Dubrovnik Na Glazbenoj Hridi Dubrovnik on a Rock of Music

72. DUBROVAČKE LJETNE IGRE 72ND DUBROVNIK SUMMER FESTIVAL 2021. HRVATSKA CROATIA

DUBROVNIK NA GLAZBENOJ HRIDI DUBROVNIK ON A ROCK OF MUSIC

ATRIJ KNEŽEVA DVORA RECTOR'S PALACE ATRIUM 10. KOLOVOZA 2021. | 10 AUGUST 2021 21:30 9.30 PM

Solisti Soloists: LOVRO MERČEP saksofon saxophone MARIJA GRAZIO glasovir piano DUBRAVKA ŠEPAROVIĆ MUŠOVIĆ mezzosopran mezzo-soprano

TOMISLAV FAČINI dirigent Conductor

ORKESTAR ORCHESTRA:

MIRABAI WEISMEHL, TARA HORVAT violina violin; LIDIJA MARTINOVIĆ viola VANDA ĐANIĆ violončelo cello; DENIS AJDUKOVIĆ kontrabas double bass IVAN KUŠELJ truba trumpet; TONI KURSAR rog horn; MATIJA NOVAKOVIĆ fagot bassoon ĐIVE KUŠELJ flauta flute; ANTONIO HALLER oboa oboe /engleski rog English horn; STIJEPO MEDO klarinet clarinet; VERONIKA ĆIKOVIĆ harfa harp; STJEPAN VUGER harmonika accordion; KARMEN PERVITIĆ, FRAN KRSTO ŠERCAR udaraljke percussion

CLAUDE DEBUSSY: PRÉLUDE À L’APRÈS-MIDI D’UN FAUNE / PRELUDIJ ZA POSLIJEPODNE JEDNOG FAUNA / PRELUDE TO THE AFTERNOON OF A FAUN, OBR. ARR. T. FAČINI

JACQUES IBERT: CONCERTINO DA CAMERA / KOMORNI CONCERTINO ALLEGRO CON MOTO LARGHETTO - ANIMATO MOLTO

(LOVRO MERČEP, SAKSOFON SAXOPHONE)

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FRANO ĐUROVIĆ: KONCERT ZA GLASOVIR / PIANO CONCERTO

(MARIJA GRAZIO, GLASOVIR PIANO)

GUSTAV MAHLER: LIEDER EINES FAHRENDEN GESELLEN / PJESME PUTUJUĆEG DJETIĆA SONGS OF A WAYFARER, OBR. ARR. T. FAČINI

WENN MEIN SCHATZ HOCHZEIT MACHT / KADA ĆE SE MOJA DRAGA UDAVATI / WHEN MY LOVE HAS HER WEDDING-DAY

GING HEUT' MORGEN ÜBER'S FELD / IŠAO SAM JUTROS KROZ POLJE I WALKED ACROSS THE FIELDS THIS MORNING

ICH HAB' EIN GLÜHEND MESSER / IMAM UŽAREN BODEŽ I’VE A GLEAMING KNIFE

DIE ZWEI BLAUEN AUGEN VON MEINEM SCHATZ/ PLAVE OČI MOJE DRAGE / THE TWO BLUE EYES OF MY LOVE

(DUBRAVKA ŠEPAROVIĆ MUŠOVIĆ, MEZZOSPORAN MEZZO-SOPRANO)

