Born in Marseille, Yannis Pouspourikas studied at the Conservatoire supérieur de Genève and continued his education as apprentice at the Opernhaus Zürich, where he won unanimous first prize in orchestral conducting.
After his debut in Geneva where he has conducted Die Fledermaus in 1999, he was appointed assistant conductor by Sir Simon Rattle at the Glyndebourne Festival. From 2002 until 2004 he filled the same position at the Opéra National de Paris. In 2004 he was appointed resident conductor of the Orchestre National de Lyon, in addition to which in 2005 he was appointed associate conductor of the Orchestre Symphonique de Mulhouse, a position he held for four seasons. In September 2008 Yannis Pouspourikas was appointed music director at the Opera Ballet Vlaanderen where he conducts a very diverse repertoire, from Le nozze di Figaro,
Don Giovanni, Idomeneo, Rusalka, Samson et Dalila, Carmen, Nabucco, Aida, La bohème, Turandot, La Juive, to more contemporary titles like Peter Grimes, Candide, Love for Three Oranges, Cinderella, Roméo et Juliette, Aufstieg und Fall der Stadt Mahagonny, Elektra. Until 2017, he was also associated as a conductor with the Aalto-Theater in Essen.
In September 2010, after having replaced Jesus Lopez-Cobos for Les Contes d’Hoffmann at the Opéra National de Paris, Yannis Pouspourikas conducted, also at the Opéra National de Paris, Henri Dutilleux’ “Le Loup”, in the presence of the composer.
In the following seasons, the artist returned to the Opernhaus Zürich for a new production of The Nutcracker and to the National Opera in Paris to replace Fabio Luisi in conducting A. Reimann’s opera Lear. He has led the premiere production of L. Eötvös Radames / S. Sciarrino Lohengrin at the Biel-Solothurn Theater in Switzerland, which was later repeated at Fondazione Haydn di Bolzano e Trento Teatro Comunale and made his debut in the United States during a tour with fourteen film music concerts. Other important engagements included conducting ballet by B. Asafyeva The Fountain of Bakhchisaray at the National Opera in Budapest, Tosca and Carmen at the Opéra en Plein Air in Paris or the ballet by A. Messager Les deux Pigeons at the National Opera in Paris.
The highlights of the 2020/2021 season for Yannis Pouspourikas are his regular performances at the Theater Erfurt as well as receiving the nomination for the post of the Chief conductor of the Biel Solothurn Symphony Orchestra and the post of the Director of Concerts of the Biel Solothurn Theater Orchestra for the 2022/2023 season.
With operatic, as well as with symphonic repertoire, Yannis Pouspourikas is regularly invited
by the Teatro Real in Madrid, Orchestre philharmonique de Monte–Carlo, Orchestre de la Suisse Romande, Teatro de la Maestranza in Seville, Magyar Állami Operaház in Budapest, Orchestre de la Radio Suisse Italienne, Staatsorchester Braunschweig, Sinfonieorchester Wuppertal, Dublin Radio Orchestra, Orchestre de Chambre de Genève, National Theatre Mannheim and Südwestdeutsche Philharmonie Konstanz.
In France, he collaborated with numerous orchestras, such as the Orchestre Symphonique de Mulhouse, Orchestre Philarmonique de Strasbourg, Orchestre de l’Opéra de Marseille, Orchestre national de Lorraine, Orchestre de Tours, Orchestre des Pays de Savoie, Orchestre philharmonique de Nice, Orchestre Colonne.
Soon, a recording will be released of Dirk d’Ase’s opera l’intruse (libretto by M. Maeterlinck) conducted by Yannis Pouspourikas, commissioned by the Opera Ballet Vlaanderen to commemorate the Nobel Prize for Maurice Maeterlinck.
Currently Yannis Pouspourikas is associated conductor at the Theater Erfurt and Music Director at the Theater Biel Solothurn in Switzerland.
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“Constantine Orbelian stands astride two great societies, and finds and promotes synergistic harmony from the best of each.”(Fanfare) For over 25 years the brilliant American pianist /conductor has been a central figure in Russia’s musical life — as Music Director of the Moscow Chamber Orchestra and the Philharmonia of Russia, and as frequent guest conductor with other illustrious Russian orchestras. He toured with American stars in Russian music centers, and Russian stars in North American music centers, and extended these splendid collaborations to tours in Europe, UK, Japan, Korea, and other music capitals throughout the world.
Orbelian’s appointment in 1991 as Music Director of the Moscow Chamber Orchestra was a breakthrough event: he is the first American ever to become music director of an ensemble in Russia. This “American in Moscow” is well known as a tireless champion of Russian-American cultural exchange and international ambassadorship through his worldwide tours. In January 2004, Orbelian was awarded the coveted title “Honored Artist of Russia,” a title never before bestowed on a non-Russian citizen.
“Orbelian has star quality, and his orchestra plays with passion and precision,” The Audio Critic wrote of his acclaimed series of over 30 recordings on Delos. Among his concert and televised appearances are collaborations with stars Ewa Podles, Sondra Radwanovsky, Lawrence Brownlee, Renée Fleming and Dmitri Hvorostovsky, and with Van Cliburn in Cliburn's sentimental return to Moscow. Opera News calls Orbelian “the singer’s dream collaborator,”and commented that he conducts vocal repertoire “with the sensitivity of a lieder pianist.” Orbelian’s frequent collaborations with Hvorostovsky include repertoire from their Delos recordings “Where Are You, My Brothers?” and "Moscow Nights," featured on many tours and telecasts, including historic live telecasts from Moscow’s Red Square, and also appearances in Hvorostovsky’s annual series of concerts “Hvorostovsky and friends” in Moscow and St.Petersburg. He was also the conductor of another historic Red Square performance of two world opera starts – Dmitri Hvorostovsky and Anna Netrebko – in June 2013.
Orbelian’s first film production, "Renée Fleming and Dmitri Hvorostovsky: An Odyssey in St. Petersburg," was filmed in St. Petersburg's most glorious palaces, and stars Renée Fleming and Dmitri Hvorostovsky in opera scenes and arias. The film is in some ways a culmination of Orbelian's efforts in St. Petersburg, since he is the founder of the annual Palaces of St. Petersburg International Music Festival.
Born in San Francisco to Russian and Armenian emigré parents, Constantine Orbelian made his debut as a piano prodigy with the San Francisco Symphony at the age of 11. After graduating from Juilliard in New York, he embarked on a career as a piano virtuoso that included appearances with major symphony orchestras throughout the U.S., U.K., Europe, and Russia. His recording of the Khachaturian piano concerto with conductor Neeme Järvi won “Best Concerto Recording of the Year” award in the United Kingdom.
