{"id":9669,"date":"2019-01-27T09:00:00","date_gmt":"2019-01-27T09:00:00","guid":{"rendered":"https:\/\/rossifest.estrela.io\/?page_id=9669"},"modified":"2026-07-20T18:25:23","modified_gmt":"2026-07-20T18:25:23","slug":"en-portreti-i-secanja-2019","status":"publish","type":"page","link":"https:\/\/rossifest.estrela.io\/en\/en-2019\/en-portreti-i-secanja-2019\/","title":{"rendered":"Concert: Portrait and Rememberence"},"content":{"rendered":"\n
\u200b<\/h5>\n\n\n\n

Concert\u00a0Portraits and Remembrance<\/em><\/h3>\n\n\n\n

Marking of Holocaust Remembrance Day<\/p>\n\n\n\n

National Museum Belgrade<\/p>\n\n\n\n

27. January 2019<\/p>\n\n\n\n

The Portraits and Remembrance<\/em>\u00a0concert is a significant part of the Rossi Fest<\/em> program and is the only part of the festival that is constantly on the program of all festival editions. On the occasion of the World Day of Remembrance for Holocaust Victims, the program will consist of works made by young composers selected at the Competition for Composers: Portraits and Remembrance<\/em>, as well as representative works composed by Jewish authors and historical works that correspond to the theme of the concert.<\/p>\n\n\n\n

By participating in the Rossi Fest<\/em> Competition Composers, young composers have the opportunity to contribute to the world’s cultural heritage in the area of preserving memories of Holocaust victims and giving honor to those who opposed it, using historical literature and other sources as an inspiration or part of their compositions. The Artistic Committee of the festival selects the most representative performances for the concert each year.<\/p>\n\n\n\n

This year, applications from countries around the world have been received (Luxembourg, Portugal, Croatia, Hungary, Iran, Mexico, Italy, Serbia, Uruguay, Kadana, Brazil, BiH, France, Israel, Russia, China, UK, South Africa, Armenia, Montenegro, USA, Ukraine), with nearly fifty compositions. The Artistic Committee of the Festival selected five pieces, from the following authors: Lazar Djordjevic (Serbia), Nina Perovic (Montenegro), Bracha Bdil (Israel), Ben Lunn (UK), and Guy Ben-Tov (Israel). In addition to the various chamber ensembles that will be presented to us that evening, the Jewish Chamber Orchestra, the Baruch Brothers Choir,<\/em> and the Synagogal Ensemble Berlin will also take part in performing at the concert.\u200b<\/p>\n\n\n\n

This year, the festival received entries from over twenty countries around the world from nearly fifty compositions, and the Artistic Committee of the Festival selected five compositions, from the following composers: Ben Lunn (UK), Bracha Bdil (Israel), Gay Ben-Tov (Israel), Nina Perovic (Montenegro) and Lazar Djordjevic (Serbia).<\/p>\n\n\n\n

Besides the Baruch Brothers Choir<\/em> and Jewish Chamber Orchestra, Synagogal Ensemble Berlin and vocal soloists and musicians gathered in various instrumental ensembles and performed at the concert.
\nThe concert was conducted by Regina Yantian (Germany), Stefan Zekic, and Djordje Perovic.<\/p>\n\n\n\n

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\"Nina<\/figure>\n\n\n<\/figure>\n\n\n\n
Nina Perovic<\/h5>\n\n\n\n

Nina has completed her basic and specialist studies of composition at Music Academy in Cetinje in the class of professor Zark Mirkovic. She graduated piano in the class of Professor Alexander Serdar, and she completed her specialist studies in the class of Professor Vladimir Bockarjev. Thanks to the scholarship Basileus<\/em>\u00a0she continued her studies of composing at the Music Academy in Ljubljana, in the class of professor Uros Rojko, where she gained Master’s degree. She completed her PhD studies in the class of professor Srdjan Hofman, at the Faculty of Music in Belgrade.<\/p>\n\n\n\n

She has been studying at numerous courses abroad with renowned international composers such as Klaus Lang, Peter Ablinger, Georg Friedrich Has, Beat Furer, Dmitry Kourliandski, Vinko Globokar, Nigel Osborn and others.<\/p>\n\n\n\n

She is engaged as an associate in teaching and as a guest lecturer at the Music Academy of Cetinje.\u200b<\/p>\n\n\n\n

Withesses<\/em><\/h5>\n\n\n\n

The text of this piece consists of two different and quite remote texts. The first one, that the piece is named after, is a testimony of German military doctor that served on Russian front, taken from Hannah Ardent`s Eichmann in Jerusalem<\/em>, and is “among the very few subjectively sincere memoirs of its kind” (The New Yorker) and the second one is Mirko Banjevi\u0107`s poem Nad sobom nevjec\u030cnim<\/em>. The musical material is systematically organized by the looks of a keyboard and the relationship between black and white keys, where the note `D` has the `main role`. The soprano interprets the text of the poem, while the narrator delivers the textual basis of the testimony. The diligence and the simplicity of the music material, as well as the meaning and relationship of the two texts, invite the listener for inner viewing of this problematics and ethical values of that time`s individuals and society, but also of the time we live in.”<\/p>\n\n\n\n