Dubrovnik na glazbenoj hridi nastavak je 1889., gdje je prvi put čuo indonezijski programskoga koncepta koji pomoćnik gamelan. Često je rabio nezapadne intendantice Dubrovačkih ljetnih igara za ljestvice, arhaične nizove, moduse, glazbeni program i dirigent koncerta, pentatoniku, cjelostepenu ljestvicu – bio je Tomislav Fačini, opisuje ovako: to utjecaj Istoka, ali i posljedica „Malo je serijala koji uspijevaju svakim onodobnih harmonijskih postupaka, nastavkom zadržati razinu, a kamoli odnosno pomicanja prema „razbijanju“ nadmašiti prethodnu epizodu. Doduše, ova tonaliteta. Za mnoge je skladbe bio je konstatacija vezana uz epohu u kojoj je inspiriran pjesništvom, koje je važno i za vodeći format ipak bio film, a ne TV djelo s večerašnjeg programa, te je glazbu serija: tako se sjećamo Ralja 1,2, i 3, Sam vezivao uz vizualne podražaje (ali odbijao u kući 1-5, ali i nekih autora koji su u titulu „impresionističkog“ skladatelja, svom filmu imali ambicije dogurati do kako ga danas najčešće opisuju). Napisao 365... Mi nemamo namjeru da neka od je inventivna kratka klavirska djela, posljednjih epizoda Hridi izazove emocije pjesme, sonate, operu Pelléas et koje bi pretvorile Grad u plamenu Mélisande, orkestralna djela: buktinju, ali nadamo se da će i ovo Preludij za poslijepodne jednog fauna izdanje, zahvaljujući vrsnim glazbenicima jedno je od najznačajnijih orkestralnih koji će se predstaviti kao solisti i komorni djela svojega doba. Debussy ga je pisao glazbenici - ali i zbog repertoara, zapaliti početkom 1890ih, inspiriran pjesmom pokoju iskru među našom publikom. L’après-midi d’un faune Stéphanea Schönbergovo društvo za kućno Mallarméa, koji je pak bio inspiriran muziciranje postavilo je prije stotinjak slikom Françoisa Bouchera. U pjesmi, godina standarde obrada velikih djela za faun (satir) za sunčanog poslijepodneva manje sastave pa smo tako lani čuli svira i sanja o zavođenju nimfi. Djelo Mahlerove pjesme na tekst Friedricha praizvedeno u Parizu 1894. iznenadilo je Rückerta, a ove sam godine na tom tragu nestabilnim tonalitetom, promjenama obradio Pjesme putujućeg djetića i mjere, novom „sintaksom“, teško Poslijepodne jednog fauna... te skladbe prepoznatljivom formom i novim postoje u obradama navedenog Društva, zvukovnim bojama, kao i raznolikim no naš je sastav bogatiji, raznovrsniji i harmonizacijama glavne teme, čiju življih boja, pa su i ta dva aranžmana zamamnu kromatsku silaznost pisana baš za Igre i krojena za sastav i upoznajemo u solu flaute. Skladatelj i konkretne glazbenike koje slušate.“ dirigent Pierre Boulez ocijenio je „Faunova flauta udahnula je novi život glazbenoj umjetnosti. S trona je svrgnut Claude Achille Debussy (St. Germain-en- (…) sam koncept forme. Spremnik Laye, 1862. – Pariz, 1918.) studirao je na mladosti u toj partituri prkosi trošenju i Pariškom konzervatoriju, na kojem su mu iscrpljivanju.“ A premijerna publika djela prigovarali što se ne pridržava pravila kojim je „počela glazba 20. stoljeća“ komponiranja (iako je 1885. svejedno (ponovno Boulez) za novo je, očito, imala osvojio cijenjenu francusku stipendiju sluha, jer odmah su zatražili da djelo čuju Prix de Rome). Nakon francuskih utjecaja, – ponovno. otkrio je glazbu Palestrine, ruskih autora i kratko se oduševio Wagnerom, no poslije je rekao da je tada „prekrasan suton Jacques (François-Antoine) Ibert (Pariz, pogreškom zamijenio za zoru“. Debussy 1890. – 1962.) zapamćen je po tehnički je također bio iznimno zainteresiran za zahtjevnim i zanimljivim neoklasičnim glazbe drugih kultura, pri čemu je važnu djelima prštavih boja. Studirao je na ulogu odigrala Svjetska izložba u Parizu Pariškome konzvervatoriju, dobio cijenjenu Rimsku nagradu 1919., a od Od 2010. do 2013. godine bio je 1937. do 1960. bio je ravnateljem umjetnički voditelj Glazbene tribine u Francuske akademije u Rimu. Uz Opatiji, od 2012. do 2016. bio je instrumentalna djela za raznolike sastave, umjetnički savjetnik Muzičkog biennala skladao je i 7 opera (a i glazbu za filmsku Zagreb. Od 2015. je član, a od 2018. verziju Macbetha koju je režirao Orson predsjednik Upravnog odbora Glazbene Welles). nagrade „Porin“. Concertino da camera već je naslovom, O Koncertu za glasovir i orkestar kaže: „koncertić“ za alt-saksofon i 11 „Koncert je posvećen Mariji Grazio koja instrumenata, u dva stavka, lirski, ali i ga je i praizvela, uz Cantus Ansambl obojen posuđivanjem iz jazza i bluesa i Classic [prošireni sastav ansambla Cantus] tehnički zahtjevan. Ibert ga je napisao i dirigenta Berislava Šipuša, na Osorskim 1935. i posvetio saksofonistu Sigurdu glazbenim večerima 2010. godine. U Rascheru. U prvome stavku, zakovitlanog skladbi se propituje višeslojnost odnosa početka, tijesno se isprepliću ansambl i glazbala i prostora, interpreta i skladatelja, solist koji je katkad čak i u pozadini. tradicionalni i suvremeni način Larghetto je bluesy balada po kojoj izražavanja.“ saksofon „klizi“, a prekida je nervozni Animato i vodi prema kadenci i živahnoj završnici. Gustav Mahler (Kalištĕ, 1860. – Beč, 1911.) odrastao je u Jihlavi (Češka) i studirao glasovir, harmoniju i kompoziciju Frano Đurović (Dubrovnik, 1971.) na Bečkome konzervatoriju. Bio je diplomirao je kompoziciju na Muzičkoj nagrađivan kao pijanist, zatim se akademiji u Zagrebu u klasi Frane Paraća. koncentrirao na kompoziciju, a od 1880. Osim orkestralnih i komornih skladbi, godine više dirigira, radeći, između njegov opus odlikuje zanimanje za ostaloga, u kazalištima u Olomoucu, područja elektroničke i elektroakustičke Budimpešti i Hamburgu. Nakon mnogo glazbe te za prostor multimedijskog truda, pregovora, podrške Hanslicka i diskursa razvidne profiliranosti autorskog Brahmsa, ali i prihvaćanja katolicizma, pogleda. Kako kaže, živost komunikacije postao je dirigentom te zatim i glazbe artikulira otvorenošću prema ravnateljem Bečke opere. Bila je to drugim umjetničkim izrazima iznimno važna funkcija, a kratko je bio i (elektronika, instalacije, glazba za na čelu Bečke filharmonije. Njegov je kazališne predstave i dr.). način rada, koji je uključivao integrirane umjetničke projekte umjesto predstava Dobitnik je niza nagrada, među kojim Nagrade