal by Obrovac."
She published 7 author CDs: “Triade”, 1996; “Ulika”, 1998; “Transhistria”, 2001; “Sve pasiva”/”Everything fades away”, 2003; “Daleko je”/”Is
faraway”, 2005; “Neæu više jazz kantati”/”I won't sing jazz any more”, 2009, and latest "Madirosa", 2011, in colaboration with string quartet
Epoque, in which she broadens her artistic expression with the sound of the string quartet, experimenting with the border areas of jazz, classical
music and different ethnic traditions of the Mediterranean. Through her albums, Tamara profiles her own auctorial approach and creates a unique
artistic form which, inspired by the Istrian and broader Mediterranean tradition, establishes “the personal poetics of the author”.
TVRTKO STIPIÆ, tenor, roðen u Zagrebu. Diplomirao u klasi prof. Franza
Donnera na Muzièkoj akademiji u Beèu. Privatno se usavršavao kod prof. Dunje
Vejzoviæ i kod prof. Olivere Miljakoviæ. Odmah poslije diplome angažiran je u Kammer
Oper Wien u projektu Eine Nacht in Venedig kao Vojvoda od Urbina s kojim nastupa i
na Beèkom ljetnom festivalu u dvorcu Schönbrunn. Nakon toga gostuje u Operi u
Brnu (princ Tamino-Èarobna frula) s kojom odlazi na turneju po Japanu. U Hrvatskoj
djeluje kao solist opere HNK Zagreb te gostuje u svim opernim kuæama: Rijeka
Ljubavni napitak; Osijek - La Sonambula, Ljubavni napitak, Rigoletto i Lijepa Helena;
Split - Ljubavni napitak. U HNK Zagreb uglavnom pjeva lirski repertoar te ostvaruje
uloge: Tamino - Èarobna frula, Otimica iz Saraja - Belmonte, Don Giovanni - Don
Ottavio, La Traviata Alfredo, Gianni Schicci - Rinucio.
Pjeva u Ljubljani Don Pasqule te takoðer redovito nastupa u Sarajevskoj operi u
opereti Šišmiš kao Alfredo, Nemorino u Ljubavnom napitku i kao Duca di Mantova u
Rigolettu. 2004 na meðunarodnom natjecanju tenora u Trogiru osvaja 2. nagradu, a
nositelj je i rektorove nagrade Sveuèilišta u Zagrebu.
Nastupa i kao koncertantni pjevaè sa Zagrebaèkom Filharmonijom, Sarajevskom
Filharmonijom, te Dubrovaèkim simfonijskim orkestrom. Godine 2005. nastupao je u
Njemaèkoj kao gostujuæi umjetnik Jeunesses Musicales s ulogom Alfreda u Traviati
uz dirigenta Jakova Kreizberga.
TVRTKO STIPIÆ, tenor, born in Zagreb. He graduated in the class of Professor Franz Donner at the Music Academy in Vienna. He took
private lessons with Professor Dunja Vejzoviæ and Professor Olivera Miljakoviæ. Immediately after his graduation, he was engaged at the Kammer
Oper Wien for the project Eine Nacht in Venedig (A Night in Venice) for the role of the Duke of Urbino. In this role he also appeared at the Vienna
Summer Festival in the Schönbrunn Castle. After that, he was a guest artist of the Opera in Brno (Prince Tamino The Magic Flute) with which he
went on tour to Japan. In Croatia he is engaged as the soloist of the Opera of the Croatian National Theatre in Zagreb and is a guest artist of all
the Croatian Opera Houses: Rijeka L'elisir d'amore (The Elixir of Love); Osijek - La Sonnambula (The Sleepwalker), L'elisir d'amore (The Elixir of
Love), Rigoletto and La Belle Hélène (The Fair Helen); Split- L'elisir d'amore (The Elixir of Love). At the Croatian National Theatre in Zagreb he
mainly sings the lyrical repertoire and has interpreted the following roles: Tamino The Magic Flute, Belmonte - The Abduction from the Seraglio,
Don Ottavio - Don Giovanni, Alfredo - La Traviata, Rinuccio - Gianni Schicchi.
He appeared in Don Pasquale in Ljubljana, Slovenia and is a frequent guest artist of the Opera in Sarajevo, Bosnia and Herzegovina. There he
sang the roles of Alfredo in Strauss` Die Fledermaus (The Bat), Nemorino in L'elisir d'amore (The Elixir of Love) and the Duke of Mantova in
Rigoletto.
At the 2004 International Competition of Tenors in Trogir, Croatia, he was awarded the second prize. The same year he performs as a guest artist
of the Toledo Symphony Orchestra, with Thomas Conlin as conductor. He also performs as a concert singer and he held concerts with the Zagreb
Philharmonics, the Sarajevo Philharmonics and the Dubrovnik Symphonic Orchestra.