\"Bracha<\/figure>\n\n\n\n
Braha Bdil<\/h5>\n\n\n\n

Bracha Bdil, composer and pianist, born in 1988, has a B.ed in Music Education from Levinsky College and a Master’s degree in Music Education and Composition from the Jerusalem Academy of Music and Dance, led by Professor Andre Hajdu, o.b.m. and Professor Haim Permont. Bracha won the first prize in the Wolf Durmashkin Composition Award<\/em>, Germany, the first prize in the Yardena Alotin Composition Competition<\/em>, Bar-Ilan University, Israel, and a prize in the International Choral Writing Competition<\/em> named after A.D Kastalsky<\/em> \u2013 Moscow. Her repertoire includes orchestral music, chamber, vocal and electronic music, as well as music for dance and theatre. Her compositions have been performed around the world, including: China International Choir Festival<\/em>\u00a0– Beijing, Belt and Road World Choir Festival<\/em>\u00a0– Hong Kong, International Jewish-German Festival<\/em>\u00a0\u2013 Bavaria, Concert sponsored by the Russian Musical Union<\/em>\u00a0– Saint-Petersburg, The Schnittke Festival<\/em>\u00a0– Seratov-Russia, Soci\u00e9t\u00e9 de Concerts de Montr\u00e9al<\/em>\u00a0\u2013 Canada, and more. Bracha is a member of the Israel Composers’ League and her works are often performed on Israeli stages and the Israeli radio. Starting from season 2018-9 Bracha has been appointed as artistic director and chief conductor of the women’s Zmora<\/em>\u00a0orchestra in Jerusalem.<\/p>\n\n\n\n

Hayom<\/em><\/h5>\n\n\n\n

“This day He causeth all the creatures of the universe to stand in judgment. Have mercy upon us, O Thou, who art tremendous, holy”. (Jewish prayer book)<\/p>\n\n\n\n

The composition Hayom<\/em>\u00a0is for a Tenor and Horn. It is a soloist meditative composition which is performed entirely behind the scenes in a dark hall. The soloist tenor hums pentatonic decorated melodic lines that imitate ancient ‘genesis’ singing. Further on a horn joins in and imitates the tenor line like an echo and creates a dialogue with it. Further on the tenor sings the words of poetry which are said on Rosh-Hashanah. This day<\/em>\u00a0\u2013 mining the holly important day which G-d is judging all human beings for their past acts and determines their future, for good or for bad. The composition ends with a horn blast that connotes the blowing of the shofar \u2013 the Jewish symbol of that special day – Rosh Hashanah (the first day of the Jewish New Year) – the day that human being was created and is to be judged for his acts.<\/p>\n\n\n\n

\"Guy<\/figure>\n\n\n\n
Gaj Ben-Tov<\/h5>\n\n\n\n

Guy Ben-Tov is an Israeli born composer-performer and video artist, currently residing and studying in Austria. The conflict between the absolute power bestowed upon the artist (composer\/director) and the need for collaborators (performers\/actors) to achieve an artistic vision, is currently a fundamental element in his aesthetic and moral approach to artmaking. Exploring a wider definition of the relations between performer and composer, in 2018 he formed Ungrateful Ambassadors<\/em>, a composer\/performer duo with Mathilde Vendramin. Currently finishing his Master\u2019s degree in Composition and Music Theater at the Kunst Universit\u00e4t Graz under the guidance of Prof. Beat Furrer and Bernhard Lang. During various workshops, festivals and other musical activities he had the opportunity to study with Mark Andre, Matthew Shlomowitz, Dimitra Trypani, Jennifer Walshe, Klaus Lang, Hannes Seidl, Rebecca Saunders, Milica Djordjevic and Marco Blaauw. His pieces have been performed in Israel (Va\u2019Yissa Meshallo Va\u2019Yomar – Modalius Ensemble at the Israeli Music Festival<\/em>), Turkey (Zrima -Herzafen Ensemble in Ankara<\/em>), Germany (\u1e24ibur-\u05d7\u05d9\u05d1\u05d5\u05e8 in Darmst\u00e4dter Ferienkurse 2018<\/em>), Austria (YomoLedeT and Song of Food-ensemble B.i.R.D<\/em> as part of Obsession Zeichnen<\/em>\u00a0an exhibition in the BRUSEUM, Neue Galerie, Graz), Greece, and Italy.<\/p>\n\n\n\n

Liebe Luise!<\/em><\/h5>\n\n\n\n
for Voice, Classical Guitar, Clarinet, Piano, Cello and Contrabass<\/h6>\n\n\n\n

The texts in the piece are from a letter written shortly after WW2 by a German friend of my great grandmother, telling her about the last days of her parents in the concentration before they were murdered. In this piece, I am trying through very limited use of the instruments to present memories as unreliable and the past as a fading image, the past can be remembered in various ways and there is never a single monolithic objective perspective. This is the first movement of a bigger project I’m working on, but it could also be performed as a self-contained piece.<\/p>\n\n\n\n

\"Ben<\/figure>\n\n\n\n
Ben Lun<\/h5>\n\n\n\n

His music has been described as \u2018Evocative\u2019, \u2018Restrained Otherwordliness\u2019, \u2018Chilling\u2019, \u2018sophisticated and most importantly obsessive\u2019 or \u2018produces\u2026glorious roaring sounds\u2019 and \u2018desolate monotone\u2019. He has also been referred to as a \u2018Composer of life music\u2019.<\/p>\n\n\n\n