rektora Sveučilišta u Zagrebu, kojima bi se forsiralo pjevačke zvijezde, Nagrade Međunarodne ljetne akademije bio kontroverzan, njegovi visoki Reichenau, nagrade „Josip Štolcer umjetnički standardi nisu uvijek Slavenski“ (2005. i 2017.), nagrade Fonda prihvaćani, a novinske su kritike katkad „Stjepan Šulek“; bio je pobjednik zbog bile osobno usmjerene i Natječaja za MBZ-ovu web skladbu, antisemitske. Poslije je dirigirao i u dobitnik nagrada „Marul“ za scensku njujorškome Metropolitanu i ravnao glazbu, Nagrade Pasionske baštine i Njujorškom filharmonijom. Osobni život nagrade „Boris Papandopulo“ za obilježila mu je Alma Schindler, slikarica skladbu Check Ignition And May God's i glazbenica s kojom s vjenčao 1902., ali i Love Be With You. Na Muzičkoj smrt starije kćeri, 1907. godine. Uz dirigentske obveze tijekom godine, akademiji u Zagrebu je asistent od 2004., docent od 2007., izvanredni profesor od najčešće je skladao ljeti, napisavši 9 2012., redoviti profesor od 2019. godine. simfonija i početak desete, Das Lied von der Erde, solopjesme... Mahler je skladao kreira lijep ugođaj dok mladić razgovara s poštujući tradiciju i diveći se Beethovenu, cvijećem i pticama. Možda ohrabren Brahmsu, Wagneru, no istovremeno „prekrasnim svijetom“ iz teksta, na kraju proširujući klasičnu formu, kao i se putnik (uz pratnju klarineta) ponada, ali tonalitetnost, do krajnjih granica. Polako si i odgovara: „hoće li za mene sada početi je razvijao blokovsko razmišljanje u sreća? Ne, ona meni ne može cvasti.“ slaganju djela, jukstapoziciju raznolikih Nade nema u trećoj pjesmi, Ich hab' ein.. segmenata, a tonalitet u njegovom opusu („U prsima mi užareni nož / što u svaku ima manju strukturnu ulogu. Po tim je radost i blaženstvo zareže“). Umjesto toga osobinama, kao i jedinstvenoj dubini nastupaju bijes i očaj, uz uzlazna izričaja, možda posljednji veliki arpeggia; nakon prisjećanja na „plave simfoničar, čak posljednji “klasični” oči“, u kojem zavlada jednostavniji zvuk s skladatelj – ali već okrenut novome – prije pokojom disonantnom „smetnjom“, snažni radikalnih rezova Schönberga i se „ispadi“ vraćaju pa se polako rasprše. nasljednika. Odlazak mladića objašnjava završna, Mahler je posebnu pozornost obraćao oproštajna Die zwei blauen Augen („Dva odabiru tekstovnih predložaka – onih oka plave moje drage u svijet su me pučkoga podrijetla, objavljenih u zbirci poslala“), iz čije se koračnice, ali nježne, Dječakov čarobni rog, ali i pjesničkih izdiže tema koja vrluda između dura i predložaka, pjesama Friedricha Rückerta, mola („društvo su mi pravile ljubav i kako ste mogli čuti na prošlogodišnjem tuga“). Dio te tematske građe rabio je u Dubrovniku na glazbenoj hridi. No za polaganome stavku 1. simfonije. U mladenačko djelo Pjesme putujućeg završnome dijelu pjesme, putnik usne pod djetića, koje je pisao 1883. – 1885., a schubertovskim lindenbaumom (lipom) i o objavio 1897., tekstove je napisao sam, tome pjeva „tada još nisam znao kako osim za prvu, koje je nastala prema jednoj život boli i sve je ponovno bilo dobro“, a od pjesama iz Čudesnog roga. Pjesme flauta i klarinet uzdišu s njim. opisuju lutanje mladića koji je ostao bez voljene: „Geselle“ iz naslova može se odnositi i na šegrta koji je završio naukovanje, ali još nije majstor te putuje kako bi stekao radno iskustvo, a Mahlerov pjevajući alter ego putuje gonjen (i) nesretnom ljubavlju koju je doživio dok je bio dirigent u Kasselu. Mahler je „sebe“ uglazbio uz melodije pučkog tipa, ali rafiniranu instrumentaciju, suprotstavljanje bistrih trozvuka i oštrih disonanci, kao i pastoralnog ugođaja i sumornih misli putnika. U prvoj pjesmi, Wenn mein.. („Kada se udaje moje blago, tužan mi je dan…“), izmjenjuju se tempa, mijenjaju se mjere, jednostavna melodija slavenskog tipa „luta“ u tome promjenjivom krajoliku, tužni putnik i lijepa okolina suprotstavljeni su. Tema druge pjesme, Ging heut' morgen („Jutros sam prošao preko polja…“), poslije je postala temom Mahlerove 1. simfonije, a u njoj Mahler natjecanja, među kojima se ističu 7. međunarodno saksofonističko natjecanje u Novoj Gorici, Europsko saksofonističko natjecanje u francuskom Gapu, 5. natjecanje mladih umjetnika „Papandopulo“ u Zagrebu i 1. međunarodno natjecanje saksofonista „Josip Nochta“ u Zagrebu. Lovro Merčep osobitu pažnju posvećuje promicanju glazbenih djela hrvatskih skladatelja, predstavljajući ih kako u Hrvatskoj tako i u inozemstvu. Godine 2016. snimio je trajnu studijsku snimku Sinfoniette za alt saksofon, gudače i udaraljke Bruna Bjelinskog uz Simfonijski orkestar HRT-a pod ravnanjem skladateljevog sina Alana Bjelinskog. Na 66. dubrovačkim ljetnim igrama, kao solist praizveo je Koncert za saksofon i gudački orkestar hrvatskog skladatelja Ivana Končića, dok je na 30. muzičkom biennalu Zagreb praizveo Koncert za alt- Lovro Merčep (Zagreb, 1990.), saksofon i gudače Davorina Kempfa. naobrazbu je stekao na Muzičkoj Svoje kompozicije također su mu posvetili akademiji u Zagrebu i Konzervatorijima u Gordan Tudor, Sara Glojnarić i Ana Lyonu, Versaillesu i Horvat. Član je kvarteta saksofona Amsterdamu. Tijekom studija bio je Ardemus s kojim je zabilježio niz stipendist grada Samobora, Zaklade Adris uspješnih koncerata u Europi nastupajući i Francuske vlade, dobitnik Rektorove i u koncertnim dvoranama kao što su Royal Dekanove nagrade Sveučilišta u Zagrebu, Concertgebouw i Muziekgebouw u Plakete grada Samobora te je jedan od Amsterdamu, „Vatroslav Lisinski“ u dobitnika nagrade „Mladi glazbenik Zagrebu, Konzerthaus u Berlinu, BOZAR godine“ Zagrebačke filharmonije, za u Bruxellesu. Kvartet Ardemus dobitnik je umjetnička postignuća u 2016. godini. nagrade publike na natjecanju amsterdamskoga Grachtenfestivala 2016., Kao solist i komorni glazbenik nastupao je a u rujnu iste godine kvartet je pobijedio na festivalima i koncertnim ciklusima u na 13. međunarodnom natjecanju mladih Hrvatskoj i inozemstvu, surađujući s glazbenih umjetnika „Ferdo Livadić“ u perspektivnim hrvatskim glazbenicima od Samoboru. Lovro Merčep svira na kojih se posebno ističu Aljoša Jurinić, proizvodima D'Addario Woodwinds. Marin Maras, Krešimir Starčević, Srđan Bulat i Filip Merčep. Zapaženi