Four times Grammy Nominee in the category classical vocal/opera recording :
- in 2014 for the recording of Rossini’s virtuoso arias performed by the American tenor Lawrence Brownlee with the Kaunas City Symphony Orchestra (Lithuania) under Constantine Orbelian. It was a remarkable event both for the conductor and the orchestra which he had led since 2013;
- in 2017 for the recording of “Russia cast Adrift” vocal cycle with the great Dmitri Hvorostovsky and St.Petersburg Symphony orchestra under Constantine Orbelian;
- in 2018 for the best opera recording: Verdi’s Rigoletto with the great Dmitri Hvorostovsky and the Kaunas Symphony Orchestra;
- in 2019 for classical arias recording with the American tenor Stephen Costello and the Kaunas Symphony orchestra.
Orbelian’s recordings have also received six ICMA (International Classical Music Award) nominations between 2014 and 2020.
In 2001 Orbelian was awarded the Ellis Island Medal of Honor, an award given to immigrants, or children of immigrants, who have made outstanding contributions to the United States. In 2012 he was awarded the Order of Friendship by Russia in recognition of his contribution to promoting Russian culture in and outside the country, and in 2015 – the Order of Friendship by Republic of Armenia.
In November 2017 he received a very special “Concord” prize from the Union of Armenians as the “Pride of the Nation”.
In June 2016 Constantine Orbelian was appointed Artistic Director of the A.Spendiaryan National Opera and Ballet Theatre of Armenia, and in 2017 became its General Director.
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The conductor Prof. Anthony Bramall studied singing at the Guildhall School of Music and Drama in his native London, graduating with honors. There followed a two-year supplementary course in conducting with Maestro Vilem Tausky.
In 1981 Bramall moved to Germany to become assistant to the Music-Director of the Municipal Theatre Pforzheim. In 1984 at the Third Hans Swarovsky International Conducting Competition in Vienna he was awarded the special prize for interpretation of music of the 20th Century. Bramall debuted in 1987 with the Vienna Chamber Orchestra at the Konzerthaus in Vienna -- and the recording industry took notice: he recorded three CDs for the Naxos label with the Slovak Philharmonic and the Slovak Radio Symphony Orchestra; radio recordings with the then RIAS Orchestra of Berlin followed. He was appointed to conducting positions in the municipal theatres Augsburg, Coburg and the State-Opera Hanover.
A milestone in Bramall’s career was his collaboration with the Semperoper Dresden, home of the world famous Staatskapelle : in 1992 he conducted the new production of Rossini's "La Cenerentola". This success was followed by engagements for „La Bohème“ and „La clemenza di Tito“. In the summer of 2003 Bramall directed the premiere of Dresden’s new production of "Madama Butterfly".
In 1995 Bramall was appointed General Music-Director of the Municipal Theaters Krefeld and Mönchengladbach. At the same time his burgeoning career as a guest-conductor -- in Augsburg, Berlin, Bonn, Darmstadt, Dresden, Düsseldorf, Hanover, Karlsruhe and Wiesbaden as well as in Bratislava, Bucharest and Poznan – established his excellent reputation in Germany and neighbouring countries. In December 2003 he made his debut in Japan with five concerts with the Tokyo Metropolitan Symphony Orchestra, and in the summer of 2006, he conducted three concerts with the NHK Orchestra, Tokyo.
In 2002 Bramall became General Music-Director of the State-Theatre in Karlsruhe , where he began his first "Ring" in 2004 with the premiere of "Das Rheingold ". This was followed in October 2005 by "Die Walküre", "Siegfried" in September 2006, and in December 2006, the Karlsruhe Ring cycle was completed with the premiere of "Götterdämmerung". In October 2007 Bramall enjoyed an overwhelming success with the premiere of Strauss's "Die Frau ohne Schatten". He made his debut at the Bavarian State-Opera in Munich in January 2004 with -- once again -- "La Cenerentola". In February 2005, he first visited the USA for concerts in Charlotte, NC., and in November, he debuted in Sweden with a new production of Verdi's "Falstaff " in Gothenburg. In April 2006 in Italy Bramall conducted seven performances of "Die Walküre" in Cagliari, Sardinia. Since then, he has returned five times to conduct symphony concerts at the Teatro Lirico.
At the end of the season 2007/8 he left the Staatstheater Karlsruhe and spent three years in Weimar as Professor of conducting at the Hochschule für Musik Franz Liszt in Weimar. As a freelance conductor, he was in charge of new productions of "The Pirates of Penzance" and "The Love for Three Oranges" at the State-Theatre, Gärtnerplatz in Munich; in February 2010 he returned to the Teatro Lirico di Cagliari in Sardinia to conduct a concert performance of the opera "I Shardana" by Ennio Porrino.
At the beginning of the season 2011/12 Bramall became permanent guest conductor at the Leipzig Opera , where he led a new production of "Tosca" to great acclaim. Since the season 2012/13 he has been Deputy General Music-Director , where he conducted a new production of "Nabucco" by Giuseppe Verdi, produced by Dietrich Hilsdorf. In September 2013 he returned to Cagliari for a new stage production of "I Shardana", produced by Davide Livermore. At the Leipzig Opera, he will conduct the premieres of Donizetti's "Don Pasquale" (February 2014) and Stravinsky's "The Rake's Progress" (April 2014), as well as the Ballet-premiere „Pax 2013“.
In September 2017 Anthony Bramall was appointed chief conductor of the Staatstheater am Gärtnerplatz in Munich. He began a cooperation with the Komische Oper Berlin, where he premiered Richard Ayres’ opera "Peter Pan" and conducted the revivals of "Don Giovanni" and "Der Zauberer von Oz".
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Predrag Gosta has been recognized as one of the most interesting and multi-faceted conductors of his generation. He is the artistic director of New Trinity Baroque, a widely-acclaimed and recorded period-instrument orchestra in London; the music director and chief conductor of the Gwinnett Ballet Theatre in Atlanta, USA; the artistic director and chief conductor of the New Belgrade Opera and the Makris Symphony Orchestra in Serbia; and the artistic director of the Belgrade Early Music Festival and the Belgrade Baroque Academy. He also served as the assistant conductor of the National Philharmonic in Washington DC and was a faculty member at Oxford College of Emory University in Atlanta.
Gosta was initially trained as a violinist, since the age of six, but later continued his studies in singing, harpsichord and conducting. After starting his studies at the Belgrade Music Academy, he continued his undergraduate education in voice and harpsichord at Trinity College of Music in London, where he received a full scholarship together with a full scholarship from the Leverhulme Trust. Subsequently, he finished postgraduate studies also at Trinity, after which he moved to the United States where he received three Master of Music degrees (in voice, choral and orchestral conducting) at Georgia State University in Atlanta. A recipient of a graduate assistantship and several scholarships - including the prestige Regents Opportunity Scholarship - his further studies in conducting were with Gustav Meier (USA), Jorma Panula (Finland), Colin Metters (UK), Ennio Nicotra (Italy), Alexander Polyanichko, Vladimir Ponkin and Andrei Anikhanov (Russia), Jonathan Brett (England), Dejan Savic (Serbia) and Emmanuel Siffert (Switzerland). Currently, Gosta is conducting doctoral research at the Faculty of Music of the University of Oxford and is a Junior Member of the Christ Church in Oxford. His work focuses on the English opera between 1790 and 1850.