Ben Lunn is a Mackem composer who studied in the Royal Welsh College of Music and Drama under the guidance of Peter Reynolds, as well as studying in the Lithuanian Academy of Music and Theatre with Marius Baranauskas. He has also received guidance from Param Vir. Since graduating from his Master\u2019s he now resides in Glasgow, working in various elements including conducting, musicology, teaching and composing.<\/p>\n\n\n\n

His work has been featured in many leading international festivals including Vale of Glamorgan<\/em>, London New Wind Festival<\/em>, Druskomanija<\/em>, Leeds Leider+<\/em>, Zilele Muzicale Aniversare<\/em>, HASS FEST<\/em>, Toronto Contemporary Music Lab<\/em>, and Occupy the Pianos<\/em>. He has had the privilege of working with leading international ensembles and soloists like N.A.M.E.S, Sofia Soloists, Lithuanian National Symphony Orchestra, Ensemble Synaesthesis<\/em>, Music Theatre Wales, Ligeti Quartet<\/em>, OeNM, Ensemble X and Y, Nikolai Matsov, Rolf Hind, Francoise-Green Duo, Zubin Kanga, Martynas Levickis, JVLMA, and Jauna Muzika.<\/p>\n\n\n\n

Currently, he has been made an associate artist for Drake Music<\/em>. And in October he was appointed Trainee Artistic Director of the Hebrides Ensemble<\/em>. Ben Lunn is also featured in the British Music Collection<\/em> and the British Council\u2019s Disability Arts Online<\/em> as a featured artist. He is published by Oriana Productions<\/em>\u200b<\/p>\n\n\n\n

T-4<\/em><\/h5>\n\n\n\n

for Violin, Cello, Alto Trombone, Motion Detection, and Electronics<\/p>\n\n\n\n

T-4<\/em> makes reference to the Nazi euthanasia programme where thousands of disabled people were sterilised, experimented on, and murdered simply for being seen as ‘defective’. The piece constantly references names of some of those lost and parallels them with disabled people being killed as a result of the British government’s austerity measures. In short, it asks have we learnt our lesson from the past or are we repeating the same horrific mistakes?<\/p>\n\n\n\n

\"Lazar<\/figure>\n\n\n\n
Lazar Djordjevic<\/h5>\n\n\n\n

Lazar Djordjevic was born in 1992 in Kragujevac. In 2010 he enrolled in basic academic studies of composition at the Faculty of Music in Belgrade, in the class of Zoran Eric, a full-time professor. He is currently a student of the final year of doctoral academic studies. Lazar \u0110or\u0111evi\u0107 was trained abroad by attending compositional workshops led by composers Peter Ablinger, Vinko Globokar, Stephen McNeff, Sidney Corbett, Johannes Kretz, Yann Robin… The compositions by Lazar Djordjevic were performed several times in the country and abroad. Apart from his own compositions, many of Djordjevic’s orchestrations of other authors, as well as the works in the field of applied music, have been performed. For the composition Jednom sam negde \u010duo…<\/em>\u00a0for clarinet, accordion and string quartet (2016) he received an international award for the best composition at the contest New Serbian Music for the Accordion<\/em>\u00a0at the International Festival of Accordions Eufonija<\/em>. He is a prize-winner from the Stevan Hristic<\/em>\u00a0Foundation in 2015 and Josip Slavenski<\/em>\u00a0Foundation in 2017. He is the author of the first Serbian concert for accordion and orchestra, premiered in 2017 at Novi Sad. Lazar \u0110or\u0111evi\u0107 is currently employed as an assistant at the Department of Music Theory at the Faculty of Music Arts in Belgrade.<\/p>\n\n\n\n

IV postcards from 1944<\/em><\/h5>\n\n\n\n

The inspiration for making this piece is the author`s first encounter with Bor`s Notebook<\/em> (Bori notes<\/em>) of Mikl\u00f3s Radn\u00f3ti. This “continuous lyric report on calvary and confrontation with calvary”, as said by Aleksandar Ti\u0161ma in the foreword, has its culmination in four postcards from 1944. The piece is written for a reciter and chamber ensemble consisting of flute, clarinet, bass clarinet, piano, violin, viola and double bass, and the poetics of the piece is a result of the author`s exploring of sound colour and timbre of many years and of his constant search for the new means of expression.<\/p>\n\n\n\n

The form of the piece depicts in its four sections each of the four Radn\u00f3ti`s postcards. Radn\u00f3ti`s poem that is not a part of the postcards, but has made a strong impression of the author, appears as a leitmotif of the piece.<\/p>\n\n\n\n

\"Ana<\/figure>\n\n\n\n
Oratorio Todesfuge<\/em>\u00a0(Paul Celan), by Anna Segal<\/h5>\n\n\n\n

Well known Israeli contemporary composer Anna Segal has extensive musical experience. She is working with different musical collectives and has been lucky to collaborate with the Berliner Symphonic Orchestra in Berlin and the great Israeli conductor Lior Shambadal. She composes music for orchestra, choir, quintet, suites, pieces for solo instruments, film scores as well as music for children.<\/p>\n\n\n\n

