Primadona Blaženka Cigić Milić: život kao bajka
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Croatian |
| Veröffentlicht: |
Zagreb
Hilarion
2013
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| Schlagworte: | |
| Online-Zugang: | Abstract Inhaltsverzeichnis |
| Beschreibung: | 208 S. zahlr. Ill. |
| ISBN: | 9789535663416 |
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Summary
Some singers appear on the music scene like dazzling stars only to vanish as suddenly after a few
years. Others, however, develop their art of singing from one perfomance to another to reach their peak
when many singers start withdrawing from the scene. Prima donna of the Zagreb Opera, Blaženka Milič,
known as Bajka among her friends, belongs to the latter. It was in her native Mostar where she made her
first steps on the operatic scene, when at the age of 22 she appeared as Petriča in Gotovac’s Derdan (The
Necklace) on March 3, 1961. Gotovac’s Dula in Ero s onoga svij eta (Ero the Joker) was later to become
her much acclaimed creation, so that Gotovac himself gave her credit for Dula when in 1972 she included
that role in her repertoire.
Blaženka Milič was the first student at the newly opened department for solo singing at the Mostar
Music School. Her teacher was Milka Padovan. At her entrance exam at the Zagreb Music Academy
the well-known music pedagogue, Marija Borčič, noticed her sincere interpretation and artistic honesty
which were to become the main attributes of her entire career. Marija Borčič pointed out that Blaženka
Milič always pursued her own solutions deriving from her own personality, thus being a spokesman of
artistic truth.
During her subsequent studies with professor Lav Vrbanič both in Zagreb, where she graduated
and later at the New England Conservatory of Music in Boston, this approach to vocal art was further
cultivated. In 1969, the year of refurbishment of the building of the Croatian National Theatre in Zagreb,
she was among the newly engaged young singers in the Zagreb Opera, making her debut as Zorka in
Lisinski’s Porin on January 20, 1970. Croatian composers have always been a challenge for her, their
music accounting for a great deal of her repertoire. She also sang Lisbeth in Postolar od Delfta (The
Shoemaker of Delft) and Lenka in the concert perfomance of Oganj (The Flame) by Blagoje Bersa; Jelena
and Eva, some of her most successful roles, in Ivan Zajc’s Nikola Subic Zrinjski՛, Anica in Ekvinocij
(Equinox) by Ivan Brkanovič and Mara in the concert performance of Adel i Mara (Adel and Mara) by
Josip Hatze at the Split Summer Festival in 1974.
Blaženka Milic’s voice has all the characteristics of a Urico spinto soprano with lovely resonant, steady,
strong and brilliant high register. The rich colour of her middle register together with her musicality and
a subtle feeling for inteipretation make her an ideal interpreter of Italian opera, the proof being her Mimi
in La Bohéme, Cio-Cio-San in Madame Butterfly, Santuzza in Cavalleria rusticana, Madeleine in Andrea
Chenier and above all Tosca ֊ the main prop of her repertoire. She appeared as Tosca for the first time in
1978 and won the Milka Tmina Award. On February 25,1986 she was again a brilliant Tosca, unexcelled
even by such great singers as Nicolai Gedda and Ingvar Wixell. Meanwhile Blaženka Milič tried her skill in
Verdi’s operas - the touchstone of every singer, especially a soprano, creating three particulary demanding
roles, that of Amelia in Un ballo in maschera, Leonora in II Trovatore and Abigaille in Nabucco.
Trying to unfold the sense of the so frequently quoted word- vocal skill, as she put it, her growth was an
outcome of her permanent effort to expand her knowledge of music, to penetrate deeply into the role she
was to interpret, studying carefully the music work and its composer, guided by both her musical instinct
and intelligence. So, eventually, she turned to Richard Wagner’s opus, performing first Senta in Derflieg-
ende Hollander, and then Fricka in the concert performance of Das Rheingold under Lovro von Matačič, to
reach her peak as Briinnhilde at the much acclaimed premiere of Die Walkure in Zagreb in 1987 under the
baton of Miro Belamarič and Peter Lehmann’s production. Her fresh and youthful Briinnhilde with brilliant
high register, a warm and vulnerable human being, was an epitomy of this complex heroine at her young
age. It cannot be better sung, said Peter Lehmann, a great Wagner expert, on that occasion.