In 2005, he performed in Germany as the guest artist of Jeunesses Musicales and sang the role of Alfredo in La Traviata with Jakov Kreizberg as
conductor.
TAMBURAŠKI ORKESTAR HRVATSKE RADIOTELEVIZIJE utemeljen je 1941. godine kao profesionalni ansambl tadašnje Radio-
stanice Zagreb. U svojemu dugogodišnjem djelovanju s nakanom sustavne brige za folklorno nasljeðe, Orkestar predstavlja hrvatsku narodnu glazbu
u emisijama Hrvatskog radija i Hrvatske televizije te na koncertima i festivalima. Ovaj ugledni ansambl s velikim uspjehom pronosi našu glazbenu
kulturu po svim kontinentima. Repertoarni izbor Orkestra ponekad se odmièe od temeljne namjene tradicijske tambure predstavljajuæi ju kao suvremeno
glazbalo na kojemu se jednako nadahnuto izvode popularne zabavne i klasiène skladbe, operne arije, vjeène melodije, originalna djela pisana za
tamburaški orkestar i stari hrvatski napjevi. Pomlaðen i osposobljen za najsloženije umjetnièke zahtjeve, Orkestar sastavljen od majstora solista od
godine 1985. djeluje pod umjetnièkim vodstvom prof. Siniše Leopolda.
THE CNT TAMBURITZA ORCHESTRA was found in 1941 as a professional ansambl of Radio Zagreb. Since then, the orchestra has been
performing Croatian folk music in Radio and Television programs.A large part of the program is consisted of concert pieces written for the tamburitza.
Over the last ten years, program orientation of the Orchestra has expanded and now includes performances of serious, pop, and light orchestral
music. Vocal and instrumental soloists of all genres are frequent guests and associates of the Tamburitza Orchestra at their shoots, concerts, and
shows on Croatian Radio and Television. Since 1985, the Tamburitza Orchestra has been performing under the artistic guidance of prof. Siniša
Leopold, conducter and composer, music educator and publicist. The Orchestra has 16 permanent musicians. The tamburitza, our most popular folk
instrument, is the only instrument in the area that has evoluated from an authentic plebian instrument to an orchestral instrument of unforseen
possibilities over hundreds of years of development. This Orchestra has played a large role in the promotion of tamburitzas and tamburitza music,
not only in the musical aspect, but also in the cultural aspect which has resulted in recognition of its value both in Croatia and abroad.
MIRA VLAHOVIÆ, dramsko-koloraturni sopran, prvakinja Opere HNK u Zagrebu
Roðena je u Zaprešiæu, Srednju muzièku škoul “Blagoje Bersa“ završila u klasi prof. Višnje Stahuljak Chytil u Zagrebu, diplomirala je na Muzièkoj
akademiji u Zagrebu 1981. god. u klasi prof. Ive Lhotke Kalinskog. Usavršavala se na majstorskom teèaju proslavljene primadone Srebrenke-Sene
Jurinac u Grazu. Završila je glumaèku školu Off Teatra Bagatella, te suraðivala s poznatim filmskim redateljima. 1980. godine debitirala je u Operi
HNK u Zagrebu u zahtjevnoj ulozi Kraljice noæi u Mozartovoj operi "Èarobna frula". U razdoblju 1987-91. bila je prvakinja Opere HNK u Splitu, s
èijim je ansamblom ostvarila vrlo uspješno gostovanje u Španjolskoj sa Verdijevom "Traviatom". 1991. prelazi u Operu HNK u Zagrebu. Do sada je
ostvarila niz uloga opernog faha, kao što su: Musetta u Puccinijevoj "La Boheme", Oscar u Verdijevom "Krabuljnom plesu", Norina u Donizettijevom
"Don Pasqualeu", Helmwiga u Wagnerovim "Walkurama", Amor u Monteverdijevoj „Krunidbi Popeje“, Violetta u Verdijevoj "Traviati", Jela u
Bombardelijevom „Bakonji“, Princeza Nicoletta u operti Prokofjeva “Zaljubljen u tri naranèe“, Lucia u Donizettijevoj "Lucii di Lamermoor", Gilda u
Verdijevom "Rigolettu", lutka Olympia u" Hoffmanovim prièama“ J. Offenbacha, Rosina u Rossinijevom "Seviljskom brijaèu", Tetka Henriett u
„Prièama iz beèke šume“ M.Belamariæa, Constanza u Mozartovoj "Otmici iz saraja", Lizinka u operi I.pl.Zajca „Lizinka“, Primadona Corilla u
Donizettijevim „Kazališnim zgodama i nezgodama“, Slavuj i Vrabac u Foretiæevom „Fabulariumu animale“, Gospoða Barilla u Juraniæevim
„Pingvinima“ te Mirjana i Mira u Mandiæevoj „Mirjani“. Okušala se takoder i u opereti, te pjevala Floramye u Tijardoviæevoj "Mala Floramye", Hannu u
Leharovoj "Veseloj udovici", a priprema Rosalindu u Straussovoj opereti „Šišmiš“. Podjednako njeguje i koncertno pjevanje svjetovnog i duhovnog
karaktera, medu ostalim i poznata djela Mozarta, Bacha, Händela, C. Orffa i Beethovena.