One of her latest pieces has been focussed around the Holocaust. She wanted to create something important that, in artistic form, will tell the world more about this tragedy. By chance, a friend drew her attention to the poetry of Paul Celan. And the jigsaw puzzle was completed.<\/p>\n\n\n\n

The poem is in narrative form and is from the perspective of the persecuted Jewish people. The poem begins with a very bright image \u2013 \u201cblack milk\u2026\u201d The white milk in Celan\u00b4s poetry turns black, symbolic of the world turning over to pain and horror.<\/p>\n\n\n\n

The obsessive repetition of those lines being the only thing left when all capacity to think is lost in the darkness.<\/p>\n\n\n\n

Celan\u2019s poem does not have a happy end, and it cannot be in that situation, so Anna Segal decided to take a line from another well-known Celan\u2019s poem Tenebrae<\/em>\u00a0for the end of this composition. In the final lines, the Jewish people ascend to \u201cheaven\u201d, they are next to the Lord. It seems to her that this is a symbolic end, so the last passage sound in major, as a symbol of hope and forgiveness.<\/p>\n\n\n\n

When this musical piece was finished, Anna Segal played it to her grandmother Frida, who survived the Holocaust. She could not listen to the end, tears welling in her eyes. The Israeli composer will dedicate the premiere of Todesfuge<\/em>\u00a0at the festival to her grandmother. Anna Segal\u00b4s personal interpretation of Paul Celan\u00b4s poem is taking the listener on a journey into the memory of the Jewish people. The music is giving the poetry of Celan colour and maybe a new life.<\/p>\n\n\n\n

\"chor_gross_SEB.jpg\"\/<\/figure>\n\n\n\n
Synagogal Ensemble Berlin<\/h5>\n\n\n\n

The ensemble consists of eight to twelve singers who work as freelance soloists or belong to the Berlin opera choirs. The Synagogal Ensemble Berlin is the only ensemble in the world that brings the liturgy of Louis Lewandowski to music every Friday night, Shabbat morning and on all Jewish holidays. In his concerts with the Synagogal Ensemble Berlin, Cantor Isaac Sheffer brings this unique Jewish-German tradition into the world, with compositions by other great composers of the 19th century such as Salomon Sulzer and Samuel Naumbourg as well as from the 20th century such as Kurt Weill, Maurice Ravel, Ben Steinberg, Meir Finkelstein and others. The ensemble performs again and again in Poland, England and France.<\/p>\n\n\n\n

Regina Yantian, director of the Synagogal Ensemble Berlin<\/h5>\n\n\n\n

Already at the age of 12, Regina Yantian became interested in organ music. At the age of fifteen, she began her education as an organist and choirmaster and subsequently studied comparative musicology and Jewish studies in Jerusalem and Berlin. Since 1998 she is organist and choirmaster of the synagogue Pestalozzistra\u00dfe<\/em>in Berlin-Charlottenburg.<\/p>\n\n\n\n

For many years Yantian sang herself in the synagogue choir and got her artistic impulses through her work with Cantor Estrongo Nachama. She is also the director of the Synagogue Ensemble Berlin, which is known far beyond the borders of Berlin.<\/p>\n\n\n\n

Yantian is particularly proud of her latest project: since 2011 she has been Artistic Director of the Louis Lewandowski Festival, inviting synagogue choirs from all over the world to dedicate themselves to Louis Lewandowski’s tradition. As part of the cultural program, the municipalities have two programs to choose from European and American Synagogal Music of the 19th and 20th Century and Jewish songs from Eastern Europe and Israel.<\/p>\n\n\n\n

\"jevrejski<\/figure>\n\n\n\n
Jewish chamber orcest<\/h5>\n\n\n\n

Jewish Chamber Orchestra was founded in 2012 by Ladislav Mezei in cooperation with B’nei B’rit lodge of Serbia. The members of the orchestra are professional \u00a0musicians of Jewish descent and their friends. The JCO’s primary purpose is to present the music of Jewish composers, as well as the others, whose written work was inspired by Jewish themes. Their interpretations are related to tradition, culture and history of Jewish community of Serbia.<\/p>\n\n\n\n

\"2015.<\/figure>\n\n\n\n
Hor Bra\u0107a Baruh<\/em><\/h5>\n\n\n\n

The Baruch Brothers Choir<\/em> from Belgrade was established as the Serbian-Jewish Singers Society in 1879, with the goal of cherishing and performing the cultural and artistic heritage and tradition of the Jewish people which lives in these parts. The Society changed its name in 1952 to the current name in commemoration of the three brothers from the progressive revolutionary Jewish family of Baruch, members of the resistance movement who were killed during the pogroms of the Nazi regime during the Second World War. Joshua Jacobson (Boston, USA), conductor and a renowned researcher in the field of Jewish music, has concluded that this choir is the oldest active Jewish choir in the world.<\/p>\n\n\n\n

