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Autor:	redakcija
Datum objave:	17.04.2012
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Chief Conductor in Bern Theatre

Mo Srboljub Dinić u Zagrebu

Mo Srboljub Dinić

In year 2004 he became Chief Conductor in Bern Theatre where he is still working.

Bern Opera House, Stadttheater Bern

Famous past performers include Agnes Baltsa, Inge Borkh, Renato Bruson, Grace Bumbry, José Carreras, Plácido Domingo, Salvatore Fisichella, Käthe Gold, Alexander Moissi, Jessye Norman, Liselotte Pulver,

Will Quadflieg, Nello Santi, Christine Schäfer, Maria Schell, and Rolf Schimpf.

Srboljub Dinic was born in 1969 in Niš in one musical family. He started playing piano when he was only five years old. After he finished Primary and Secondary Music School he started studying the piano, chamber music and conducting at Music Academy in Belgrade. He had many concerts as a pianist and conducted different choirs and chamber orchestras in many European cities. Starting from 1992 until 1995 he worked as accompanist and assistant for chamber music at the Music Academy in Belgrade.

From 1995-1997 he worked as accompanist in Basel Theatre, then on 1997-1999 in Bonn Theatre. As personal assistant Chief Conductor in Basel Theatre, Julia Jones, he worked from 1999-2001. In Bern Theatre as Principal Conductor, he worked from 2001-2004. In year 2004 he became Chief Conductor in Bern Theatre where he is still working.

As a guest conductor, he conducted orchestras in Valencia, Freiburg, Fribourg, Belgrade, Nis, Köln, etc... He conducted many operas as Die Entführung, Don Giovanni, Die Zauberflöte, Le nozze di Figaro, Idomeneo, Nabucco, Macbeth, La Forza del Destino, Manon, Carmen, I Puritani, Cavalleria Rusticana, Mazeppa, La Wally, Madama Butterfly, etc... Ballet music Swan Lake and Peter and the Wolf. Orchestra Concerts with Berner Symphony Orchestra.

Information from the agent/artist

From / To Opera Role Location

Apr-May 12 Jenufa Conductor Zagreb(CNT)

Jan-May 12 Lucia di Lammermoor Conductor Bern

Dec 11-Apr 12 Orphee aux enfers Conductor Bern

Oct 11-Jan 12 The Rake's Progress Conductor Bern

Sep-Dec 11 Der fliegende Hollander Conductor Bern

Jul 11 Tosca Conductor Savonlinna

Apr-Jun 11 Die tote Stadt Conductor Bern

Feb-Mar 11 La Gioconda Conductor Palermo

Jan-Jun 11 Die lustigen Weiber von Windsor,Conductor Bern

Oct 10-Feb 11 Tosca Conductor Bern

Jul 10 Aida Conductor Palermo

Jun 10 Concert Conductor Palermo

Feb-Jun 10 Eugene Onegin Conductor Bern

Jan-Jun 10 Dialogues des Carmelites Conductor Bern

Sep 09-Mar 10 La boheme Conductor Bern

May-Jun 09 Fervaal Conductor Bern

Mar-Jun 09 Un ballo in maschera Conductor Bern

Jan-Jun 09 Der Rosenkavalier Conductor Bern

Dec 08-Mar 09 Die Fledermaus Conductor Bern

Sep 08-Jan 09 Les contes d'Hoffmann Conductor Bern

Tri djela u maestrovu repertoaru na sceni Opere u Bernu ove sezone,’11./’12.

1 http://www.stadttheaterbern.ch/838-lucia-di-lammermoor.html

2 http://www.stadttheaterbern.ch/834-der-fliegende-hollaender.html

3 http://www.stadttheaterbern.ch/836-the-rake-s-progress.html

Kao specijalist za operu kao najsloženiju glazbeno-

scensku vrstu Mo Dinić ostvaruje harmoniju pristupa i pažnje u izvedbenoj složenosti, vodeći orkestar čiju partituru ostvaruje u punom reljefu autorskih oznaka, a pritom sve stavlja u konstruktivnu funkciju scene, mizanscene protagonista i psihološke profiliranosti svake fraze, u punoći vokalnih dionica i uz jednako psihološki obojenu orkestralnu partituru u službi dramaturških odrednica izvodjenoga djela.