Equally at home with the concert, opera or ballet, Predrag Gosta performed in USA, United Kingdom, Russia, Sweden, Finland, Sweden, Germany, Poland, Switzerland, Mexico, Bulgaria, Serbia, Croatia and Montenegro. He collaborated with artists such as sopranos Evelyn Tubb and Juilliane Baird; mezzo-soprano Vivica Genaux; contralto Marijana Mijanovic; baroque violinists Florian Deuter, Ilia Korol, John Holloway, Antoinette Lohmann and Ingrid Matthews; recorder virtuosos Marion Verbruggen, Emma Murphy and Karolina Bäter; harpsichordists Steven Devine and Ottaviano Tenerani; lutenists Anthony Rooley and Michael Fields; baroque trumpet players Justin Bland and Nathaniel Mayfield; and many others. He appeared at festivals such as the Piccolo Spoleto Festival in Charleston, Boston Early Music Festival and Amherst Early Music Festival in the USA; Dartington International Summer School and Festival in the UK; Sastamala Gregoriana Festival in Finland; Korkyra Baroque Festival and Varaždin Baroque Evenings in Croatia; Budva Theatre Festival in Montenegro; and the Belgrade Early Music Festival in Serbia – to mention a few. His guest conducting engagements include renowned orchestras such as the London Symphony Orchestra, the Russian National Orchestra in Moscow, the St. Petersburg State Capella "Glinka", the National Philharmonic in Washington DC, and others. He has been engaged as a guest music director in opera houses in Biel and Solothurn (Switzerland), Ruse and in Burgas (Bulgaria), Lexington (KY), Lüneburg (Germany), and his native Belgrade (Serbia), performing operas such as Mozart's "Lucio Silla" and "Mitridate", Puccini's "Madama Butterfly", Handel's "Orlando" as well as Monteverdi's "L'Incoronazione di Poppea" and "L'Orfeo", for which he received the Best Opera Award from the magazine "Musica Classica" as well as the Artist of the Year Award from the Serbian Association of Musicians (UMUS).
Predrag Gosta is an active recording artist with over a dozen recordings to his credit with his period-instrument ensemble New Trinity Baroque (including a critically acclaimed CD of Purcell's opera "Dido & Aeneas"), three with the acclaimed London Symphony Orchestra (produced by the Grammy Award-winning artist Michael Fine and recorded by the Grammy Award-winning engineer Wolf-Dieter Karwatky at the Abbey Road Studios in London), and two with the Makris Symphony Orchestra. As an active educator, he regularly presents masterclasses in historical performance practice and in conducting. Gosta is a member of the Conductor's Guild, the British Harpsichord Society and the Royal College of Organists, among others. He is the President of the Makris Music Society in Washington DC (which promotes the music of composer Andreas Makris), as well as the principal editor of the UrtextEditions.com and the Mediterranean Press.
SELECTIONS FROM THE PRESS:
Mozart: Mitridate, re di Ponto (Theater Solothurn, 13/04/2018)
Solothurner Zeitung, 16/04/2018
...Als Glücksfall für die Produktion erweist sich Predrag Gosta. Der serbisch-US-amerikanische Dirigent gilt als Spezialist für Alte Musik und erarbeitete die schwierigen, barock angelegten Partien mit seinen Sängerinnen äusserst detailliert, folgte ihnen mit dem spritzigen Sinfonie Orchester Biel Solothurn bis in die kleinste Phrasierung. Fazit: Mozarts Jugendwerk und frühe Seria wurde vom Tobs-Ensemble sehens- und hörenswert aufbereitet.
Silvia Rietz
Berner Zeitung, 16/04/2018
...Das Sinfonie Orchester Biel-Solothurn unter der Leitung von Predrag Gosta serviert ein rhythmisch aufgeladenes und tänzerisch-höfisch verspieltes Mozart-Soufflé der Extraklasse bei dem auch die feinen Töne und einzelne Instrumentensoli transparent aufblitzen.
Peter Wäch
Der Stimme der Kritik, 14/04/2018
...Der Eindruck, den die Produktion hervorruft, wäre nicht so nachhaltig, wenn sich nicht eine Riege von Könnern in ihren Dienst gestellt hätte. Das beginnt mit dem sehr beachtlichen Dirigat des Barockspezialisten Predrag Gosta, der bereits bei "Lucio Silla" vor einem Jahr eine Stimme veranlasst hatte, bei seinem Eintritt in den Orchestergarben nach der Pause "Bravo Maestro!" zu rufen. Dieser Ruf sei hiermit für "Mitridate" nachgeholt... Das Sinfonie Orchester Biel Solothurn, erfahren mit dem Stil des jungen Mozart, spielt engagiert, wach und federnd und führt die Zuhörer zu den überraschenden Schönheiten der Komposition mit der Beiläufigkeit souveräner Maestria. Das Orchester in Mailand kann nicht anders geklungen haben als das der Premiere in Solothurn. Jedenfalls nicht besser...
Michel Schaer
Monteverdi: L'Orfeo (New Belgrade Opera / Madlenianum, 18/11/2017)
Musica Classica, 06/02/2018
The Award for the Best Concert Performance in 2017 goes to "L'Orfeo" by Monteverdi, presented by the New Belgrade Opera and Opera-Theatre Madlenianum on November 18, 2017, conducted by Maestro Predrag Gosta.
Aleksandra Paladin
Mozart: Lucio Silla (Theater Solothurn, 21/04/2017; Theater Biel, 08/04/2017)
NZZ am Sonntag, Zürich, 30/04/2017
...Dirigent Predrag Gosta dirigiert Mozarts Frühwerk leichtfüssig und so klug ausgehorcht, dass man die Ohren gar nicht tief genug in den Orchestergraben hineinstecken kann. Das Sinfonieorchester Biel Solothurn nimmt Gostas Ideen begeistert auf...
Christian Berzins
Berner Zeitung, 25/04/2017
...Das Sinfonie-orchester Biel-Solothurn unter der Leitung von Predrag Gosta lässt die Frische dieses selten gespielten Dreiakters in reichen Schattierungen erklingen und wirkt selbst nach zwei Stunden unverbraucht...
Peter Wäch
Solothurner Zeitung, 11/04/2017
Dirigent Predrag Gosta... geleitete das Sinfonie Orchester Biel Solothurn mit Esprit, tänzerischer Dynamik und satten Klangfarben durch die Partitur. Vorwärtsstrebende Musiker im Graben sowie ein homogenes und junges Ensemble auf der Bühne liessen die Produktion auch musikalisch glänzen.