su njegovi solistički nastupi uz Zagrebačku filharmoniju, Simfonijski orkestar HRT-a, Zagrebačke soliste, Simfonijski orkestar RTV Slovenije, Komorni gudački orkestar Slovenske filharmonije, Hrvatski komorni orkestar, Dubrovački simfonijski orkestar i Vokalni ansambl Antiphonus. Laureat je brojnih državnih i međunarodnih Buribayevim, Ivanom Repušićem, Nicholasom Miltonom, Mladenom Tarbukom, Ivom Dražinićem, Franom Krasovcem, Tomislavom Fačinijem i drugima. Upravo interpretacijom Šostakovičeva prvog klavirskog koncerta biva nagrađena „Orlandom“ za najbolju glazbenu izvedbu na Dubrovačkim ljetnim igrama 2006. godine. Njezin skladateljski opus broji djela za klavir, puhačke instrumente (fagot, klarinet, flautu, trubu), violončelo, glas, zbor i komorne sastave. Piše glazbu i za teatar. Osniva Glazbenu radionicu Sorgo 2001. godine i vodi je s pijanistom Aljošom Lečićem, sveobuhvatno promovirajući dubrovačku glazbenu baštinu u razdoblju od pretklasike do modernog doba, stavljajući naglasak na suvremen glazbeni izričaj. Do danas, Glazbena radionica Sorgo organizirala je Marija Grazio (Dubrovnik, 1965.) preko 80 koncerata i festivala, rođena je u obitelji glazbenika u kojoj je i preispitujući različite pristupe i oblike napravila prve glazbene korake. Gradila je performativne prakse. svoju umjetničku osobnost kroz mnoge vidove izričaja kao što su literarni, performativni i vizualni, a glazba je uvijek bila najvidljiviji habitus njezinog djelovanja. Mnogi eminentni pedagozi podučavali su je umjetnosti interpretacije - Konstantin Bogino, Marjan Mika, Vladimir Krpan i Dušan Trbojević, u čijoj klasi je i diplomirala. Svoje formalno školovanje zaokružila je poslijediplomskim studijem u klasi proslavljene pijanistice Dubravke Tomšič na Akademiji za glasbo u Ljubljani. Mezzosopranistica Dubravka Šeparović Uspješnost sudjelovanja u različitim Mušović (Dubrovnik, 1970.) školovanje komornim sastavima s kojima je započinje u rodnome gradu i nastavlja u koncertirala donijela joj je hrvatsku Zagrebu, gdje 1993. stječe diplomu na prestižnu nagradu glazbene kritike “Darko Arhitektonskom fakultetu. Studij Lukić” u duu s violistom Markom solopjevanja na Muzičkoj akademiji Generom. Radoznalost za stilski širok diplomirala je 1998. i magistrirala 2000. repetoar od Haydna, godine. Već za studija, njezine Mozarta, Rahmanjinova, Saint Saënsa, interpretacije privukle su pažnju glazbene Francka do Honeggera, Poulenca, javnosti; na pjevačkom natjecanju u Šostakoviča pokazala je u zavidnom broju Karlovyim Varyima 1999. osvojila je solističkih nastupa uz razne orkestre i s drugu nagradu i posebnu nagradu Praške mnogim dirigentima - Pavlom Dešpaljem, državne opere, gdje je već sljedeće godine Antonom Nanutom, Alanom debitirala u naslovnoj ulozi Bizetove Carmen, dok se u Narodnom kazalištu u Grada Zagreba. odlikovanje Danice Brnu 2002. predstavila kao Amneris u Hrvatske sa likom Marka Marulića, Verdijevoj Aidi. Godine 2001. postala je nagrada „Najbolji Wagnerijanac“ i članicom Opere Hrvatskog narodnog Nagrada Grada Dubrovnika (2018.). kazališta u Zagrebu, a 2016. stekla je Dobitnica je nagrade „Marijana Radev“ status nacionalne prvakinje. HNK u Zagrebu, za najbolje operno Brojne su uloge koje je ostvarila na umjetničko ostvarenje u sezoni matičnoj sceni: Elettra u Mozartovu 2020./2021., za ulogu Carmen u Idomeneu, Amneris u Aidi, Princeza Eboli istoimenoj Bizetovoj operi i ulogu Orfeja u Don Carlosu, Santuzza u Mascagnijevoj u operi Orfej i Euridika Christopha operi Cavalleria rusticana, Carmen, Willibalda Glucka. Adalgisa u Bellinijevoj Normi, Kundry i Ortrud u Wagnerovim djelima Parsifal i Lohengrin, Crkvenjarka u Jenůfi - neke su od njih. Stalno prisutna i na inozemnoj opernoj sceni (u Brnu, Pragu, Saarbrückenu, Wuppertalu, Trieru, Luxemburgu, Sankt Gallenu, Bonnu, Stuttgartu, Grazu, Beču, Münchenu…), neprestano se iskazuje u tumačenju velikih uloga talijanskog, njemačkog, francuskog i slavenskog repertoara. Pažnju posvećuje i ulogama hrvatske operne baštine, pa su na njezinu repertoaru i Doma (Ero s onoga svijeta) i Tomislav Fačini (Zagreb, 1975.) studij Jele (Ekvinocij). Godine 2003., na turneji dirigiranja u Zagrebu je završio 1996 Opere Narodnog kazališta iz Brna, godine, s Rektorovom nagradom. predstavila se japanskoj publici kao Usavršavao se na institutu Accademia Carmen i kao Amneris, a 2010. tumačila Hans Swarowsky u Milanu te na Visokoj je ulogu Herodijade na prvoj kineskoj glazbenoj školi u Karlsruheu. Laureat je izvedbi Straussove Salome. Surađuje s Međunarodnog natjecanja „Antonio uglednim dirigentima i redateljima te Pedrotti“. Redoviti je profesor na Odsjeku kolegama-pjevačima, među kojima su za dirigiranje, harfu i udaraljke Muzičke Paata Burchuladze, José Cura i Jonas akademije u Zagrebu. Uz simfonijske Kaufmann. Jednako posvećena i koncerte, ostvario je niz opernih premijera koncertnom repertoaru, osobito njeguje u Zagrebu, Sarajevu, Varaždinu, opus Gustava Mahlera. Dubrovniku i Rijeci (Verdi, Puccini, Na koncertnom podiju iskazala se u nizu Salieri, Zajc, Bizet, Pergolesi, Purcell). velikih vokalno-instrumentalnih partitura Čest je gost Muzičkog biennala Zagreb i kao što su Missa solemnis i Deveta promotor suvremene glazbe. Od 2005. do simfonija L. van Beethovena, ciklus 2009. godine ravnao je zadarskim Ljetne noći H. Berlioza, Rapsodija za alt J. Glazbenim večerima u sv. Donatu. Od Brahmsa, Verdijev Rekvijem, 2004. do 2009. godine bio je šef-dirigent Schönbergove Pjesme iz Gurrea, Orkestra Hrvatske vojske. Surađivao je s Wagnerove Pjesme Mathilde Wesendonck. gotovo svim domaćim i mnogim Dobitnica je niza nagrada, među kojima inozemnim ansamblima te snimao nosače su nagrade „Orlando“ (2000. i 2013.), zvuka i trajne snimke sa simfonijskim nagrada „Milka Trnina“, Plaketa Grada orkestrima RTV Slovenije i HRT-a. Od Zagreba, nagrada „Tito Strozzi“, Nagrada 1993. do 2008. dirigent je Oratorijskog zbora crkve sv. Marka u Zagrebu, a od 2004. vodi vokalni ansambl Antiphonus. Od 2014. do 2017. bio je glavni dirigent Dubrovačkoga simfonijskog orkestra. Šef- dirigent je Zbora HRT-a, od sezone 2017./2018. Uz dirigiranje, bavi se aranžiranjem i skladanjem.

