return to opera The magic flute

Since this year we have also launched the children’s program that befits every big opera house in the world. 

We wanted our youngest audience, school and preschool children, to be offered the program that would open them the opera and opera house’s door and enable them the first steps to meet, accompanied by teachers or parents, to watch and listen to for the first time one great and real music performance. That is why we have shortened Wolfgang Amadeus Mozart’s opera, The Magic Flute, which originally lasts very long, to about an hour duration, leaving thus the most important tunes and parts, while omitting many other parts.

In that way Mozart’s Magic Flute is adapted for children and children’s age, so it takes the central part of our new program. We have done this performance solely with young authors and singers and most of them are on the stage for the first time.

As Mozart’s music is liked and listened to by everybody, both younger and older ones, our performance singles out nobody, but involves viewers of all generations who are keen on opera. Therefore, everybody is welcome. 

To be able to get to remote parts of our country and to perform The Magic Flute even there where there are no opera houses and halls, no conditions for the whole orchestra to be set, we have decided to present the setting just with the piano, although the original score is, as any other opera, planned and conceived to be with the entire orchestra.

It is known from various scientific studies that in a specific way the music of Wolfgang Amadeus Mozart can affect children’s psyche, improve their intelligence development, reduce aggression and hyperactivity, bring a peaceful sleep and develop an abstract thinking dimension with children! Not to mention about the fact how much the music of this genius author makes children be acquainted with the highest quality part of human spirit since the very existence, educate them and it might generally help the development of music and art move towards better, more human directions in future, if being created by the artists who have been growing up with Mozart! Listening to Mozart’s music, since the time it occurred, is simply planetary important and undoubtedly listening to his music is becoming more and more important in the newest age which abounds with the expansion of values, diametrically opposed to the refinement of Mozart’s work.  Today’s children are lucky to have Mozart and his genius work as the counterweight to plenty of content offered to children with dominating aggression and (or) the kitsch and trash. But, Mozart should be consumed and it is up to adults to offer him to children, as the soul vitamin. Adults should as well be responsible for children’s future, directing them towards real values.

The abridged version of Mozart’s opera “The Magic Flute”, created as a fairytale adapted to children, could certainly offer them a modern and funny way of listening to Mozart and watching the theatre play. It is well known that using music to the greatest possible measure is a justifiable endeavor in children’s plays creation, since it approaches the heart even when a child does not understand the textual part of the play and the story content. Nevertheless, “The Magic Flute” is undoubtedly the music masterpiece the heart must be pursued and the children, who have never before been to the Opera, will gently accept that art through the music genius of Mozart. The Opera audience consists of a very small percentage of nowadays mankind… 

return to opera The magic flute

Domenico Gaetano Maria Donizetti, (1797 – 1848) is one of the early romantics, a composer who built bel canto style with his 70 operas and whose authot’s productivity, even at that time when creativity was fast and prolific, presented a real rarity. Today, so to speak, every opera house in the world has at least one operetta by this great maestro. Born in Bergamo, Donizetti studied with the famous pedagogue Pedro Matei in Bologna and after the first successful operas, he worked for the theatres in Naples, Milan and Rome, when Gioacchino Rossini, his great predecessor and paragon, took him to Paris.

Opera Anna Bolena is an outstanding work that belongs to his primary creative period, while La Favorita (A Great Love) and Daughter of the Regiment are performed in Paris. A great success is realized nowadays by a rarely performed work Linda from Samonia, while three of his achievements overcame time and spatial barriers. They are Lucia of Lammermoor, a lyrical drama, composed after the novel by, at least at that time, very popular Walter Scott, and which is one of the operas with the most demanding lead role for a coloratura soprano in the whole opera literature, as well as two comic operas, The Elixir of Love and Don Pasquale. The two great arias from The Elixir of Love, a romance Una furtiva lacrima (One Furtive Tear) and cavatina Quant’ e bella quant’ e cara are a part of repertoire of the greatest tenors of the world.