Silvia Rietz
Der Stimme der Kritik, 09/04/2017
...Mit diesem "Lucio Silla" schuf das kleinste Stadttheater der Schweiz den Höhepunkt des Opernjahrs, jedenfalls soweit der Horizont der "Stimme" reicht. Am Champagnertisch treffen sich die Gäste wie in Trance. "Diese Kostüme!", ruft die ehemalige Kostümfrau der Münchner Staatsoper. "Diese Stimmen!", strahlt die Klavierspielerin. "Und erst die Intelligenz, mit der die Räume geschaffen werden!", stellt der Grafiker fest. Man spricht von nichts anderem als vom Glanz dieser Premiere. Dann geht die Vorstellung weiter. Dirigent Predrag Gosta betritt den Orchestergraben. Da ruft eine laut vernehmliche Stimme aus der Galerie: "Bravo, Maestro!" Wenn so viel zusammenkommt, kann man, ohne zu übertreiben, von einem Ereignis reden.
Michel Schaer
Dido and Aeneas (CD, New Trinity Baroque, 2004)
Opera Magazine March 2005
There's clean singing from the choir, and impeccable work from the 13-piece band (including five continuo players). Predrag Gosta shows good musical instincts, and, unlike some period performers, you feel he’s willing to depart from the strict letter of the score if they lead him that way…
Early Music America, October 2009
An excellent 2002 Edition Lilac recording [of Purcell's "Dido & Aeneas"] featuring Predrag Gosta leading the Atlanta-based Chorus and Orchestra of New Trinity Baroque... This is a wonderfully colorful yet always musical performance. It is what Noorman attempted but failed in the Parrott recording. Gosta's ensemble is excellent... the playing is so sensitive and secure. The choral work is excellent, too, with a true sense of character projected by the nameless witches, sailors, and attendants. ...Recording definitely well worth acquiring – a true sleeper.
REPRESENTATIVE OPERATIC REPERTOIRE:
G.F. HANDEL: Acis & Galatea, Orlando, Giulio Cesare, Alcina, Ariodante
C. MONTEVERDI: L’Orfeo, L'Incoronazione di Poppea, Il ritorno d’Ulisse in Patria
W.A. MOZART: Lucio Silla, Mitridate, Don Giovanni, Die Zauberflöte
G.B. PERGOLESI: La Serva Padrona
G. PUCCINI: Madama Butterfly, La bohème
H. PURCELL: Dido and Aeneas, King Arthur, The Fairy Queen
S. STORACE: The Siege of Belgrade
G.PH. TELEMANN: Pimpinone
G. VERDI: La traviata, Un ballo in maschera
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Der Dirigent Filip Pavišić wurde in Zagreb/Kroatien geboren, wo er in der Musikschule französisches Horn zu spielen lernte und seine musikalische Ausbildung in diesem Fach genoss, als auch in den Fächern Klavier und Musiktheorie. Filip Pavisic studierte franz.Horn an der Musikakademie in Zagreb und im Anschluß Dirigieren in der Klasse von Vjekoslava Šuteja. Parallel dazu besuchte er Seminare im Fach Dirigieren von Saša Britvića, Krešimir Šipuš, Klaus Arp und Jurij Simonov in Budapest im Jahre 2007 und 2008. Nach seinem Diplom an der Musikakademie in Zagreb, machte er eine zweijährige Fortbildung bei Uroš Lajovic und begann sein Aufbaustudium an der Universität der Musik und darstellenden Kunst in Wien. Während seiner Studienzeit in Wien nahm er an Seminaren von Fabio Luisi und Sir Simon Rattle teil. Gleich nach seinem Studium wurde er an der Staatsoper in Osijek/Kroatien als Dirigent engagiert, dessen Operndirektor er im Jahre 2011 wurde (bis heute). Die erfolgreichsten Produktionen waren vor allem die Premiere der Oper der Komponistin Sanja Drakulić und dem Librettisten Miro Gavran` Kraljevi i konjušari` im Jahre 2011 bei der 26. Musik-Biennale in Zagreb. Nach 31 Jahren Pause schaffte es Filip Pavišić die symphonischen Konzerte wieder auf den Spielplan zu setzen. Auch setzt er sich aktiv dafür ein, das Ballett nach 40 Jahren wieder auf die Bühne des Theaters in Osijek zu bringen. `Der Nussknacker`von Tschaikowsky sei als Beispiel genannt, in dem er mit den Solisten des Balletts des Staatstheaters Zagreb Edina Pličanić und Tomislav Petranović und den Ballett-Solisten des Staatstheaters Split Karpilovska und Mihai Mezei zusammenarbeitet.
Besonders hervorzuheben ist die Premiere Bellinis Oper `Norma`, die bis dato in der 107-jährigen Geschichte des Theaters nie aufgeführt wurde. Für diese Aufführung wird ihm der Preis in der Kategorie für das beste Dirigat und die beste Interpretation zuteil bei der Verteilung der Ehrungen des `Hrvatskoga Glumista`. Für seine Interpretion und Aufführung der Oper `Tosca`von Puccini bekommt er im Jahre 2018 die gleiche Ehrung.
Als Dirigent trat er mit der Zagreber Philharmonie auf, mit dem kroatischen Radio-und Fernsehorchester und Chor, dem Orchester des Staatstheaters Rijeka, der Belgrader Staatsoper, der Philharmonie Witold Lutoslawski, dem Symphonieorchester Dubrovnik, dem Liszt-Wagner Orchester, dem Cantus-Ensemble, dem Kammerorchester Pro Arte, der Philharmonie Sarajevo, dem kroatischen Kammerorchester, dem Kammerorchester Varaždin.
Er trat mit dem Akademie-Chor Ivan Goran Kovačić auf, dem Kammerchor Ivan Filipović, dem Chor und Orchester der Musikakademie in Zagreb. Im Jahre 2011 nimmt er an dem Internationalen Wettbewerb junger Dirigenten Lovro von Matačić teil und plaziert sich im Finale. Er ist mehrfacher Stipendiat des Fondes Lovro und Lilly Matačić.