206
Before retiring in 2001, Blaženka Milić spent three decades on the stage of the Croatian National
Theatre in Zagreb. She sang the most difficult roles in the soprano repertoire which, besides the ones
already mentioned, include Yaroslavna in Borodin’s Prince Igor, Mařenka in Smetana’s The Bartered
Bride, Liza in Tchaikovsky’s The Queen of Spades and Marguerite in Gounod’s Faust. The last role she
interpreted was no less than the title role in Verdi’s Aida, which bears eloquent testimony to this artist’s
exceptional singing abilities. The beauty of her powerful voice effortlessly reaching flourishing heights,
her musical reliability and serious approach to work account for her frequently being cast for operas in
concert presentations. She participated in the Zagreb Opera paramount tours to Stuttgart and Mannheim in
1972 (Đula in Ero the Joker), to Turin and Geneva in 1974 (Yaroslavna in Prince Igor), to Bmo and East
Berlin in 1984 (Eva in Nikola Šubic Zrinjski), to Kiev and Moscow in 1988 (Briinnhilde in Die Walkure),
to Salzburg in 1992 (Abigaille in Nabucco). She guest-starred at Split, Ljubljana, Sarajevo and Skopje
operas, and made regular guest appearences at the opera houses in Rijeka and Osijek. She performed solo
recitals in Croatia and abroad. During the Croatian War of Independence, she sang Mozart’s Coronation
Mass at the Concerts for peace and hope held in crisis areas.
Always committed to music, she studied thoroughly every musical score and made scrupulous
preparations for her every performance. These were her qualities even when she was a student, which
earned her the Franjo Kuhač Award - a prize given to the best student of the Music Academy. She regularly
won awards at young singers competitions: second and third prize at the Yugoslav Young Musicians
Competition as well as a diploma and a silver medal at the XIII. Concours International de chant of
Toulouse in 1966. She was awarded the Order of Danica Hrvatska with the face of Marko Mandič
(Croatian national decoration granted to Croatians and foreigners for their special merits in culture).
Her example testifies how one can pursue a successful singing career while taking care of a large
family with five children. Blaženka Milić found place in her heart for both, drawing strength from her
faith and charity. Sacred music has therefore always held an important role in her life and she has always
been specially devoted to it. For a quarter of a century she cooperated with the Choir of Our Lady of
Lourdes Church, and afterwards, for another quarter of a century, she has been singing with the Zagreb
Cathedral Mixed Choir.
Blaženka Milić started her career at the Croatian National Theatre in Zagreb in great style and as a
great talent. The Croatian music scene is proud of her artistic achievements that were created in Zagreb
and in other Croatian cities, mostly as a product of the Croatian music milieu and the collaboration of
Croatian musicians. But these values are gradually disappearing.
The era of Blaženka Milić was different from the era of today. It was a more fortunate period, because
it was led and marked by Croatian artists. Today the world of opera has been internationalised: numerous
guest artists who come and go are easily invited into opera productions.
Although she was not a guest artist of international opera stages, like some other singers of her
generation, she participated in the major international guest performances of the Zagreb Opera. This
was her own choice, because she was tightly connected with her family. But, as a singer and musician
educated in Mostar and Zagreb, who evolved out of Croatian music milieu of which she soon became
a firm foundation, she participated in the creation of performances of the Zagreb Opera that were at a
European level. Memory of those creations and achievements are a pennanent orientation and criterion
by which we observe the present and future accomplishments of the Croatian opera production.
207
О autoru
Pjevač i glazbeni publicist DAVOR SCHOPF rođenje 1961. u Zagrebu. Od 1986. stalnije suradnik u Redakciji ozbiljne
glazbe Glazbenog programa Hrvatskoga radija kao autor i urednik brojnih emisija i ciklusa emisija, najviše s područja glazbene
pozornice - opere, baleta, operete i mjuzikla. Kao glazbeni kritičar, stalnije suradnik u novinama Vjesnik, Slobodna Dalmacija
(1989.-2008.) i Vijenac. Surađuje u desetak drugih časopisa. Sudjelovao je u pokretanju Hrvatskoga katoličkog radija.