Osim čestih nastupa na Dubrovačkim ljetnim igrama, ravnao je i otvaranjem Igara 2003. i 2013. godine; od 2018. je pomoćnik za glazbeni program intendantice Dubrovačkih ljetnih igara.

Dina Puhovski

Wenn mein Schatz Hochzeit macht When my love has her wedding-day Kad će se moja draga udavati Gustav Mahler English Translation © Richard Stokes Hrvatski prijevod © Tomislav Fačini

Wenn mein Schatz Hochzeit macht, When my love has her wedding-day, Kad moje zlato slavi pir, Fröhliche Hochzeit macht, Her joyous wedding-day, radosni pir slavi, Hab’ ich meinen traurigen Tag! I have my day of mourning! Za mene je to dan žalosti. Geh’ ich in mein Kämmerlein, I go into my little room, Idem u svoju sobicu, Dunkles Kämmerlein! My dark little room! mračnu sobicu! Weine! wein’! Um meinen Schatz, I weep, weep! For my love, I plačem, plačem! Za mojim zlatom, Um meinen lieben Schatz! My dearest love! mojim dragim zlatom! Blümlein blau! Blümlein blau! Blue little flower! Blue little flower! Potočnice, potočnice plava, Verdorre nicht! Verdorre nicht! Do not wither, do not wither! ne sahni! ne sahni! Vöglein süß! Vöglein süß! Sweet little bird! Sweet little bird! Ptičice slatka, ptičice slatka, Du singst auf grüner Heide! Singing on the green heath! Pjevaš na zelenoj vrištini: „Ach, wie ist die Welt so schön! ‘Ah, how fair the world is! „Ah, kako je svijet lijep! Ziküth! Ziküth!“ Jug-jug! Jug-jug!’ Cvrrk-cik! Cvrrk-cik!“ Singet nicht! Blühet nicht! Do not sing! Do not bloom! Ne pjevaj. Ne cvjetaj! Lenz ist ja vorbei! For spring is over! Uminulo je proljeće. Alles Singen ist nun aus! All singing now is done! Svakoj pjesmi sad je kraj. Des Abends, wenn ich schlafen geh’, At night, when I go to rest, Uvečer, pred počinak, Denk’ ich an mein Leid! I think of my sorrow! Mislim na svoje jade. An mein Leide! My sorrow! Na svoje jade!

Ging heut’ Morgen über’s Feld I walked across the fields this morning Išao sam jutros kroz polje Gustav Mahler English Translation © Richard Stokes Hrvatski prijevod © Tomislav Fačini

Ging heut’ morgen über’s Feld, I walked across the fields this morning, Prođoh jutros preko polja, Tau noch auf den Gräsern hing; Dew still hung on the grass, na travi još bješe rosa; Sprach zu mir der lust’ge Fink: The merry finch said to me: prozbori mi vedro drozd: „Ei du! Gelt? ‘You there, hey – „Hej ti tamo! Guten Morgen! Ei, Gelt? Du! Good morning! Hey, you there! Dobro jutro! Hej! Wird’s nicht eine schöne Welt? Isn’t it a lovely world? Zar nije lijep ovaj svijet? Zink! Zink! Schön und flink! Tweet! Tweet! Bright and sweet! Cik, cin! Lijep i fin! Wie mir doch die Welt gefällt!“ O how I love the world!’ Oh, što volim ovaj svijet!“ Auch die Glockenblum’ am Feld And the harebell at the field’s edge, Pa i zvončić mi u polju, Hat mir lustig, guter Ding’, Merrily and in good spirits, svud zvoneć', dragi stvor, Mit den Glöckchen, klinge, kling, Ding-ding with its tiny bell vedro šalje pozdrav svoj: Ihren Morgengruß geschellt: Rang out its morning greeting: „Din-don, lijepi zvon! „Wird’s nicht eine schöne Welt? ‘Isn’t it a lovely world? Zar nije lijep ovaj svijet? Kling! Kling! Schönes Ding! Ding-ding! Beautiful thing! Don-din, lijep i fin! Wie mir doch die Welt gefällt! O how I love the world!’ Oh, što volim ovaj svijet!“ Und da fing im Sonnenschein And then in the gleaming sun I tada, pod sjajem sunca, Gleich die Welt zu funkeln an; The world at once began to sparkle; cijeli svijet treperit stade; Alles, alles, Ton und Farbe gewann! All things gained in tone and colour! Sve zaigra u sto boja! Im Sonnenschein! In the sunshine! Ispod sjajna sunca! Blum’ und Vogel, groß und klein! Flower and bird, great and small. Cvijet i ptica svake vrste! „Guten Tag! Guten Tag! ‘Good day! Good day! „Dobar dan! Dobar dan! Ist’s nicht eine schöne Welt? Isn’t it a lovely world? Zar nije lijep ovaj svijet? Ei, du! Gelt? Schöne Welt!“ Hey, you there?! A lovely world!’ Cik, cin! Lijep i fin! Nun fängt auch mein Glück wohl an? Will my happiness now begin? Hoće li sad i moja sreća zasjati? Nein! Nein! Das ich mein’, No! No! The happiness I mean Ne, ne! To što snujem Mir nimmer, nimmer blühen kann! Can never bloom for me! procvast' nikad neće.

Ich hab’ ein glühend Messer I’ve a gleaming knife Imam užaren bodež Gustav Mahler English Translation © Richard Stokes Hrvatski prijevod © Tomislav Fačini

Ich hab’ ein glühend Messer, I’ve a gleaming knife, Imam gorući nož, Ein Messer in meiner Brust, A knife in my breast, Nož u srcu! O weh! O weh! Alas! Alas! O jao! Jao! Das schneid’t so tief It cuts so deep On reže preduboko, In jede Freud’ und jede Lust, Into every joy and every bliss, U svaku radost i sreću! So tief! so tief! So deep, so deep! Preduboko, preduboko! Es schneid’t so weh und tief! It cuts so sharp and deep! Reže bolno i duboko! Ach, was ist das für ein böser Gast! Ah, what a cruel guest it is! Ah, kakav zao uljez! Nimmer hält er Ruh’, Never at peace, Nikad nema mira, Nimmer hält er Rast! Never at rest! nikad ne počiva! Nicht bei Tag, Neither by day Ni po danu, Nicht bei Nacht, wenn ich schlief! Nor by night, when I’d sleep! ni po noći kada snivam! O weh! O weh! O weh! Alas! Alas! Alas! Oh jao, jao, jao! Wenn ich in dem Himmel seh’, When I look into the sky, Kad pogledam u nebo, Seh’ ich zwei blaue Augen steh’n! I see two blue eyes! vidim dva plava oka. O weh! O weh! Alas! Alas! O jao! Wenn ich im gelben Felde geh’, When I walk in the yellow field, Kad idem zlatnim poljima, Seh’ ich von fern das blonde Haar I see from afar her golden hair izdaleka vidim plave vlasi Im Winde wehn! O weh! O weh! Blowing in the wind! Alas! Alas! gdje ih svija vjetar! O jao! Wenn ich aus dem Traum auffahr’ When I wake with a jolt from my dream Kad se iz sna prenem, Und höre klingen ihr silbern Lachen, And hear her silvery laugh, I čujem srebrn smijeh, O weh! O weh! Alas! Alas! O jao! Ich wollt’, ich läg’ auf der schwarzen Bahr’, I wish I were lying on the black bier, Htio bih da sam na crnim nosilima Könnt’ nimmer die Augen aufmachen! And might never open my eyes again! I da mi se oči nikad više ne otvore!