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Born in Aspe (Spain), Daniel Abad Casanova is considered one of the most promising Spanish conductors of his generation. Is currently the Music Director of Comunidad Valenciana Chamber Orchestra, the one that has carried out numerous concerts with great success of critique and publicly. Daniel Abad Casanova has an in-depth academic education: studied Piano at the Conservatoire of Music of Alicante and Orchestra Conducting and Choir Conducting at the Conservatoire of Music of Valencia with Maestros Manuel Galduf and Eduardo Cifre, and further expanded studies with Neil Thomson and John Farrer in the Royal School of Music (London ) and with Jorma Panula in Hochschule für Musik Franz Liszt (Weimar). Also attends Conducting Workshops with Maestro Jesús López Cobos in Alcalá de Henares University and with Maestro Yaron Traub in Valencia University. The range of his repertoire includes all kinds of works and styles, from early music through to cutting edge contemporary scores. Amongst the conducted orchestras are Albacete Symphony Orchestra, Youth Baroque Orchestra of Comunidad Valenciana, The New Professionals Orquestra (London), Jena Philarmoniker (Germany), Filarmónica “Oltenia” Craiova (Romania), Miguel Hernández University Symphony Orchestra, Ciutat d’Elx Symphonic Orchestra, Symphonic Orchestra of Teatro Chapí, City of Llíria Orchestra, etc…
Likewise he has conducted Federacion de Sociedades Musicales de la C. Valenciana Symphonic Band and Las Palmas de Gran Canaria Symphonic Band. In 2010 he is selected to take part in the X International Conducting Competition from the Cadaqués Orchestra. During the 2013/14 season conducts The Soldier's Tale (I.STRAVINSKY) in different stages with soloists of City of Llíria Orchestra and choreographed by Toni Aparisi. He has worked with prestigious musicians such as Manuel Ausensi, Antonio Gandía, Simón Orfila, Sandra Pastrana, Aurelio Gabaldón, Alicia García, Carmen Romeu, María Macià, Monserrat Martí, etc… As an operatic and zarzuela conductor, Daniel Abad Casanova has conducted performances like Julio Caesare, Carmen, L’elisir d’amore, Cavalleria Rusticana, La Traviata, La Revoltosa, La Boda de Luis Alonso, etc.
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Julio César Opera, Haendel, Final |
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O mio babbino caro, Gianni Schicchi Opera, G. Puccini |
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Mass of the Children, J. Ruttert |
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Gloria en Re M, A.Vivaldi |
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Dejan Savić
Dirigent (Intendant der Belgrader Staatsoper)
Dejan Savić (1957), ist ein herausragender serbischer Künstler. Er studierte Dirigieren an der Musikakademie in Belgrad. Seinen M.A. machte er im gleichen Fach an der Musikakademie in Novi Sad. Er ist GMD der Belgrader Staatsoper und des Balletts seit 1993. Von 2001-2004 war er Direktor der Oper und des Balletts. Zur gleichen Zeit war er der Leiter des Kammerorchesters PRO CLASSICA, als auch des renomierten Chors Braća Baruh (der 1879 gegründet wurde). Von 1989 bis 1992 war er der künstlerische Direktor des Symphonieorchesters in Niš und von 1993 bis 1995 künstlerischer Leiter des Kammerensembles PRO MUSICA (des ältesten in Jugoslawien). Von 2005 bis 2007 ist Dejan Savić Intendant des serbischen Staatstheaters, 2007 wird er wieder Operndirektor und seit 2012 bis heute ist er erneut Intendant. Mit seinen Chören, als auch den Chören die er leitete, nahm er an zahlreichen renomierten internationalen Chorfestivals teil und bekam zahlreiche Preise und Ehrungen (in: Gorica i Peskara, Italien, Kardica, Griechenland, JHS Niš, Mokranjčevi dani in Negotin etc.). Er gastierte als Dirigent und mit seinen Ensemblen in Griechenland, Israel, Bulgarien, Holland, Deutschland, Rumänien, Irland, Russland, in den USA, Italien, Australien, in der Schweiz, Spanien und trat mit vielen bekannten und renomierten Orchestern in Europa als auch mit dem Bloomingdale Symphonieorchester in New York auf. Savić dirigierte ein Konzert mit dem Symphonieorchester des bulgarischen nationalen Radios in der Serie Athen-Belgrad-Sofia in der bekannten Konzerthalle Bulgaria. Er war regelmäßig Gastdirigent des griechischen Symphonieorchesters des griechischen Radiosenders ERT und ist bislang der einzige serbische Dirigent, der in dem größsten Musikpalast Athens, dem Megaro Mousikis aufgetreten ist. Ausserdem arbeitete er mit allen wichtigen griechischen Symphonieorchestern –u.a. mit dem nationalen Symphonieorchester Athen und Thessaloniki- zusammen. 1995 dirigierte er sehr erfolgreich fünf Vorstellungen von Verdis Oper Der Troubadour in dem Opernhaus von Dublin/Irland. 1997 dirigierte er die Premiere und weitere vier Vorstellungen von Rossinis Der Barbier von Sevilla. In Norwegen debütierte Dejan Savić 1998 mit dem Abschlusskonzert der Saison 1997/98 mit dem Symphonierchester der Königlichen Oper Oslo.
Im gleichen Jahr trat das Symphonieorchester des Staatstheaters Belgrad unter der Leitung von Dejan Savić bei dem renomierten internationalen Musikfestival auf Patras/Griechenland auf und feierte großen Erfolg . 1999 gastierte er mit dem Symphonieorchester RTS (Orchester des staatlichen Fernsehens), als auch mit der Belgrader Philharmonie bei verschiedenen Festivals in Griechenland: dem Prespes und Olympija. Im Jahre 2000 war Dejan Savić Gast der Staatsoper Straßburg und dirigierte die Oper Hänsel und Gretel von Humperdinck. Im März 2002 gastierte die Belgrader Oper zum ersten Mal auf Korfu/Griechenland und führte Puccinis Tosca, Rossinis Cenerentola und unter Dejan Savić `s Leitung ein Galakonzert auf. Bei den jubilären 30.Mai-Opernabenden in Skoplje/Makedonien bekam Verdis Rigoletto unter Dejan Savić`s Dirigiertstab die Auszeichung der besten Vorstellung. Im gleichen Jahr kam es zur sehr erfolgreichen und bejubelten Aufführung zweier Opern in dem Opernhaus von Thessaloniki unter Dejan Savić`s musikalischer Leitung: Beethovens Fidelio (Cheryl Studer, Mark Baker, Franz Joseph Kapellmannn) und und Puccinis Tosca (Nelly Miricioiu, Paola Romano, Carlo Baricelli). Ende des Jahres 2002 gastierte Herr Savić erneut an der Oper (Opera National du Rhin) in Straßburg, dirigierte zehn Eugen Onegin Vorstellungen und feierte großen Erfolg (Teil des Teams waren: Marco Arturo Marelli – Galina Badikovskaya, Andrei Dunaev, Vladimir Petrov, Fedor Kuznetsov, Nelly Boshkowa). Im Mai 2003 eröffnete Dejan Savić mit zwei Vorstellungen des Barbiers von Sevilla das traditionelle Festival `Oper auf dem Platz`in Sofia/Bulgarien mit dem Opernensemble der Bulgarischen Staatsoper. Im gleichen Jahr im Dezember debütierte er mit großem Erfolg in Italien mit dem internationalen Orchester und Chor des Theaters Ventidio Basso aus Ascoli Piceno mit zwei Vorstellungen von Verdis La Traviata. Im Februar 2002 wurde die Belgrader Staatsoper unter Savić`s Leitung nach Griechenland eingeladen, um mit Verdis Rigoletto die Rekonstruktion des Theaters auf der Insel Kefalonia zu feiern. 