GORAN KRNETA, BASS
He has graduated from solo singing at the Academy of Fine Arts in Belgrade, in the class of Professor Olivera Grujic- Slavic. He has been engaged in the Serbian National Theatre in Novi Sad in a series of operas: Madam Butterfly, The Barber of Seville, Catherine Ismailova, Don Giovanni, Lucia of Lammermoor, Norma, Rigoletto, A Masked Ball, Nabucco, Troubadour, etc.

In the Opera and Theatre Madlenianum, he has made a number of roles in the operas such as The Wise, Everyone Does So, Tales of Hoffmann, La Traviata, Madame Butterfly, as well as in the National Theatre in Belgrade in Salome, Tosca and The Magic Flute. He is also engaged in concert singing. He has made numerous recordings for the RTS. 

IVICA KLEMENC, DIRECTOR
He was born in Novi Sad, but lives in Zemun. He graduated from the Acting Department at FDA in Belgrade, in the class of Ognjenka Milicevic. He deals with theatre, film and television art from different aspects. He has been performing pantomime on all large stages of former Yugoslavia and in about ten European countries as well and has been awarded many times. 

He has been engaged in acting and directing, signed more than thirty directions at theatre stages of Belgrade, Tuzla, Kragujevac and Novi Sad. As an associate for stage movement, he has achieved more than three hundred premiere and was awarded a lot of times.
He has played on the movie of L. Zafranovic, “Occupation in 26 pictures” and besides that in 28 other films. He has achieved over five hundred shows on television, in drama, musical and children’s redaction.
He has lectured at many academies, as a full professor, but also as a guest one in Budapest, Pert, Sidney. He works at the Academy of Arts in Novi Sad, teaching stage movement, fencing and comedy Del arte.
He is the selector of the Festival of Pantomime, Monodrama and the artistic manager of Gardos Festival in Zemun, since its establishment.

MILAN T. ILIC, AUTHOR OF THE MUSIC AND CONDUCTOR
He graduated from the Academy of Arts in Novi Sad. His working with the choir has been crowned by numerous awards that he won as a conductor, especially in Novi Pazar at the Festival of Youth Choirs, where declared to be the best conductor and he was given the same recognition to be “the best conductor” at the International Competition in Italy in 1997. He is the winner of the October Award of the City of Smederevo, Gold Badge of the Cultural and Educational Association of Serbia and other recognitions. He is the founder of the choir and its conductor and artistic manager since establishment.  

Choir “KIR STEFAN SERB” SMEDEREVO
The choir was founded in 1993 in Smederevo and was named after the precentor, a domestic at Djurd Brankovic’s court. He left behind some of the oldest records of Serbian church music, “Ninja Sili (Now the Powers)”. The choir consists of girls, average age from 12- 21 years old and most of them are secondary school students. The choir has given a lot of concerts and has been awarded in the country and abroad, in Novi Pazar, Studenica, Nis, Belgrade, as well as in Czech Republic, Germany, the USA, Great Britain, Italy, Hungary, France and it proved itself to be one of the best Women’s Chamber Choir in our country. Plenty of first and special awards won at the outstanding world’s competitions decorate their biography. Their repertoire consists of secular and spiritual, traditional and contemporary music. They have taken part in a lot of church manifestations, but they promote new works of art of domestic composers, as well.   

There are two types of children’s operas in the world literature: operas written on the topic of fairytales and stories about children, they are from the children’s world, but they are performed by adults, sung by professional singers and set on official world’s stages as serious operas.  