Die zwei blauen Augen von meinem Schatz The two blue eyes of my love Plave oči moje drage Gustav Mahler English Translation © Richard Stokes Hrvatski prijevod © Tomislav Fačini

Die zwei blauen Augen von meinem Schatz, The two blue eyes of my love Dva plava oka moga zlata Die haben mich in die weite Welt geschickt. Have sent me into the wide world. poslaše me u bijeli svijet. Da mußt’ ich Abschied nehmen I had to bid farewell Moradoh se oprostiti od najdražeg mjesta! Vom allerliebsten Platz! To the place I loved most! O plave oči, zašto ste me pogledale? O Augen blau, warum habt ihr mich O blue eyes, why did you look on me? Sad me čeka samo vječna bol i jad! angeblickt? Grief and sorrow shall now be mine forever! Izađoh u tihu noć, Nun hab’ ich ewig Leid und Grämen! I set out in the still night, preko tamne livade. Ich bin ausgegangen in stiller Nacht, Across the dark heath. Nitko mi ne reče zbogom! Wohl über die dunkle Heide. No one bade me farewell, farewell! Zbogom! Hat mir niemand Ade gesagt, Ade! My companions were love and sorrow! Suputnik mi ljubav i bol. Mein Gesell’ war Lieb’ und Leide! A lime tree stood by the roadside, Na putu stajaše lipa, Auf der Straße stand ein Lindenbaum, Where I first found peace in sleep! pod njom po prvi put usnuh. Da hab’ ich zum ersten Mal im Schlaf geruht! Under the lime tree Pod stablom lipe, Unter dem Lindenbaum, Which snowed its blossom on me, što po meni prosu cvijeće, Der hat seine Blüten über mich geschneit, I was not aware of how life hurts, Zaboravih kako život boli Da wußt’ ich nicht, wie das Leben tut, And all, all was well once more! i sve bijaše opet dobro. War alles, alles wieder gut! All! All! Sve! Alles! Alles! Love and sorrow, and world and dream! I ljubav, i bol, i svijet, i san. Lieb und Leid, und Welt und Traum!

