BelCanto.si predstavlja izbrane odlomke iz Bellinijeve opere NORMA Maribor 8.5.2015 19:30 - Kazinska dvorana, SNG Maribor
Vera Danilova –…1
Quick FactsFull Name: Vera DanilovaNick Name: Spinto Coloratura Soprano
Best Known For
“…Vera Danilova is a young coloratura soprano gifted with a beautiful voice and an extraordinary facility for the highest notes in the soprano tessitura. Her performances have wowed audiences and critics alike, dazzling them with her beautiful bel canto musicality and brilliant renditions of some of the most taxing and difficult roles in the repertoire…”
Vera Danilova was born in Macedonia. Currently living in Slovenia, she is beginning to make a distinguished solo career, not only in other parts of central and Eastern Europe but also here in Slovenia, where she has sung such roles as Norina (Don Pasquale) at the Ljubljana Opera and La Sonnambula and Gilda (Rigoletto) in other theatres, as well as many concerts.
Her repertoire includes Lucia, Rosina, Rita (Rita), Elvira (Puritani), Lakmé, and the Waldvogel from Siegfried.
After she finished the Music high school in Skopje at only eighteen years old, she was accepted at the Academy of Lyric Art in Osimo (Accademia d’arte lirica di Osimo [Italy]), mentored by the music impresario Sergio Segalini and Raina Kabaivanska. There she sang her first Susanna in Le Nozze di Figaro and Ilia in Idomeneo.
After one year in Italy, she continued her musical education at the Music Academy in Ljubljana at the university of Ljubljana in Slovenia where she graduated in singing with honours.
She was awarded the student’s Preseren prize (Prešernova nagrada), the highest award for a student in Slovenia for extraordinary achievements in music (nominated for the part of the Soprano in Carl Orff’s Carmina Burana).
During her studies, Vera won several competitions and sang in many concerts. It was while she was a student that she made her Opera debut singing Adina in L’Elisir d’Amore.
She quickly became a member of the Opera studio at the Slovenian National opera in Ljubljana and at the age of 25 she became a soloist. She sang there exclusively leading opera roles from belcanto to modern composers: Norina (Don Pasqale), Berenice (L’occasione fa il ladro), Die Prinzessin (Die Prinzessin auf der Erbse), Bubikopf (Der Kaiser von Atlantis), Adele (Die Fledermaus), Rosaura (Le Donne Curiose), Sophie Uhlich or Madame Herz in the original version (Der Schauspieldirektor) and others.
She has worked with the conductors such as Dieter Rossberg, Uroš Lajovic, Milivoj Šurbek, Borut Smrekar, Toshio Janagisava, Marko Gašperšič, etc. and with the stage directors Gregor Horres, Manfred Schweigkofler, Diego de Brea, Vinko Möderndorfer, Henrik Neubauer etc.
She is a guest at the Ljubljana Summer Festival (Slovenia), Skopje Summer Festival (Macedonia), Bled Festival (Slovenia), Festspielhaus St. Pölten (Austria), the National Opera in Zagreb, the RTV Slovenia Symphony Orchestra, and the National Opera in Macedonia.
She sang at the Austrian première of J. Offenbach’s romantic opera Die Rheinnixen (Nixe) in St Pölten.
Vera Danilova is currently working and studying under the mentorship and guidance of the tenor and vocal coach, Alexander Brown.
She performs as a concert singer and has a wide repertoire of recitals (Opera arias, Antique and Baroque arias, German lied, Russian romances, Italian chamber music). The Slovenian National Radio recorded many of her performances.
Her cooperation with the Slovenian pianist Erik Šuler resulted in many highly successful projects and recitals throughout the country. Starting with Rachmaninoff’s romances, later their repertory was expanded and they added other Russian composers (such as Rimsky-Korsakov, Tchaikovsky, Glinka), German (Wolf, Schumann, R. Strauss) and Italian chamber music (Bellini, Rossini, Arditi…), different composers and styles.
She is also a member of the Slovenian chamber music theater SKGG.
Rebeka Hren Dragolič…1
Quick FactsFull Name: Rebeka Hren DragoličNick Name: Mezzo-sopran
Barbara Tanze –…1
Quick FactsFull Name: Barbara Camille TanzeNick Name: Mezzo-soprano
Alexander Brown – …1
Quick FactsFull Name: Alexander BrownNick Name: Tenor
Quick FactsFull Name: Vladimir MlinarićNick Name: Pianist
Diego Barrios Ross…1
Quick FactsFull Name: Diego Barrios RossNick Name: Tenor
Amanda Stojović – …1
Quick FactsFull Name: Amanda StojovićNick Name: Mezzo-soprano
Žiga Kasagić –…1
Quick FactsFull Name: Žiga KasagićNick Name: Tenor
BelCanto.si is a group of singers dedicated to the art of Fine Singing, the literal meaning of the Italian term ‘Bel canto’.
Of course, ‘fine singing’ is to be found in many periods of operatic history, going right back to the origins of opera (1601, with Jacopo Peri’s Euridice). However, this term usually applies nowadays to the style of singing found in the operas of composers of the early 19th century such as Bellini, Donizetti, Rossini, Spontini and others.
The philosophy of the group is to apply the principle of ‘fine singing’ to all periods of music, extending from its traditional period in the early nineteenth century into the twentieth century and beyond – the reason being that we believe that the vocal techniques needed to perform the music of the traditional Bel Canto composers are gradually being lost in the early twenty-first century.
There are many reasons for this: one of them is that young singers (and consequently, teachers, conductors and agencies) no longer have the patience to study technique properly and develop the voice slowly, enabling them to sing the repertoire most suited to their voice type and abilities. Everyone is in a hurry to get on the stage and perform ‘big’ roles – how often we read or hear of some “new, young tenor” making his debut in a role that is manifestly beyond his capabilities, who subsequently disappears from view as his voice quickly deteriorates because he does not have the strength or technique to support the stresses placed upon it. Journalists and agents talk about a singer being “young” as though that was a quality to be admired – it is, if the ‘young’ singer can perform as well as his/her older counterparts, but all too often it just means under-powered, lacking technique and, above all, experience in singing the more demanding roles into which they are pushed by their own impatience and that of their agents and teachers – and, often, inexperienced conductors.
So often we read of a ‘golden age’ of singing – but why is that? Do we not have talents today who could match them? Of course we do! So what makes those singers different? The answer to that question is complicated, but it is in essence a combination of sympathetic conductors who really understand the voice and, in this case, what “Bel Canto” is all about, and singers (and teachers) who are patient enough to develop their skills in the right way, without damaging their voices.
Of course, this does not mean that the singer should sing mechanically, in some technically ‘perfect’ way – perhaps the most important attribute of a singer is his/her ability to move the listener, to arouse the listener’s emotions – joy, excitement, sadness and so on – and (let us assume the singer has a ‘voice’) that requires musicality, ‘soul’ and a technique that will allow to the voice (‘big’ or ‘small’) to carry in the theatre without unnecessary straining (which will be immediately apparent to the listener): in short, ‘Fine Singing’!
This is what the singers in the group aim to achieve with their performances.
We wish you much listening pleasure!