Na Trećem programu Hrvatskog radija autor je nekoliko dugogodišnjih ciklusa emisija о opernoj i baletnoj umjetnosti.
Ističu se ciklusi Operni solisti, koji uređuje od 1992., Glas, najljepši instrument (1993.-2004.), ciklus svakodnevnih emisija
Mattinata (1993.-2001.), mjesečnik Glazbena kronika iz Hrvatske, koja je na talijanskom i slovenskom jeziku snimana u
studijima HR-a, a emitirala se na Radio Trstu (1993.-2004.) te ciklus cjelonoćnoga glazbenog programa Euroclassic Notturno,
u kojemu je jedan od voditelja od 1999. godine.
Kao autor i urednik emisija U svijetu opere i U svijetu baleta redovito reportažama, intervjuima, kritičkim prikazima i
osvrtima, prati događanja u opernome i baletnom životu u zemlji i inozemstvu. Redovito vodi i komentira izravne prijenose iz
njujorškog Metropolitana i Operne sezone Europske radijske unije.
Od 1987. član je zbora kazališta Komedija. Redovitije član Hrvatskoga novinarskog društva i član Međunarodnoga plesnog
savjeta ֊ CID UNESCO.
S Mladenom Mordejom Vučkovičem autor je i urednik monografija о hrvatskim baletnim umjetnicima Vesna Butorac Blače
. raskošna pjesma tijela. (Edac-Zaposlena, 2005.), Sonja Kasti, plesati znači živjeti (Zaposlena, 2007.), Ana Roje (Zaposlena,
2009.), Jureša - vizije i snovi (Hilarion, 2011.) i poglavlja о povijesnom prikazu Baleta HNK-a Ivana pl. Zajca u Rijeci na CD-
ROM-u 130 godina profesionalnog baleta u Hrvatskoj (Hrvatsko društvo profesionalnih baletnih umjetnika, 2006.).
Autor je poglavlja о Baletu u Zagrebačkom gradskom kazalištu Komedija i Ansamblu narodnih plesova i pjesama Hrvatske
LADO u monografiji 125 godina profesionalnog baleta u Hrvatskoj (2001.) i na CD-ROM-u 130 godina profesionalnog baleta
u Hrvatskoj (2006.) - izdanjima Hrvatskog društva profesionalnih baletnih umjetnika, i povijesnog prikaza о pedeset godina
Hrvatskog društva profesionalnih baletnih umjetnika u Glasilu HDPBU-a (2009.), te poglavlja о glazbenoj grani kazališta
Komedija (monografija u pripremi).
Urednik je CD izdanja Nevenka Petkovič Sobjeslavski i Vitomir Marof, operetne arije i dueti (Orfej, 1997.), Sve Komedijine
godim 1950.-2000. (2 CD-a, Zagrebačko gradsko kazalište Komedija, 2000.), Poziv na put - sopranistka Lada Majić i pijanist
Mladen Raukar (2 CD-a, Zaposlena, 2007.), Mladen Häusler, bariton (Zaposlena, 2009.), Blaženka Milič Bajka, sopran -
‘‘Glazba je moj život" (2 CD-a, Orfej, 2009.), Mila Kirinčić-Degan, sopran (Hilarion, 2011.) i Mladen Häusler, bariton - Vokali II
(Hilarion, 2012.).
Autori fotografija
Saša Novković
Vladimir Pondelak
Margareta Mihalič, Petar Milič, Stjepan Milič, Olivije Repec, Davor Šiftar, nepoznati autori; privatni album obitelji Milič
Vrela
Arhiv Hrvatskoga narodnog kazališta u Zagrebu
Arhiv Hrvatskoga narodnog kazališta Ivana pl. Zajca u Rijeci
Arhiv Hrvatskoga narodnog kazališta u Osijeku
Arhiv Blaženke Milič
Arhiv Davora Schopfa
Zahvaljujemo na ljubaznosti djelatnicima navedenih kazališta:
Silviji Kolar, Fedri Peresson, Mileni Jerneić, Josipi Brbori, Miroslavu Špajhu
Literatura
- Hrvatsko narodno kazalište u Zagrebu 1860-1985, gl. ur. Nikola Batušić; Zagreb, 1985.