Dubrovnik on a Rock of Music is a Palestrina, Russian composers and was continuation of a programme concept shortly thrilled by Wagner, but later stated which has been described as follows by that he ‘mistook a beautiful sunset for a the Dubrovnik Summer Festival’s dawn’. Debussy was also very interested Assistant Director for music programme in music of other cultures. The 1889 and the conductor of the concert, World Exhibition in Paris played an Tomislav Fačini: There aren’t many series important part in this matter because it that successfully maintain their quality in introduced him to Indonesian gamelan each sequel, let alone outdo the previous music. He often employed non-Western one. This, however, holds true for the era scales, archaic sequences, modes, the when film, and not TV series, was the pentatonic and the whole-tone scale – he leading format: We still remember Jaws 1, was influenced by the East, but also by 2, and 3, Home Alone 1−5, as well as contemporary harmonic procedures, i.e. some film directors with an ambition to tendencies towards ‘breaking’ tonality. keep filming until they reached number Many of his works were inspired by 365… It is not our intention to arouse poetry, such as the pieces on this such emotions with some of the final evening’s programme, and he connected episodes of Dubrovnik on a Rock of Music music to visual stimuli (but refused to be to make Dubrovnik burst into flames, but considered ‘impressionist’ composer, as we do hope that this edition of our concert he is often described today). He wrote series, thanks to accomplished musicians inventive short piano pieces, songs, who will perform as soloists and chamber sonatas, opera Pelléas et Mélisande and musicians, and the carefully selected orchestral works: programme, will spark a few flames in the Prelude to the Afternoon of a Faun is audience. About a century ago, one of the most significant orchestral Schönberg’s Society for Private Musical works of the period. Debussy composed it Performances set standards for arranging in the early 1890s inspired by the poem large-scale works for small ensembles; L’après-midi d’un faune by Stéphane last year we heard Mahler’s settings of Mallarmé, who was inspired by a painting Friedrich Rückert’s texts and this year I by François Boucher. In the poem, a faun arranged the Songs of a Wayfarer and (satyr) is playing music on a sunny Prelude to the Afternoon of a Faun in a afternoon and dreaming of seducing similar manner. These works had already nymphs. Premiered in Paris in 1894, it been arranged by the aforementioned was a big surprise owing to its unstable Society, but our ensemble is richer, more tonality, changes of measure, new versatile and colourful and the two ‘syntax’, form that was difficult to arrangements were written specifically for determine and new tone colours, as well the Dubrovnik Summer Festival and the as varied harmonisation of the main ensemble and musicians you are about to theme, with appealing chromatic descent hear. in the flute solo. Composer and conductor Pierre Boulez remarked, ‘The flute of the Claude Achille Debussy (Saint-Germain- Faun brought new breath to the art of en-Laye, 1862 – Paris, 1918) studied at music; what was overthrown (…) was the the Paris Conservatory, where he was very concept of form itself. The reservoir criticised for not adhering to the rules of of youth in that score defies depletion and composing (he won the prestigious French exhaustion.’ The audience at the premiere of the piece ‘which marked the birth of the Prix de Rome scholarship in 1885 despite th that fact). After being influenced by 20 century music’ (Boulez’s words) French composers, he discovered obviously liked what they had heard, since they called for an encore. Jacques (François-Antoine) Ibert (Paris, Check Ignition And May God's Love Be 1890 – 1962) is a composer known for his With You. He was appointed Teaching technically demanding, interesting and Assistant at the Zagreb Academy of Music colourful neoclassical works. He studied in 2004, Assistant Professor in 2007, at the Paris Conservatory, won the Associate Professor in 2012 and Full prestigious Prix de Rome in 1919 and Professor in 2019. He was Artistic served as director of the French Academy Director of the Opatija Music Panel from in Rome from 1937 to 1960. Apart from 2010 to 2013 and Artistic Consultant of instrumental works for various ensembles, the Music Biennale Zagreb from 2012 to he composed seven operas (and the film 2016. He was appointed member of the score for Orson Welles’s Macbeth). steering committee of the Porin Music As its name implies, Concertino da Award in 2015, and the president of the camera is a ‘small concerto’ for alto committee in 2018. saxophone and eleven instruments, ‘The Concerto is dedicated to Marija composed in two movements, lyrical, but Grazio, who premiered it with the Cantus technically challenging and marked by Ensemble Classic [extended Cantus elements borrowed from jazz and blues. Ensemble] and conductor Berislav Šipuš Ibert wrote it in 1935 and dedicated it to at the Osor Musical Evenings in 2010. saxophonist Sigurd Rascher. In the first The piece explores the multi-layered movement the ensemble and soloist, who nature of relationship between instruments is at times in the background, are tightly and space, performers and composers, intertwined. Larghetto is a bluesy ballad traditional and contemporary modes of through which the saxophone ‘glides’, expression,’ Frano Đurović said about his interrupted by a nervous Animato leading Piano Concerto. to a cadenza and a lively conclusion. Gustav Mahler (Kalištĕ, 1860 – Vienna, Frano Đurović (Dubrovnik, 1971) 1911) grew up in Jihlava (Bohemia) and graduated in composition from the Zagreb studied piano, harmony and composition Academy of Music under Frano Parać. In at the Vienna Conservatory. He was an addition to orchestral and chamber pieces, award-winning pianist who later focused his work is characterised by his interest in composing, while from 1880 he became electronic and electroacoustic music and more active as conductor, working in multimedia discourse with varied artistic theatres in Olomouc, Budapest and perspectives. As he puts it, he articulates Hamburg among others. After a lot of the liveliness of musical communication effort, negotiations, support by Hanslick by remaining open to other artistic and Brahms and converting to expressions (electronics, installations, Catholicism, he became the conductor and music for theatre etc.). afterwards the director of the Vienna He has won numerous awards, including Opera. It was an exceptionally important the University of Zagreb Rector’s Award, position, and he also shortly served as the Award of the International Summer director of the Vienna Philharmonic. His Academy in Reichenau, the Josip Štolcer approach, which included integrated art Slavenski Award (2005 and 2017), the projects instead of insisting on Stjepan Šulek Foundation Award; he has productions featuring celebrity singers, also won the Music Biennale Zagreb web was controversial. His high artistic composition contest, Marul Awards in the standards were not always accepted, and the newspaper reviews of his work were category of theatre music, the Croatian Passion Heritage Award and the Boris sometimes personal and antisemitic. Later Papandopulo Award for his composition he was engaged as conductor at the Metropolitan Opera and the New York traditional-type melodies, but with refined Philharmonic. His personal life was instrumentation and juxtaposition of clear marked by his relationship with Alma triads with sharp dissonances and pastoral Schindler, a painter and musician whom atmosphere with sombre thoughts of the he married in 1902, but also by the death wayfarer. of their older daughter in 1907. In the first song, Wenn mein… (‘When my Due to his engagements as a conductor, he love has her wedding day… I have my usually composed during summer; he day of mourning’), tempos alternate, wrote nine symphonies and the beginning measures change, a simple melody of the of the tenth, Das Lied von der Erde, art Slavic type ‘meanders’ through this songs... Mahler composed with regard for changing landscape, the sad wayfarer and tradition, admiring Beethoven, Brahms beautiful scenery are counterposed. The and Wagner, but at the same time theme of the second song, Ging heut' expanded the classical form and tonality morgen (‘I walked across the fields this to the limit. He gradually developed morning…’), in which Mahler creates a thinking in blocks when putting together lovely atmosphere while the young man his pieces, juxtaposing different segments, talks to flowers and birds, later became while tonality plays a minor structural role the theme of his Symphony No. 1. in his works. These characteristics, as well Perhaps encouraged by the ‘lovely world’ as his unique depth of expression, from the text, in the end the wayfarer virtually make him the last great (accompanied by the clarinet) becomes symphonist, maybe even the last hopeful, but also replies to himself, ‘Will ‘classical’ composer – although he my happiness now begin? No! No! The embraced new developments in music – happiness I mean can never bloom for before the radical cuts of Schönberg and me!’ his successors. There is no hope in the third song, Ich Mahler paid special attention to the hab' ein.. (‘I’ve a gleaming knife in my selection of texts for his works – breast / It cuts so deep into every joy and traditional folk poems, published in the every bliss’). Rage and despair prevail, collection The Boy’s Magic Horn, and with ascending arpeggios; after poems by Friedrich Rückert, performed at reminiscing about ‘blue eyes’, where a the last-year’s edition of Dubrovnik on a simpler sound takes over with occasional Rock of Music. But for the piece Songs of dissonant ‘interference’, strong ‘outbursts’ a Wayfarer, which he composed as a return and then slowly dissipate. The young man from 1883 to 1885 and young man’s departure is explained in the published in 1897, he wrote the texts final, farewell song Die zwei blauen himself, except for the first one, based on Augen (‘The two blue eyes of my love one of the poems from The Boy’s Magic have sent me into the wide world’), from Horn. The songs describe the wanderings whose tender march arises the theme that of a young man who lost his beloved: wanders from major to minor and back ‘Geselle’ in the title can also refer to an (‘My companions were love and sorrow’). apprentice who has completed his Mahler used a part of the theme in the education, but is not yet a master of his slow movement of his Symphony No. 1. craft so he is travelling to acquire work In the final part of the song, the wayfarer experience, while Mahler’s singing alter falls asleep under a Schubertian ego’s wayfaring is driven by, among other lindenbaum (linden/lime tree) and sings things, unrequited love he experienced how, in his dream, he ‘was not aware how while working as a conductor in Kassel. life hurts and all was well once more’, Mahler set ‘himself’ to music with while the flute and clarinet sigh with him. Orchestra and the Antiphonus Vocal Ensemble. He is a laureate of numerous national and international competitions, including the 7th International Saxophone Competition in Nova Gorica, the European Saxophone Competition in Gap, France, the 5th Papandopulo Young Musicians Competition in Zagreb and the 1st Josip Nochta International Saxophone Competition in Zagreb. Lovro Merčep pays special attention to promoting the works of Croatian composers in Croatia and abroad. In 2016 he made a studio recording of Bruno Bjelinski’s Sinfonietta for alto saxophone, strings and percussion with the Croatian Radio and Television Symphony Orchestra under the baton of the composer’s son, Alan Bjelinski. As a soloist, he premiered the Concerto for saxophone and string orchestra by the Croatian composer Ivan Končić at the 66th Lovro Merčep (Zagreb, 1990) studied at Dubrovnik Summer Festival and Concerto for alto saxophone and strings by Davorin the Zagreb Academy of Music and th Conservatories in Lyon, Versailles and Kempf at the 30 Music Biennale Zagreb. Amsterdam. During his studies he Gordan Tudor, Sara Glojnarić and Ana received scholarships from the City of Horvat also composed for him. He is a Samobor, the Adris Foundation and the member of the Ardemus Saxophone French Government, the Rector’s and Quartet, which has had a number of Dean’s Awards of the University of successful concerts in European concert Zagreb, the City of Samobor Plaquette halls, including the Royal Concertgebouw and was one of the recipients of the and Muziekgebouw in Amsterdam, the Zagreb Philharmonic Orchestra’s Young Vatroslav Lisinski Hall in Zagreb, Musician of the Year Award for his Konzerthaus Berlin and BOZAR Brussels. artistic accomplishments in 2016. The Ardemus Quartet won the audience prize at the Grachtenfestival in As a soloist and chamber musician, he has Amsterdam in 2016, and in September the appeared at festivals and concert cycles in same year they won the 13th Ferdo Livadić Croatia and abroad, collaborating with up- International Young Musicians and-coming Croatian musicians such as Competition in Samobor. Aljoša Jurinić, Marin Maras, Krešimir Starčević, Srđan Bulat and Filip Merčep. Lovro Merčep is a D’Addario Woodwinds Some of his noted appearances were with Artist. the Zagreb Philharmonic Orchestra, the Croatian Radio and Television Symphony

Orchestra, the Zagreb Soloists, the RTV Slovenia Symphony Orchestra, the Slovene Philharmonic String Chamber Orchestra, the Croatian Chamber Orchestra, the Dubrovnik Symphony pianist Aljoša Lečić with the goal of promoting Dubrovnik’s musical heritage from pre-classical to contemporary period, with an emphasis on contemporary music. Re-examining different approaches and forms of performance practice, the Sorgo Music Workshop has organised over eighty concerts and festivals.