Second type of operas and much rarer are those performed by children and their librettos are appropriate to children’s world, thus musical demands have completely different characteristics, they are  appropriate to voices and abilities of children, their need to express themselves musically. 
The music, composed by a long- time conductor of the choir “Kir Stefan Serb” from Smederevo, Milan T. Ilic, is simple, tuneful and consists of a series of children’s tunes in the frame of rounded songs. The music is written in bounds of children performing it, there are plenty of signs and sounds of our folklore, but applied and tastefully processed, so that they become close to sources, but close to children as well. For a while it is a country diphthong and then a quiet melody in national spirit, for a while the national instrument can be heard and then only a drum conjures a rural idyll. 
In nowadays flood of trash and kitsch, the freshness of this music that supports humorous, ecological and educative values, told in verses and lyrics, represents an innovation in our musical heritage, the new approach to composing music for children and an attempt to make it interactive, which are the modern requirements of today. Children in the audience are called many times to give an active support to the performers on the stage and to participate in the performance through upgrading the same. Rhythmic components of the score, elaborated in the orchestra as well, are particularly close to the children’s world, but also to some modern methods in nowadays pop and rock music. The joy of children who take part in the project is the best guarantee of its value. 

PhD Branka Radovic 

return to opera Nettle, Nettle

When it is unpleasant, with prickles, nobody likes it their vicinity. However, nettle is a symbol of perseverance, endurance, the plant that was first to spring up after the two Japanese cities, Hiroshima and Nagasaki had been hit by atomic bomb in World War II, in 1945.
The plant that stings in touch with hands and body, but also the healing one, used as tea, for curing plenty of illnesses and it is also used in cosmetic for making hair shampoos.
If someone does not like eating and his mother always reproaches him for that, then he must be given nettles, prepared in various ways, to his improve his blood count.
In each class there is a pupil who does not communicate easily with others, stands out, rebels when joint actions are undertaken, does not socialize and the rest of the children often get away from him, as from the nettle, since he is arrogant, rude, wants to fight and shows no emotions. However, such a friend, non- friend, often hides some of his fears and does not show any kindness or sensitivity that he very often owns. You need a lot love and patience to turn him from “stinging nettle”, the plant that makes you stings in touch, into a healing herb, to make him show his nature of humanity. Friends should help in doing that, since it is the measure of friendship. 
The verses of Mosa Odalovic, a poet from Smederevo and Budimir Nesic are sung in special songs and the prose script is written by the director, Ivica Klemenc.

return to opera Nettle, Nettle                                                                                                                                                    

„I stripped the subject bare, choosing not to conceal it behind the sparkle of crystal and gilt. After all, you can sell yourself on the street just as well as at society soirees, and the former is more common than the latter. Violetta’s Dream meets with a reality that is, in fact, more brutal and cynical than her actual life. To all appearances a world of opulence, so attractive and out of reach, bogged down in the prostitution of human relationships. Her attempt to reach out to this world becomes a horrific, phantasmagoric nightmare. As with The Rape of Lucretia we tore down the fourth wall, setting the space free“
                                                     Director Yuri Alexandrov

return to opera La Traviata

Jacques Ibert (1890-1962) is a French composer from the first half of the 20th century. He studied in Paris where he won the Prix Rome, but being friendly with Honeger (Arthur Honeger) and Mijo (Darius Mihaud) did not accept their relationship with regard to music but wrote, in not a very original style, a great number of well known compositions for wind instruments. Ibert took part in revival of the French instrumental music in the first half of the 20th century, cultivating a kind of melange-style, reaching out for numerous influences, having an excuisite technique, but not taking place in avant-gard innovations of his time. Many defined his style as eclectic, wishing in this way to point out lack of originality and leaning primarily on Ravel (Joseph-Maurice Ravel) and his stylistic gama. The influences of jazz were not alien to him but academicism was primarily shown together with Gaelic refinement, elegance and drawing-room spirit. He wrote a series of stage works, operas and operettas such as Perseus and Andromeda, King of Iveto, Goncag Eaglet (with Honeger), Little Cardinal (collaboration with Honeger), ballets Diana of Poatie and Knight Errant as well as a series of orchestra, concerto, chamber and piano compositions.