From the year of its foundation until today, the choir has held numerous concerts and participated in many competitions and festivals in the former Yugoslavia (Yugoslav Choral Festivities<\/em> in Nish, Mokranjac\u2019s Days<\/em> in Negotin, BEMUS, BELEF, Choirs among the Frescoes<\/em> in Belgrade and others), as well as abroad (Israel, USA, France, Italy, Austria, Switzerland, Greece, the Netherlands, Hungary, Spain, UK and others). Among the most important performances of the choir, we would like to mention the concert in Carnegie Hall<\/em> in 1978, as well as the attendance of our choir on numerous occasions at the most important Jewish choir festival Zimriya<\/em>in Jerusalem. Our ensemble has gradually perfected its performance under the conductorship of the most eminent conductors and composers of our country (S. S. Mokranjac, J. Marinkovi\u0107, S. Hristi\u0107, B. Babi\u0107, B. Pa\u0161\u0107an, A. S. Vuji\u0107, et al.), having gained under their guidance a high level of artistic interpretation and superb discipline in stage performance. The repertory of the choir consists of representative works of musical literature from both Jewish and Serbian composers, as well as all the most important works of the classical choir repertory of all styles and epochs and the works of modern composers. The Baruch Brothers Choir<\/em> has been awarded two times for the cultural affirmation of its country by the presidency of Serbia, and in the past five years, the choir won many significant awards. The choir\u2019s admirable success was largely achieved by the contribution of its conductor, Stefan Zekic, and the president, Branka Cvejic – Mezei.<\/p>\n\n\n\n

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Mina Gligori\u0107, soprano<\/h5>\n\n\n\n

Ro\u0111ena je 1993. godine u \u0160apcu. Osnovne i master studije \u00a0solo pevanja zavr\u0161ila je na Fakultetu muzi\u010dke umetnosti u Beogradu \u00a0u klasi prof. Katarine Jovanovi\u0107 sa najvi\u0161om ocenom. Progla\u0161ena je za najboljeg studenta \u00a0u akademskoj 2014\/2015. godini. \u00a0Vi\u0161estruki je dobitnik nagrada na takmi\u010denjima Nikola Cveji\u0107, Srpska solo pesma, laureat na takmi\u010denju Lazar Jovanovi\u0107. Pored mnogih koncerata koje je organizovao Fakultet, isti\u010de se u\u010de\u0161\u0107e na Dunav festu, Rosi festu, \u00a0a kao uspe\u0161nog studenta je nagra\u0111uju Centar lepih umetnosti Guarnerius \u00a0i Narodna biblioteka \u00a0Srbije. U oblasti barokne muzike \u00a0usavr\u0161avala se sa prof. Erihom Trakslerom sa Univerziteta umetnosti u Be\u010du, sa Evelin Tab, a u okviru Barokne austrijske akademije sa Kristijanom Hilcom, Robertom Mameli i Marinom Bartoli. \u00a0Na ovom kursu postaje stipendista za 2017. godinu. Izabrana je da bude polaznik majstorske radionice Vladimira Redkina, soliste Balj\u0161oj teatra, i Dejvida Gaulenda, umetni\u010dkog direktora programa za mlade u \u00a0Royal Opera House. \u00a0Trenutno je polaznik Operskog studija Narodnog pozori\u0161ta, honorarni saradnik pozori\u0161ta Madlenianum \u00a0i Du\u0161ko Radovi\u0107.<\/p>\n\n\n\n

\"51056114_2278084925809227_87665131185839\"\/<\/figure>\n\n\n\n
Vuk Zeki\u0107, bariton<\/h5>\n\n\n\n

Diplomirao je na odseku za solo pevanje na Fakultetu muzi\u010dke umetnosti u Beogradu u\u00a0Klasi profesora Nikole Kitanovskog.\u00a0Od 2001. godine anga\u017eovan je kao stalni solista hora Bra\u0107a Baruh sa kojim\u00a0redovno nastupa na svim zna\u010dajnim koncertima, festivalima i takmi\u010denjima u zemlji i\u00a0inostranstvu (Italija, Slovenija, Austrija, Ma\u0111arska, \u0160vajcarska, \u0160panija…). Kao solista\u00a0je u\u010destvovao i u snimanju dva CD-a za hor Bra\u0107a Baruh izvode\u0107i dela\u00a0srpskih, jevrejskih i svetski poznatih autora.\u00a0Po zavr\u0161etku studija pevanja dobio je nagradu Fakulteta muzi\u010dke umetnosti za\u00a0najperspektivnijeg mladog peva\u010da sa najvi\u0161om prose\u010dnom ocenom u svojoj generaciji.\u00a0Pored brojnih nagrada koje je osvojio tokom \u0161kolovanja, dobitnik je i\u00a0specijalne nagrade na Me\u0111unarodnom takmi\u010denju operskih peva\u010da Citta’ di Alcamo\u00a0(Italija, 2008. godine) koju mu je dodelio \u017eiri u sastavu Richard Bonynge, Joan\u00a0Sutherland, Lella Cuberli.\u00a0U okviru operskog studija Narodnog pozori\u0161ta tuma\u010dio je uloge Mar\u010dela\u00a0(Boemi) i Enrika (Lu\u010dija od Lamermura), kao i u praizvedbi Pu\u010dinijeve opere Il Tabarro, u \u00a0ulozi Mikelea. Od 2010. godine je solista u Narodnom pozori\u0161tu u Beogradu.<\/p>\n\n\n\n