Marija Grazio (Dubrovnik, 1965) was born into a family of musicians, where she made her first steps in music. As an artist, she was formed through different modes of expression, literary, performative and visual, while music always remained her dominant field of work. She was taught the art of interpretation by numerous renowned educators – Konstantin Bogino, Marjan Mika, Vladimir Krpan and Dušan Trbojević, under whom she graduated. Mezzo-soprano Dubravka Šeparović Her formal education was completed with Mušović (Dubrovnik, 1970) was educated postgraduate studies under the celebrated in her hometown Dubrovnik and Zagreb, pianist Dubravka Tomšič at the Ljubljana where she graduated from the Faculty of Academy of Music. Architecture in 1993. She completed her vocal studies at the Zagreb Academy of Her successful performances in various Music in 1998, where she also earned her chamber ensembles brought her the master’s degree in 2000. Her prestigious Darko Lukić Award awarded interpretations had already attracted by the Croatian music critics, in duo with attention during her studies; she won violist Marko Genero. As a soloist, she Second Prize in the International Singing has a wide repertoire ranging from Haydn, Competition in Karlovy Vary in 1999 as Mozart, Rachmaninoff, Saint-Saëns and well as the Special Prize of the Prague Franck to Honegger, Poulenc and State Opera, where she debuted the Shostakovich, performed with numerous following year in the title role in Bizet's orchestras and conductors – Pavle Carmen. In 2002 she appeared as Amneris Dešpalj, Anton Nanut, Alan Buribayev, in Verdi's Aida at the National Theatre of Ivan Repušić, Nicholas Milton, Mladen Brno. In 2001 she became a member of Tarbuk, Ivo Dražinić, Frano Krasovac, the Opera of the Croatian National Tomislav Fačini and others. In 2006 she Theatre of Zagreb and in 2016 she received the Orlando Award for best acquired the status of the leading national music performance at the Dubrovnik opera singer. Summer Festival for her interpretation of Shostakovich’s Piano Concerto No. 1. Her numerous roles at the Croatian National Theatre of Zagreb include Elettra She has composed for piano, wind in Mozart’s Idomeneo, Amneris in Aida, instruments (bassoon, clarinet, flute and Princess Eboli in Don Carlos, Santuzza in trumpet), cello and solo voice, choral and Mascagni’s Cavalleria rusticana, Carmen, chamber music, as well as music for Adalgisa in Bellini’s Norma, Kundry and theatre. In 2001 she founded the Sorgo Ortrud in Wagner’s Parsifal and Music Workshop, which she has led with Lohengrin and Kostelnička in Jenůfa. She has regularly appeared internationally (in Brno, Prague, Saarbrücken, Wuppertal, Trier, Luxembourg, St Gallen, Bonn, Stuttgart, Graz, Vienna, Munich…), successfully interpreting major roles of Italian, German, French and Slavic opera. She is also dedicated to Croatian opera and her repertoire includes the roles of Doma (Ero the Joker) and Jele (Equinox). She appeared as Carmen and Amneris on tour with the National Theatre Opera of Tomislav Fačini (Zagreb, 1975) earned Brno in Japan in 2003, while in 2010 she his degree in conducting from the sang the role of Herodias in the first University of Zagreb in 1996 as a performance of Strauss’s Salome in China. recipient of Rector’s Award. He continued She has collaborated with renowned his studies at the Accademia Hans conductors, directors and singers such as Swarowsky in Milan and at the University Paata Burchuladze, José Cura and Jonas of Music in Karlsruhe. He is a laureate of Kaufmann. She is equally dedicated to the Antonio Pedrotti International concert repertoire, especially to the works Competition. He is Full Professor at the of Gustav Mahler. Department of Conducting, Harp and As concert singer, she took part in Percussion at the Zagreb Academy of performances of a number of great vocal- Music. In addition to symphonic concerts, instrumental works, such as Beethoven's he has conducted a number of opera Missa Solemnis and Ninth Symphony, premieres in Zagreb, Sarajevo, Varaždin, Berlioz's Les nuits d'été, Brahms's Alto Dubrovnik and Rijeka (Verdi, Puccini, Rhapsody, Verdi's Requiem, Schönberg's Salieri, Zajc, Bizet, Pergolesi, Purcell). He Gurre-Lieder and Wagner's Wesendonck- often appears at the Music Biennale Lieder. She has won numerous awards, Zagreb and is dedicated to promoting including the Orlando Award (2000 and contemporary music. From 2005 to 2009 2013), the Milka Trnina Award, the he served as Artistic Director of the Plaquette of the City of Zagreb, the Tito Musical Evenings in St Donat in Zadar Strozzi Award, the Award of the City of and from 2004 to 2009 as Chief Zagreb, the medal of the Croatian Order Conductor of the Croatian Armed Forces of Danica hrvatska bearing the effigy of Orchestra. He has collaborated with nearly Marko Marulić, the Best Wagnerian all Croatian and numerous foreign Singer Award in 2013 and the Award of ensembles and recorded with the Croatian the City of Dubrovnik (2018). She Radio and Television Symphony received the Marijana Radev Award of the Orchestra and the RTV Slovenia Croatian National Theatre in Zagreb for Symphony Orchestra. He served as best opera performance in the season choirmaster of the Oratory Choir of St 2020/21, for the title role in Bizet’s Mark’s Church in Zagreb from 1993 to Carmen and the role of Orfeo in Christoph 2008 and has led the Antiphonus Vocal Willibald Gluck’s opera Orfeo ed Eurdice. Ensemble since 2004. He was Chief Conductor of the Dubrovnik Symphony

Orchestra from 2014 to 2017. Since the season 2017/18, he has served as Chief Conductor of the Croatian Radio and Television Choir. He is also an arranger and composer. In addition to his frequent appearances at the Dubrovnik Summer Festival, he also conducted the Festival’s opening ceremonies in 2003 and 2013; since 2018 he has served as Assistant Artistic Director in charge of the Dubrovnik Summer Festival’s music programme. Dina Puhovski