2006 gastiert er in Italien und im Nationaltheater Tetaro di Pergolesi in Jesi und dirigiert dort das Weihnachtskonzert. 2007 dirigiert Dejan Savić im Theater Francesco Stabile in Potenza zwei Rigoletto-Vorstellungen mit dem Orchester Filarmonica Salernitana Giuseppe Verdi und dem Chor Coro di Bitonto (Mima Brigante, Giorgio Casciarri, Giuseppe Altomare). Im Juni des gleichen Jahres debütierte Dejan Savić in Wien an der Volksoper mit Verdis Traviata (zu den Künstlern zählten u.a. Briban, Ramos, Chernoh, Montazeri, Larson, Marof). Im Februar 2008 debütierte er an der Staatsoper in Bukarest/Rumänien und dirigierte Puccinis Madame Butterfly. Es folgten zwei Galakonzerte in Italien. Im Sommer 2008 dirigierte er Verdis Aida bei dem Musikfestival Gars am Kamp in der Nähe von Wien. Dort dirigierte er auch 2010, 2011, 2012 und 2013. Im Dezember 2008 kam er auf Empfehlung der Musikdramaturgin Sandra Milankov nach Koblenz und dirigierte dort mit großem Erfolg vier Galakonzerte an dem Theater Koblenz. 2009 war Dejan Savić Jurymitglied des 14. Internationalen Wettbewerbs Boris Christoff junger Opernsänger in Sofia/Bulgarien, als auch Vorsitzender des Wettbewerbs für junge Dirigenten. Es folgten zahlreiche Meisterkurse von 2010 bis 2014, die er in Bulgarien für angehende Dirigenten leitete. Im August dirigierte er Rossinis Barbier von Sevilla bei dem Künstlerfestival d’Arte Apuliae in Foggia/Italien mit Solisten aus der Türkei und Italien und dem Kammerorchester von Apulia. 2012 fogte ein Neujahrskonzert mit dem gleichen Ensemble (De Palma, Mi Seon Oh) in Foggia und Lucera. Im August 2009 feierte er Premire mit Puccinis Madame Butterfly bei dem Sommerfestival in Burgas/Bulgarien. Im März 2010 dirigierte Dejan Savić mit größtem Erfolg Puccinis Madame Butterfly im Theater Dante in Florenz (Ishigami, Berrugi, Calamai). Direkt im Anschluss folgte mit nicht minderem Erfolg zwei Vorstellungen bei dem Festival der Opernstars in der Opern-und Ballettkompanie aus Krasnoyarsk/Russland. 2011 nahm er erneut an diesem Festival teil, dieses Mal mit den Opern La Boheme (Urusov, Levchuk, Baranova) und Madame Butterfly (Levchuk, Urusov, Efremov). In Portugal debütierte er 2010 mit zwei Konzerten mit dem Orchester Orquestra do Algarve in Portimao and Loule mit Jan Krisztof Broja, als Solopianist. Im November leitete Savić einen Meisterkurs in Faro und dirigierte danach zwei Konzerte mit Otto Perreira (Solovioline). An der rumänischen Staatsoper in Temisvar debütierte er mit Verdis Traviata (Marcu, Balasescu, Estefan). Im Juli 2012 leitete er einen Meisterkurs mit dem renomierten Hermitage Orchester in Sankt Petersburg im symphonischen Dirigieren, an dem Dirigenten aus vielen verschiedenen Ländern teilnahmen. Im Oktober 2012 eröffnete er in Bukarest/Rumänien die Theatersaison mit der Oper Carmen und dem Orchester des staatlichen Rundfunks mit dem tschechischen Organisten Pavel Kohout. Im November nahm er sehr erfolgreiche Puccinis Arien für Sopranstimme mit der Solistin Pia Brodnik und dem Londoner Symphonieorchester in den Abbey Road Studios auf. Im April 2013 trat der Maestro erfolgreich in der Staatsoper in Sofia/Bulgarien auf und dirigierte die Opern Cavalleria Rusticana und Gianni Schicchi (Inszenierung Kartaloff, Andreev Georgiev). 2013 realisierte er eine frühere Initiative, indem er die Oper in dem Theater in der südserbischen Stadt Niš nach 40 Jahren mit der Operette Die Fledermaus wieder eröffnete. Im Juni dirigierte er in Sofia/Bulgarien, im August in Temisvar/Rumänien, im November dirigierte er das Galakonzert Maria Callas im Elena Teodorini-Theater in Craiova/Rumänien. 2014 dirigierte er Konzerte mit dem Zyprischen Staatsorchester auf Pafos und Nicosia mit Musik von Copland, Lutoslawski, Vorisek und Sophia Serghi. Im März dirigierte er sehr erfolgreich an der Oper im Ural in Ekaterinburg/Russland. Im Mai dirigierte er wieder am Elena Teodorini Theater in Rumänien, dieses Mal die Oper Otello von Verdi (Budoiu, Vari, Mijailovic) und an der Nationaloper in Temisvar dirigierte er Verdis Rigoletto. Im August folgte er einer Einladung nach Italien, nach Potenza und dirigierte dort Donizettis Liebestrank. Im September folgte wieder ein Dirigat von La Traviata in Temisvar. Mit u.a. folgenden Künstlern arbeitete Dejan Savić zusammen: Stefan Milenkovic, Mikis Theodorakis, Costas Paschalis, Ludovic Spiess, Maya Plisetskaya, Vladimir Vasilev, Jiri Menzel, Bonaldo Giaiotti, Maria Slatinaru – Nistor, Corneliu Murgu, Alexandrina Milcheva, Peter Dvorsky, Sreten Krstic, Ilija Marinkovic, Ksenija Jankovic, ... Er spricht englisch, deutsch, französich, italienisch und russisch.
Weitere Informationen entnehmen Sie bitte der Website des Künstlers http://www.dejansavic.com/ und der Website der Belgrader Staatsoper http://www.narodnopozoriste.rs/en/savic-dejan
Aufnahmen:
The Serbo Jewish Singing Society “The Baruch Brothers”
Jewish Synagogal and Popular Music
Idelsohn, Lewandowski, Shubert, Sulzer, Lavry, Weiner a.o.
PGP RTS 1995. LP/MC/CD
SORTS, Vjera Miranovic – Mikic, soprano
The Most Beautyfull Bellcanto Arias
Verdi, Puccini, Mascagni, Catallani
PGP RTS 1996. CD
The National Theater SO, Tamara Markovic, mezzosoprano
Portrait
Donizetti – Anna Bolena, excerpts
PGP RTS 1997. CD
SORTS, Ksenija Jankovic, violoncello
Cello Concertos
Elgar – Cello Concerto e minor, op.85
PGP RTS 1999. CD
SORTS, Eliso Virsaladze, piano
Robert Schumann
Piano Concerto a minor, op. 54
Symphony d minor No. 4, op.120
PGP RTS 2000. CD
Belgrade Philharmonic Orchestra
Awarded at 31st International Jeunesses Musicales Competition, Violin
Various Artists
Mozart, Tchaikovsky, Sibelius
JM 2001. CD
The National Theater SO
Laureates at 33rd International Jeunesses Musicales Competition, Solo Voice
Various Artists
Verdi, Puccini, Mozart, Rossini, Tchaikovsky, Gounod a.o.