- Hrvatsko narodno kazalište u Zagrebu 1840-1860-1992, gl. ur. Nikola Batušić; Zagreb, 1992.
- Repertoar hrvatskih kazališta, ur. Branko Hećimović, knjiga prva i druga; Zagreb, 1990.
- Repertoar hrvatskih kazališta, ur. Branko Hećimović, knjiga treća; Zagreb, 2002.
- Enciklopedija Hrvatskoga narodnog kazališta u Zagrebu, ur. Pavao Cindrić; Zagreb, 1969.
- Ubavka Prašina Prašo: Muzička škola I. i II. stupnja u Mostaru od 1947. do 1993.; Mostar, 2007.
- Ubavka Prašina Prašo: 60 godina glazbenih škola u Mostara; Mostar, 2011.
- Vladimir Babuš: Zagrebački katedralni mješoviti zbor ֊ četvrt stoljeća u službi katedrale i domovine; Zagreb, 2010.
Sadržaj
1. Mostar i Zagreb u istom srcu.6
1.1. Uvod.8
1.2. Sažeti životopis - privatni.10
1.3. Sažeti životopis ֊ profesionalni.11
2. Operni repertoar.32
2.1. Galerija likova
2.1.1. Porin.40
2.1.2. Cavalleria rasticana.41
2.1.3. Traviata.42
2.1.4. Knez Igor.44
2.1.5. La Bohème.46
2.1.6. Arabella.50
2.1.7. Čarobna frula.50
2.1.8. André Chenier.50
2.1.9. Ekvinocij.51
2.1.10. Ivan Susanjin.51
2.1.11. Figarov pir.52
2.1.12. Faust.54
2.1.13. Prodana nevjesta.55
2.1.14. Postolar od Delfta.56
2.1.15. Pikova dama.58
2.1.16. Krabuljni ples.60
2.1.17. Ukleti Holandez.62
2.1.18. Trubadur.64
2.1.19. Ero s onoga svijeta.66
2.1.20. Tosca.72
2.1.21. Valkira.80
2.1.22. Madame Butterfly.86
2.1.23. Nabucco.94
2.1.24. Nikola Šubić Zrinjski.98
2.1.25. Aida.110
2.1.26. Božična priča.114
2.2. Nastupi u Zagrebačkoj operi.116
2.3. Nastupi na inozemnim gostovanjima Zagrebačke opere.126
2.4. Statistika nastupa u Zagrebačkoj operi.128
2.5. Samostalna gostovanja.130
3. Koncertni repertoar.140
3.1. Koncertni nastupi.148
4. Documenta.170
4.1. Diskografija.186
4.2. Nagrade i priznanja.190
5. Riječ umjetnice.192
6. Kazalo osoba.201
7. Summary .206
8. O autoru, autori fotografija, vrela i literatura.208
Bayertsche
Staatsbibliothek
München |
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| title | Primadona Blaženka Cigić Milić život kao bajka |
| title_auth | Primadona Blaženka Cigić Milić život kao bajka |
| title_exact_search | Primadona Blaženka Cigić Milić život kao bajka |
| title_full | Primadona Blaženka Cigić Milić život kao bajka Davor Schopf |
| title_fullStr | Primadona Blaženka Cigić Milić život kao bajka Davor Schopf |
| title_full_unstemmed | Primadona Blaženka Cigić Milić život kao bajka Davor Schopf |
| title_short | Primadona Blaženka Cigić Milić |
| title_sort | primadona blazenka cigic milic zivot kao bajka |
| title_sub | život kao bajka |
| topic | Milić, Blaženka 1939- (DE-588)1077537751 gnd |
| topic_facet | Milić, Blaženka 1939- |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027813956&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027813956&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT schopfdavor primadonablazenkacigicmiliczivotkaobajka |