Gostovala je diljem Hrvatske, te u inozemstvu na uglednim pozornicama i festivalima brojnih europskih (Slovenija, BiH, Srbija, Italija, Španjolska,
Njemaèka, Makedonija, Švicarska, Austrija, Maðarska, Èeška) i nekoliko vaneuropskih zemalja (SAD, Kanada, JAR).
Suraðivala je i s poznatim dirigentima: M. Belamariæem, N. Barezom, V. Šutejom, P. Dešpaljom i drugima.
Èlanica je Hrvatskog društva glazbenih umjetnika, Matice Hrvatske i Hrvatske bratske zajednice. Prisutna je u mnogim podruèjima hrvatskoga
glazbenog života, nastupajuæi s najrenomiranijim orkestrima i ansamblima. Nastupa na svim važnim hrvatskim festivalima, snimala je za radio,
gostovala u mnogim TV emisijama. Èlanica je Meðunarodne humanitarne organizacije Lions-club "Zrinjevac" - Zagreb. Dobitnica je Nagrade Grada
Zaprešiæa za 2000. godinu.
Objavila je 3 nosaèa zvuka (Pjesme hrvatskih autora uz pratnju glasovira, Pjesme svjetskih autora uz pratnju glasovira i Meðimurske izvorne narodne
pjesme uz pratnju Tamburaškog orkestra HRT). U pripremi su diskografski projekti „Sakralna glazba uz pratnju orgulja i raznih instrumenata“,
„Operne i operetne arije sa zagrebaèkom filharmonijom“ i dr.
Ugledni glazbeni kritièar i muzikolog Nenad Turkalj napisao je o Miri Vlahoviæ:
„…Odlike koje karakteriziraju ovu umjetnicu velika su glasovna i tehnièka dispozicija, sjajna uživljenost u scenske odnose, studiozan rad, detaljna
razrada svake uloge, inteligentno uklapanje u redateljsku koncepciju, pouzdana suradnja s dirigentima, kao i raznolikost u interpretaciji svakog
pojedinog lika, popraæena jednakim smislom za dramu i komiku, te iznimno lijepa pojava… U oba kazališta (HNK u Splitu i HNK u Zagrebu) nastupala
je u najzahtjevnijim ulogama koloraturnog faha, kojima je postala dragocjenom interpretkinjom osebujnog glazbenog senzibiliteta, utemeljenog na
raskošnom talentu“
MIRA VLAHOVIÆ graduated in solo singing from the
Zagreb Academy of Music1982, and went on to study under
Srebrenka Jurinac in Graz. She made her debut at the
Croatian National Theatre in Zagreb in 1980,
interpreting the role of the Queen of Night in Mozart's opera
Magic Flute. She has appeared in a number of operatic roles,
such as Musetta in Puccini's La Boheme, Oscar in Verdi's
opera A Masked Ball, Norina in
Donizetti's Don Pasquale, Helmwig in Wagner's Walkore,
Violeta in Verdi's Traviata, Lucia in Donizetti's Lucia di
Lammermoor, Gilda in Verdi's Rigoletto, the puppet Olympia
in The Tales of Hoffman by J. Offenbach, Rosina in Rossini's
Barber from Seville and Constanze in The Abduction from the
Seraglio by Mozart. Mira Vlahoviæ has made
guest-appearances throughout Croatia, as well as in
Slovenia, Italy, Spain and Germany. She has collaborated
with distinguished conductors,including Miroslav Belamariæ,
Nikša Bareza, Vjekoslav Šutej, Pavle
Dešpalj and others. She is a member of the Croatian
Musicians Association and the Croatian Homeland
Foundation. Mira Viahoviæ was a soloist with the Croatian
National Theatre in Split. Since 1991, she has been principal
singer of the Croatian National Theatre Opera in Zagreb.
The prominent Croatian music critic and musicologist Nenad
Turkalj wrote about Mira Vlahoviæ:
:...''She is a singer with an excellent voice and technique
disposition, extraordinarily attractive in appearance with a
capability for brilliant identification on stage. She is well
known for her meticulous work, detailed elaboration of each
role, intelligent fitting into the director's concept, reliabile
cooperation with conductors and versatility in the
interpretation of each role with an equal sense of drama and
comedy.In both theatres (Croatian National Theatre in Split
and Croatian National Theatre in Zagreb) she sings the most
demanding coloratura parts , thus becoming a precious
interpreter with a distinctive musical sensitivity based on
magnificent talent.''
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