\"DSC_7980.JPG\"\/<\/figure>\n\n\n\n
Simonida Rodi\u0107, flauta<\/h5>\n\n\n\n

Zavr\u0161ila je doktorske akademske studije (2015), specijalizaciju (2010) i diplomirala (2009) na\u00a0studijskom programu za flautu na Fakultetu muzi\u010dke umetnosti u Beogradu, u klasi profesora Ljubi\u0161e\u00a0Jovanovi\u0107a. Master studije i specijalizaciju za instrument Pikola zavr\u0161ila je u Norve\u0161koj na Univerzitetu u\u00a0Stavangeru, u klasi profesora Vidara Austvika.\u00a0Dobitnica je mnogih stipendija i nagrada na festivalima, republi\u010dkim i me\u0111unarodnim takmi\u010denjima. Redovno nastupa kao solista i kamerni muzi\u010dar u zemlji i inostranstvu.<\/p>\n\n\n\n

\"Nikola<\/figure>\n\n\n\n
Nikola \u00d0urica, klarinet<\/h5>\n\n\n\n

Kada je kao petogodi\u0161njak, prvi put \u010duo i video klarinet, rekao je: “Ho\u0107u to da sviram!\u201d U periodu od 2003-2006 uzima 14 specijanlih nagrada (100 od 100 poena) I 9 prvih nagrada. U Septembru 2006 sa svojih nepunih 15 godina odlazi u Ameriku gde nastavlja srednju skolu u prestiznoj (Interlochen Arts Academy- Michigan USA) Nikola je bio vukovac, nastavio je svoje studije sa Pr. Franklin Cohen na \u201cCleveland Institute of Music\u201d u Klivlendu\/Ohio. Od leta 2012 Nikola postaje profesor na Internacionalom Festivalu Kamerne muzike u Pragu po imenu AMEROPA, Sa svojom 21 godinom Nikola diplomira sa cistim desetkama i nastavlja svoj put dalje u Japan. Po njegovom povratku u Beograd on je oformio Duo Gitarinet sa kolegom gitaristom \u2013 Mirkom Dimitrijevic. Gitarinet je pobednik na RTS emisiji \u201cNajbolji Orkestar Srbije\u201d. Od Novembra 2016, Nikola postaje kljucni deo Jazz Improvising Orkestra pod imenom \u201cStegreif\u201d \u2013 Berlin Nemacka. Kao lider duvacke sekcije u ovom kamernom orkestru Nikola je svirao desetine koncertnih turneja u 2017 i 2018 godini.<\/p>\n\n\n\n

\"Ulemek.jpg\"\/<\/figure>\n\n\n\n
Nikola Ulemek, bas klarinet<\/h5>\n\n\n\n

\u200bNikola Ulemek ro\u0111en je u Beogradu 1989. god. Osnovnu muzi\u010dku \u0161kolu , OM\u0160 \u201cStanislav Bini\u010dki\u201d , zavr\u0161io je u klasi prof. Nenada Ivanovi\u0107a, srednju \u0161kolu , SM\u0160 \u201cDavorin Jenko\u201c u klasi prof. Ljubi\u0161e Jovanovi\u0107a, a osnovne i master studijezavrsio je na Fakultetu muzi\u010dke umetnosti u Beogradu kodprof. Ante Grgina, sa prosekom od 10.00 . Poha\u0111ao je master klasove Ljubi\u0161e Jovanovi\u0107e, Jan JakubaBokuna, Dr. Stephanie Zelnick, Ante Grgina, Aleksandra Tasica, Pol Majera, Bruno Di Girolamo-a, Milan Reriche, Mate Bekavca, Jonatan Cohler-a i Rocco Parisi-a. Od 2010 do 2018. godine radio kao profesor klarineta u muzi\u010dkoj \u0161koli \u201eVatroslav Lisinski\u201c,a po pozivu nastupa kao bas klarinetista u Simfonijskom orkestru RTS-a i Beogradskoj Filharmoniji. Artist je firme Heni Semer Paris. U julu 2013. godine je u\u010destvovao na festivalu \u201eClarinetFest\u201c u Asiziju (Italija) , a u decembru 2014. na 4tom Evropskom Klarinetskom Kongresu u Katovicama (Poljska).<\/p>\n\n\n\n

\"unnamed<\/figure>\n\n\n\n
Katarina Popovi\u0107, horna<\/h5>\n\n\n\n

Katarina Popovi\u0107 je ro\u0111ena u Beogradu 1989. godine. Po\u010dela je da u\u010di hornu u\u00a0Muzi\u010dkoj \u0161koli ,,Stankovi\u0107\u2019\u2019, gde je tako\u0111e zavr\u0161ila ni\u017eu muzi\u010dku \u0161kolu za klavir i\u00a0solo pevanje, pa i srednju \u0161kolu na odseku teorije muzike. 2010. ona diplomira\u00a0hornu u klasi profesora Milo\u0161a \u0110or\u0111evi\u0107a i pola\u017ee prijemni na Univerzitetu\u00a0Muzi\u010dke Umetnosti u Beogradu, gde je u klasu prima prof.Milan Radi\u0107, kod koga\u00a0zavr\u0161ava osnovne akademske studije 2014. godine. iste godine upisuje master\u00a0studije kod prof. Milana Radi\u0107a.\u00a0Katarina je svirala u brojnim orkestarima i redovno poha\u0111a\u00a0stru\u010dne seminare.\u00a0\u200bU Narodnom pozori\u0161tu u Beogradu od 2010., radi kao honorarni \u010dlan u\u00a0orkestru. Pozvana je i kao gost u Banjalu\u010dku Filharmoniju od 2011.; bila je stalan\u00a0honorarni \u010dlan simfonijskog orkestra radio televizije Srbije od 2012. \u2013 2017.;\u00a0 Sa svojim bras kvintetom osvojila je Laureat na festivalu kamerne muzike u Pan\u010devu.<\/p>\n\n\n\n