JM 2003. CD
The National Radio Chamber Orchestra, Bucharest, Romania
Dana Borsan, piano
Mozart – Integral Piano Concertos
Concerto in E flat minor No. 22, KV 482
CUI 2006. CD
The National Theater SO
Laureates at 38th International Jeunesses Musicales Competition, Solo Voice
Various Artists
Verdi, Puccini, Mozart, Rossini, Tchaikovsky, Gounod a.o.
JM 2008. CD
OpernAir Festival, Gars-am-Kamp, Austria
Verdi – Aida
Drgac, Jelinek, Karlovic, Necas / Fadayumi, Kislali, Jovanovic, Nechaev, Tomasev, Jakovljevic, Liebeck, Iriarte
Brunn Symphony Orchestra, Festival Choir
LANDSMANN 2008. DVD
Pressestimmen:
“Dejan Savic had engaged not only his youthful enthusiasm but his obviously great knowledge too, facing the challenge which the Beethoven’s Fifth claims to every conductor.”
(“Politika”, Beograd)
“...clear and lucid in every single moment, with light gestures of his trusty hands, assertive rythmic nerve; playing his instrument, the Orchestra, with authority.”
(“Vecernje novosti”, Beograd)
,,That night, the conductor was mr. Savic...and we were impressed, very, very impressed. He went through all the temptations with strength, musicality and sureness, holding the performance firmly in his brave hands...''
(,,Osam'', Beograd)
,,Due to an excellent conductor Dejan Savic, this performance was much more than an hommage to our famous baritone...the cooperation of the orchestra was never the less marvelous.''
(,,Borba'', Beograd)
,,Conductor Dejan Savic, insisting on the symphonic side of the verristic Puccini score of Tosca, directed the whole ensemble with his impressive gestures, insisting on the well defined sound of the orchestra, underlying the dramatic expression of all the actors on the stage.''
(,,Dnevnik'', Novi Sad)
,,Interpretation of the orchestra, convincing and of a high quality in sound, subtle in piano, imposing and refining at the moments of strong but well prepared gradations, was above all the expectations. No doubt that the overall positive artisric achievments was reached thanks to conductor Dejan Savic...''
(,,Politika express'', Beograd)
,,Under the batton of maestro Dejan Savic, the orchestra reached some highest world standards.''
(,,Nasa borba'', Beograd)
,,...and, finaly, thanks to our new, young and able conductor Dejan Savic, we had a feeling that we are sitting in some west european concert hall, enjoying the beautyfull sound of music, which we never heard from our City Symphony Orchestra before.''
(,,Narodne novine'', Nis)
,,Mr Savic was entering deeper and deeper in to the music material, getting its best both from the singers and from the Orchestra.""
(,,Danas"", Beograd)
“Perfect orchestra perfromance is in full coordination with the soloists, thanks to the conductor Dejan Savic.”
(“Vreme”, Beograd)
“Maestro Savic presented his high sensitivity and ability of accompanying soloists.”
(“Vecernji list”, Zagreb)
''Performing for the first time in our city, Dejan Savic used his chance to conquere his audience in the best way.''
(,,Vjesnik'', Zagreb)
“...homogenous in sound, with perfect tune under superb leadership of Mr Dejan Savic.”
(“Il Tempo”, Pescara, Italy)
“The Belgrade ensemble conducted by his young and excellent maestro Dejan Savic was the best.”
(“Maariv”, Tel Aviv, Israel)
“The marvellous conductor Dejan Savic created very fine sound leading brilliantly the soloists and the Orchestra.”
(“Eleftherotipia”, Athens, Greece)
“Not a blood and guts approach, sprightliness and grace are rarely absent under conductor Dejan Savic’s deft guiding hand.”
(“Sunday Times”, Dublin, Ireland)
“Like Charles Edward’s provocative lightning–which, even with some obvious failures, is among the most striking conceptions seen in an opera at the Gaiety–the Yugoslav conductor Dejan Savic offers illuminations from fresh perspectives. In a well-paced reading, he achieves from the members of the RTECO a richness and warmth that’s not easy to secure in this theatre.”
(“Irish Times”, Dublin, Ireland)
“The strength of this production was its sense of purpose, its single-mindedness and its coherence. And the dramatic force was underlined by the tremendous performance of the RTE concert orchestra conducted by Dejan Savic.”
(“Irish News”, Dublin, Ireland)
“Fortunately what one hears is much closer to Verdi’s ideal. Dejan Savic conducts with sensitive feeling and exacts the music’s dramatic centre with powerful punch.”
(“Evening Press”, Dublin, Ireland)
“The melodies flow, with wonderful orchestral playing from the RTE Concert Orchestra (leader Michael D’Arcy), conducted by Dejan Savic with musical and emotional accord, swinging the dynamics with flow and control, always sympathetic to the singers, and to the DGOS chorus (Master Philipe White), whose impact was quintessentially Verdian.”
(“Cork Examiner”, Dublin, Ireland)
“Add to this a talented Serbian conductor Dejan Savic, who extracts the very best from singers and orchestra and who shows he knows the worth of latter day Verdian research, and you have a blood and guts Il Trovatore that leaves you praying that civil war will never come our way.”
(“New Letter”, Belfast, Ireland)
“We remeber well our tonight’s guest Dejan Savic who two seasons before produced a strong and unforgettable impression conducting the BNR Symphony Orchestra.”
(“Trud”, Sofia, Bulgaria)
,,Dejan Savic conducted the performance of Il Barbiere with temperament, shaping precisely the sound of the Orchestra of the Greek National Opera, inspired by the clear approach of the conductor.''
(,,Eleftheros tipos'', Athens, Greece)
,,Well achieving rythmically precise sound of the Orchestra for Il Barbiere, conductor Dejan Savic enabled the singers to express themselves completely and beautyfully''.
(,,Eleftheri ora'', Athens, Greece)
,,Finaly, we met an outstanding Yugoslav conductor Dejan Savic, performing Rossini's Il Barbiere at the end of the season in the Greek National Opera.''
(,,Diphono'', Athens, Greece)
,,For sure, maestro Savic deserves all the compliments he gained for the brilliant musical leadership of this complicated performance of La Cenerentola.''
(,,Argument'', Beograd)
,,Dejan Savic led the spactacle of La Cenerentola with strong and suggestive gesture, being precisefull and sensitive in every moment of the opening night.''
(,,Svet'', Beograd)
"Under vivid and fierce conducting by Dejan Savic, Principal Conductor of the Belgrade Opera, Orchestra of the National Conservatory from Strasbourg played enthusiastically in a singing mood, taking part in the rich and attractive youthful musical fiest."