Metodičkom postupnošću ostvaruje harmoniju u složenosti, kojima odišu izvedbe opernih djela na svakoj od scena na kojima nastupa..

Razmišljajući o značenjima i dometima reproduktivnih umjetnika, vrijedno je podsjetiti na koordinate i hipotezu o kvaliteti statusnosti - kada je reproduktivni umjetnik stvaralac, kada je primijenjeni umjetnik, a kada je obrtnik?

Naime u dinamici suvremenosti nailazimo na reproduktivne umjetnuike koji etički potpuno respektiraju odrednice glazbenoga štiva, po autoru, i u odrednicama partiture ostvaruju svoju osobnost, predstavljajući se i kao osobe - stvaraoci, a i kao zaštitnici i tumači djela i autora. To tvori sveti”trolist” kao dragocjenost u glazbenoj umjetnosti, na relaciji autor-djelo-izvodjač.

U drugu grupu, spadaju umjetnici koji djelo koriste kao platformu za osobni skok u ime predstavljanja sebe i svojih bravura, proklijalih na temeljima djela.

U treću skupinu ulaze umjetnici koji su tehničko-izvedbeno visoke razine koju uvijek iznova demonstriraju bez obzira na osobni njegovani odnos prema djelu, epohi i mjestu djela u ukupnom autorovu opusu…

Dopustimo odmah istaknuti da MO Dinić, nedvojbeno, pripada prvoj grupi, umjetnika – umjetnika, a to dokazuje ogromnim sadržajno-stilskim raspnom zgusnutim u kratko vrijeme.

Naime, u Beogradu je tek završio Bizetovu Carmen, s čak tri protagonistice i njihovim posebnostima u kreaciji lika, na tri ravnopravne premijere, u Bernu je netom ravnao Luciom di Lammermoor, a u Zagrebu pripada Janačekovoj Jenufi. To uspješno mogu samo autohtono kreativni duhovi, izrasli na širokim temeljima erudicije i izvedbenih vještina.

Leoš Janáček - Jenůfa

One of the composer’s earliest works, from 1904, Janáček’s Jenůfa is a wonderful piece of work with a melodramatic but gritty story that has its roots in realism and traditional popular folklore, and it has music to match with a lush sweep of Wagnerian Romanticism, the punch of Slavic dance arrangements and a modern Strauss-like sensibility that ties the nature of the characters and their actions to identifiable but complex modern musical and speech tone patterns developed by Janácek. Unfortunately, this particular performance, recorded at the Teatro Real de Madrid in 2009, is for the most part not the most impressive means of experiencing one of the greatest operas of the early twentieth century.

It’s difficult from this production to grasp any sense of time, location or community sensibility that is so important in identifying the nature of Jenůfa’s dilemma. Jenůfa is in love with Števa and engaged to be married to him, despite his half-brother Laca being more devoted to the young woman, and perhaps a better match. When her stepmother Kostelnička publically delays the marriage until Števa gets his act together, she is unaware that Jenůfa is pregnant. The secret birth of a baby outside wedlock makes the marriage to Števa and the fate of Jenůfa more complicated to arrange, as does the scar on the young woman’s face accidentally left there by the jealous Laca, and despair over the turn of events drives Kostelnička to take matters into her own hands.

Something close to the real impact of the work is achieved by the time we get to the remarkably beautiful and poignant duet at the conclusion of the opera, but otherwise, this production succeeds only as far as making Jenůfa sound like an ordinary opera, when it’s really a work that has so much more to offer and deserves a lot better than this in terms of staging and performance.

Leoš Janaček,

Jenufa, opera…izbor…. ulomaka

http://www.youtube.com/watch?v=qT1VyuUgs6Y

Jaroslav Kyzlink Conducts Janacek Jenufa

http://www.youtube.com/watch?v=ObKD1bAu2bk&feature=related

Jenufa Aria 1st Act

http://www.youtube.com/watch?v=rqAFx7FcTgg&feature=related

Havel Cernoch in Leos Janacek: Jenufa - GREAT PERFORMANCE

http://www.youtube.com/watch?v=MAz5cSbdhH4&feature=related

Jenufa Aria 2nd Act

http://www.youtube.com/watch?v=8MApJRVBVFo&feature=related

Janáček - Jenůfa - Act II. finale - Kniplová, Domanínská, Blachut