\"Soloist.jpg\"\/<\/figure>\n\n\n\n
Mina Mendelson, koncertmajstor<\/h5>\n\n\n\n

Ro\u0111ena je u Beogradu. Doktorirala umetni\u010dke studije violine na FMU u Beogradu, u klasi red. prof. Fern Ra\u0161kovi\u0107. Usavr\u0161avala se kod profesora: David Takeno, Sabinne Grollmus, Stephan Baratdue, Sreten Krsti\u0107 i Mateja Marinkovi\u0107. Gostovala je u brojnim gradovima Srbije i inostranstva (Kina, Turska, Holandija, Velika Britanija, Francuska, Nema\u010dka, Ma\u0111arska, Bugarska, Hrvatska, Crna Gora,\u00a0Makedonija). Kao solista sara\u0111ivala je sa Ni\u0161kim simfonijskim orkestrom, BGO\u00a0Du\u0161an\u00a0Skovran, Kamernim ansamblom\u00a0Mokranjac, Guda\u010dima Svetog \u0110or\u0111a, Jevrejskim\u00a0kamernim orkestrom, Orkestrom Univerziteta u Zhuhaiu (Kina) i sa dirigentima: Nelson\u00a0Leong, dr Suzana Kosti\u0107, dr Milena Injac, Stefan Zeki\u0107, Vesna \u0160ouc i Obrad\u00a0Nedeljkovi\u0107. Na Fakultetu umetnosti u Ni\u0161u zaposlena je od 2003. godine i trenutno je\u00a0vanredni profesor violine na Katedri za guda\u010dke instrumente.<\/p>\n\n\n\n

\"10641107_10152611401438820_8445523985662\"\/<\/figure>\n\n\n\n
Nemanja Marjanovi\u0107, viola<\/h5>\n\n\n\n

Nemanja Marjanovic je rodjen 1976. godine u Beogradu. Doplomirao je i Magistrirao na fakultetu Muzicke Umetnosti u Beogradu, u klasi Prof. Dejana Mladjenovica, a trenutno je student Doktorskih studija na Univerzitetu Umetnosti u Beogradu. Postdiplomske studije je zavrsio i u Madridu, na visokoj skoli za muziku Kraljica Sofia (Escuela Superior de Musica Reina Sofia), u klasi renomiranog svetskog solo violiste, Gerard Caussea (Zerar Kosea), u cijoj klasi je Magistrirao kao student generacije na katedri, i primio licno diplomu od NJenog Kraljevskog Visocanstva Rrine Sofie. Trenutno deluje kao Docent na Fakultetu Muzicke Umetnosti u Beogradu, i na Akademiji Umjetnosti u Banja Luci,na katedri za gudacke instrumente na odseku viola.<\/p>\n\n\n\n

\"Laci.jpg\"\/<\/figure>\n\n\n\n
Ladislav Mezei, violon\u010delo<\/h5>\n\n\n\n

Redovni profesor na Katedri za kamernu muziku Fakulteta muzi\u010dke umetnosti Univerziteta umetnosti u Beogradu, na kojem je zavr\u0161io diplomske \u00a0i poslediplomske studije, nakon \u010dega se dodatno usavr\u0161avao na Muzi\u010dkoj Akademiji Ferenc Liszt, u Budimpe\u0161ti. Bogata umetni\u010dka biografija gospodina Mezei uklju\u010duje dve sezone na poziciji solo \u010deliste Sarajevske opere i filharmonije, mesto stalnog \u010dlana Beogradske filharmonije i poziciju vo\u0111e grupe violon\u010dela (1975\u20132004), solisti\u010dke nastupe sa Vojvo\u0111anskim simfoni\u010darima, Simfonijskim orkestrom RTS i orkestrom Vojske Jugoslavije, kao i poziciju soliste i \u010dlana baroknog ansambla Muzika florida i Akademskog kamernog ansambla Jeunesse musicale, dok su naro\u010dito zapa\u017eeni i njegovi nastupi na solo resitalima \u0161irom prostora biv\u0161e Jugoslavije.\u00a0Osniva\u010d je Jevrejskog kamernog orkestra sa kojim je ostvario veliki broj koncerta.<\/p>\n\n\n\n

\"DOB<\/figure>\n\n\n\n
Miladin Stojkovi\u0107, kontrabas<\/h5>\n\n\n\n

Osnovne i master studije zavrsio je na Fakultetu muzicke umetnosti u kalsi profesora Nebojse Ignjatovica. Saradjivao je sa kamernim orkestrom Orfej, Camerata Serbica, Camerata Pancevo, ansamblom Beogradski barok, Simfonijskim orkestrom\u00a0\u00a0RTS.\u00a0Od 2013. godine predaje kontrabas u muzickoj skoli Dr Vojislav Vuckovic.<\/p>\n\n\n\n