("L'Alsace", Mulhouse, France)
"Orchestra of the National Conservatory from Strasbourg, under the batton of Dejan Savic, thanks to his diverse kind of conducting, demonstrated to be predestined for such grateful performance."
("Offenbuerger Tageblatt", Offenburg/"Kehler Zeitung", Kehl, Germany)
"Interpretation by Dejan Savic was clear, emphasizing divine themes and melodies while Orchestra of the National Conservatory from Strasbourg followed him beautifully."
("Les affiches moniteurs", Strasbourg, France)
"Selection of voices and well done distribution contributed to the excellent quality of the performance...also thanks to the Orchestra of the National Conservatory from Strasbourg under the batton of Dejan Savic."
("Hebdoscope", Mulhouse, France)
"Humperdinck's music, conducted by Dejan Savic...had its intended continuation, well presenting traditional melodies well known to the listeners belonging to the German cultural region...while in the pit the orchestra of the National Conservatory from Strasbourg was dedicated to its task with responsability and clear mind."
("DNA Region", Muhouse, France)
"Dejan Savic conducted the Orchestra of the National Conservatory from Strasbourg, which was playing precisely and transparent in sound."
("Badische Zeitung", Offenburg, Germany)
"Orchestra of the National Conservatory from Strasbourg and young soloists, under guidance of Dejan Savic, successfully introduced the popular music of this opera (Humperdinck, Hansel und Gretel) to the audience."
("DNA Colmar", Colmar, France)
"It was obvious that this perfectly selected program was not accedently chosen by the conductor...Dejan Savic was leading the Chamber Orchestra of the Romanian Radio in a very expressive way, and they did follow, feeling very safe in his hands."
("Adevarul", Bucharest, Romania)
"The Orchestra of the Beograd National Opera, under the batton of its leading Maestro Dejan Savic, with joyfull sounding brought the sonority to this production...always with an eye on the stage, formed the unique and ultimate musical contribution."
("L'Opera", Roma, Italia)
“The leader was the young Serbian conductor Dejan Savic, who completely respected the real artistic values of Verdi’s score, underlining mostly his creative expression.”
(“Makedonija denes”, Skopje, Macedonia)
“Maestro Savic left an excellent impression, above all with his perfectionism. With an extraordinary precision he coordinated the soloists and the orchestra, never leaving something without his control, and yet at the same time presenting his profound feeling for a valuable vocal and instrumental interpretation.”
(“Nova Makedonija”, Skopje, Macedonia)
" Conductor of the excellent Orchestra of the Opera of Beograd, Yugoslav Dejan Savic, supported the acoustical aspects of the opera "Fidelio", as well as being faithful to the historical background of the theme of the opera and the "heroic" tone of the music. Also, his symphonic approach towards this Beethovens' masterpiece appeared to be the right one in every sense. The result? A continuing delightful musical result with an outstanding finale."
("Eleftherotypia", Thessaloniki, Greece)
“We must note the fine batton of Mo Dejan Savic, leading the Symphony Orchestra of Mulhouse in a great form. Magnificent production...”
(“Cyber Classique”, Paris, France)
“The orchestra under Dejan Savic...perfomed with warmth and very well balanced tone.”
(“KulturJocker”, Karlsruhe, Germany)
“It was Dejan Savic leading the Orchestra of Mulhouse, who conducted this beautyful score, presenting all its accents, the rythms of valces, eccosaises and its lyric.”
(“Les Affiches – Moniteur”, Strasbourg, France)
“The conductor from Beograd, Mo Dejan Savic, allowed the Mulhouse Symphony Orchestra members playing very softly, on the other hand strongly and dramaticly engaged, when necesarry.”
(“Mittelbadische Press”, Karlsruhe, Germany)
“From the conductor’s stand, Dejan Savic provided the perfomance of the Mulhouse Symphony Orchestra which entered all the subtleties of Chaikowski’s music. This Onegin was something to admire. The rare joy in Opera National du Rhin!”
(“DNA”, Strasbourg, France)
“From the pit, the Mulhouse Symphony Orchestra under the batton of Mo Dejan Savic was positively occupied by making “the sentimental aspect” of the performance. The effect was sweetness of the melodic elegy, supporting the superiority of the emotions during the piece. This was a choice which could frustrate the amateurs, but which, having in mind what was going on the stage, served in obtaining of delicacy and freshness of a rarely subtle score.”
(“L’Alsace”, Strasbourg, France)
“The team of the soloists, choir and orhestra were impressivly led by the Beograd conductor Dejan Savic. His truly knowledge and recognition of Rossini’s style completely transformed the Orchestra of the Sofia National Opera, which performed with great enthusiasm.”
(“Duma”, Sofia, Bulgaria)
“L’Orchestra Internazionale d’Italia, great as usual, this time was conducted by Dejan Savic, who, with his fresh tempis, underlined all the psychological drama in the piece…add to his his support to hear “our” Choir in perfect edition of the most demanding role till now.”
(“Il Messagero”, Ascoli Piceno, Italia)
“…coro del Teatro Ventidio Basso and L’Orchestra Internazionale d’Italia, conducted vigorously by Dejan Savic.”
(“Corriere Adriatico”, Ascoli Piceno, Italia)
“In addition to…central and very capable soloists, the event was led by an excellent conductor Dejan Savic from Beograd.”
(“Hamar og Hedmarken”, Hamar, Norway)
“The conductor was Dejan Savic and the soloists…this evening will be remembered, in forthcoming years people will stil talk about this magnificent event in the Cathedral of Hamar.”
(“Hamar Arbeiderblad”, Hamar, Norway)
“The full audience gave a big hand to perfect soloists…Orchestra Filarmonica Salernitana Giuseppe Verdi, City Choir from Bitonto. all under a batton of Mo Dejan Savic.”
(“La Gazzetta del Mezzogiorno”, Potenza, Italy)
“Perfect performance of the Orchestra Filarmonica Salernitana Giuseppe Verdi and City Choir from Bitonto, due to Maestro Concertatore Dejan Savic.”
(“Il Quotidiano delle Basilicata”, Potenza, Italy)
“Very solid musical leadership was provided the first night by Dejan Savic.”
(“Der Neue Marker”, Vienna, Austria)
“Last but not the least, good Festival Chorus in Gars am Kamp, on high level The Brno Symphoniker both under Dejan Savic’ batton.”
(“Kurier”, Vienna, Austria)
“Dejan Savic offered with The Brno Symphoniker one often wide and strong Verdi – sound…addjusted to the Open-Air space. However, in the Lyric parts (the Nile Scene) he presented rather sensible moments.”
(“Kronen Zeitung”, Vienna, Austria)
“Dejan Savic, the Chief of the Beograd Opera, was fully responsible for the fine and precisefull sound of the Brno Symphoniker.”
(“Neues Volksblatt”, Vienna, Austria)
“Internationaly renown artists and the Brno Symphoniker with the conductor Dejan Savic excited the audience.”
(“Bezirksblatt”, Horn, Austria)
Galerie
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