\"Igor<\/figure>\n\n\n\n
Igor Dra\u017eevi\u0107, klavir<\/h5>\n\n\n\n

Igor Dra\u017eevi\u0107 (1989) je zavr\u0161io osnovne i master studije je klavira u klasi prof. Dubravke Jovi\u010di\u0107. Trenutno je na zavr\u0161noj godini doktorskih studija na Fakultetu muzi\u010dke umetnosti u Beogradu, odsek klavir, u klasi prof. Aleksandra \u0160andorova. Usavr\u0161avao se kod istaknutih profesora klavira: Svetlane Bogino, Vladimira Ugarkova, Aleksandra Serdara, Nevene Popovi\u0107, Jokut Mihajlovi\u0107, Arbo Valdme, Aleksandre Romani\u0107, Natalije Trul i Siavu\u0161a Gad\u017eijeva. Dobitnik je brojnih nagrada na doma\u0107im i me\u0111unarodnim takmi\u010denjima. Kao solista i kamerni muzi\u010dar radi na promovisanju u o\u010duvanju muzi\u010dkog stvarala\u0161tva doma\u0107ih autora \u0161irom Srbije i u inostranstvu. U\u010destvovao je na festivalima savremene muzike kao \u0161to su ,,ReConstruction\u201d (2017), ,,KoMA\u201d (2017, 2018), Rostrum+ (2018.)<\/p>\n\n\n\n

\"unnamed.jpg\"\/<\/figure>\n\n\n\n
Milana Benedek, gitara<\/h5>\n\n\n\n

Zapo\u010dinje muzi\u010dko obrazovanje u muzi\u010dkoj \u0161koli\u00a0 \u201cVatroslav Lisinski\u201d u klasi prof. Gorana Popovi\u0107a. Srednju muzi\u010dku \u0161kolu zavr\u0161ava u klasi prof. Aleksandra Had\u017ei-\u0110or\u0111evi\u0107a. \u0160kolovanje nastavlja na Fakultetu muzi\u010dke umetnosti u Beogradu u klasi prof. Vere Ogrizovi\u0107 gde zavr\u0161ava i master studije. \u00a0Trenutno radi kao profesor gitare u muzi\u010dkoj \u0161koli \u201eVatroslav Lisinski\u201c.<\/p>\n","protected":false},"excerpt":{"rendered":"

Marking of Holocaust Remembrance Day. Open call for young composers. National Museum Belgrade. 27. januar 2019.<\/p>\n","protected":false},"author":8,"featured_media":0,"parent":10429,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"","ocean_second_sidebar":"","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"","ocean_custom_header_template":"","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"","ocean_menu_typo_font_family":"","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"","footnotes":""},"class_list":["post-9669","page","type-page","status-publish","hentry","entry"],"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":9638,"url":"https:\/\/rossifest.estrela.io\/en\/en-2022\/","url_meta":{"origin":9669,"position":0},"title":"2022","author":"claudia","date":"15 January 2022","format":false,"excerpt":"Program and participants of the third edition of the festival that will be held between 25. - 29. 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The theme is dedicated to Holocaust victims as well as the\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":9641,"url":"https:\/\/rossifest.estrela.io\/en\/en-2025\/","url_meta":{"origin":9669,"position":5},"title":"2025","author":"claudia","date":"15 January 2025","format":false,"excerpt":"The 7th Edition of Rosi Fest January 27 \u2013 February 6, 2025, in Belgrade At the end of January, Belgrade audiences can look forward to the 7th edition of the international Rosi Fest. From January 27 to February 6, 2025, the festival will feature various programs showcasing outstanding international and\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/rossifest.estrela.io\/wp-content\/uploads\/2026\/07\/portreti-i-secanja-25-scaled.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/rossifest.estrela.io\/wp-content\/uploads\/2026\/07\/portreti-i-secanja-25-scaled.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/rossifest.estrela.io\/wp-content\/uploads\/2026\/07\/portreti-i-secanja-25-scaled.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/rossifest.estrela.io\/wp-content\/uploads\/2026\/07\/portreti-i-secanja-25-scaled.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/rossifest.estrela.io\/wp-content\/uploads\/2026\/07\/portreti-i-secanja-25-scaled.jpg?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/rossifest.estrela.io\/wp-content\/uploads\/2026\/07\/portreti-i-secanja-25-scaled.jpg?resize=1400%2C800&ssl=1 4x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/rossifest.estrela.io\/en\/wp-json\/wp\/v2\/pages\/9669","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rossifest.estrela.io\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/rossifest.estrela.io\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/rossifest.estrela.io\/en\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/rossifest.estrela.io\/en\/wp-json\/wp\/v2\/comments?post=9669"}],"version-history":[{"count":4,"href":"https:\/\/rossifest.estrela.io\/en\/wp-json\/wp\/v2\/pages\/9669\/revisions"}],"predecessor-version":[{"id":11087,"href":"https:\/\/rossifest.estrela.io\/en\/wp-json\/wp\/v2\/pages\/9669\/revisions\/11087"}],"up":[{"embeddable":true,"href":"https:\/\/rossifest.estrela.io\/en\/wp-json\/wp\/v2\/pages\/10429"}],"wp:attachment":[{"href":"https:\/\/rossifest.estrela.io\/en\/wp-json\/wp\/v2\/media?parent=9669"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}