Radmila
Bakočević
(rođena Vasović, 5. siječnja, 1933, u Guči), je srbijanska operna sopranistica, koja je imala veliku
međunarodnu karijeru započetu prosinca,1955.godine
i koja je sustavno na sceni do 1982..
Tijekom
umjetničke djelatnosti na opernoj sceni i koncertnom podiju, pjevala je u mnogim
velikim i najvećim opernim kućama diljem svijeta, uključujući kreacije i diljem
Evrope, Sjeverne Amerike i Južne Amerike.
Učvrstila je dugogodišnju suradnju tijekom svoje karijere s dvije operne kuće,
a to su: Narodno pozorište u Beogradu i Bečka državna opera.
Radmila
Bakočević ima širok i bogat repertoar koji je obuhvaćao djela od 17. do 20.stoljeća.
Osobito
je nadahnuto ostvarivala Puccinijeve i Verdijeve heroine, a ističu su se i njezine
uloge u operama Richarda Straussa i Richarda Wagnera
Također,
pjeva i u brojnim operama,od ruskih i čeških kompozitora kao što su Nikolaj
Rimski-Korsakov, Smetana, i Čajkovski. Zanimljivo, pjevala je tek dvije uloge na
francuskom, Giuliette u Ofenbachovoj LesContes d'Hoffmann i Marguerite u Ch.Gounodovu
Faustu. Ima prilagodljiv glas,pa je mogla kreirati djela iz opusa V.Bellinija i G.Donizettija,osobito Normu.
Radmila
Bakočević djeluje i kao vokalni pedagoog niz godina,član Muzičke akademije na
Univerzitetu umetnosti u Beogradu gde je radila i kao Rektor od 1998. do 2000
godine, a vodi i Operni studio Beogradske Opere Narodnoga pozorišta.
Radmila
Bakočevic - Si, mi chiamano Mimi - Belgrade
'70. live
http://www.youtube.com/watch?v=464-6aqJMQY&feature=related
Radmila
Bakočević - "Dich teure Halle"
http://www.youtube.com/watch?v=NErniN_ys1s&feature=related
Radmila
Bakočević - "Ecco l'orido... Ma dell' arido"
http://www.youtube.com/watch?v=1-IJKrXREvw&feature=related
Radmila
Bakočević (born January 5, 1933, in Guča, Lučani, Kingdom of Yugoslavia), is a
Serbian operatic soprano who had a major international opera career that began
in 1955 and ended upon her retirement from the stage in 1982. During her career
she sang at most of the world's important opera houses, including performances
throughout Europe, North and South America.
She forged important longterm artistic partnerships with two opera houses
during her career: the National Theatre in Belgrade and the Vienna State Opera.
A
spinto soprano, Bakočević sang a wide repertoire that encompassed works from
the 17th through the 20th century. She particuallarly excelled in portraying
Puccini and Verdi heroines and was also admired for a handful of roles in
operas by Strauss and Wagner. She also sang in a number of Russian and Czech
operas by composers like Rimsky-Korsakov, Smetana, and Tchaikovsky.
Interestingly, she sang only two roles in French, Giulietta in Jacques
Offenbach's Les Contes d'Hoffmann and Marguerite in Charles Gounod's Faust. She
did, however, possess a flexible enough voice to tackle several bel canto roles
by Bellini and Donizetti.
Since
retiring from the stage, Bakočević has worked as a professor of singing at
several universities. She currently is a member of the voice faculty at the University of Arts
in Belgrade
where she also served as the school's Chancellor from 1998 to 2000. She is also
a member of the Association of Musical Artists of Serbia.
Bakočević
studied singing at the Academy of Music in Belgrade (now
the University of
Arts) with Nicola Cvejic
and then continued further studies at the school for young opera singers at La
Scala. She made her professional opera debut in 1955 at the National Theatre in
Belgrade as
Mimi in Giacomo Puccini's La Bohème. Earning rave reviews, she became a regular
performer at that opera house up into the early 1980s.
In
1958 Bakočević earned Second Prize at the Belgrade International Competition of
Young Artists. In 1962 she won the Geneva International Singing Competition and
in 1964 she won the Lüttich International Singing Competition. These
competition wins brought her to the attention of the international opera
community and she was soon engaged to perform in the world's leading opera
houses.
In
1967 Bakočević made her debut at the Teatro Lirico Giuseppe Verdi in Triest the
Olga in Nikolai Rimsky-Korsakov's The Maid of Pskov. That same year she joined
the roster at the Vienna State Opera where she sang regularly through 1982 in
such roles as Minnie in Puccini's La Fanciulla del West, Elisabetta in Giuseppe
Verdi's Don Carlos and Maddalena in Umberto Giordano's Andrea Chénier among
many others. She made her San Francisco Opera debut on October 15, 1968 as
Leonora in Il Trovatore. She joined the Metropolitan Opera in New York City for the 1968-1969 season,
singing there Cio-Cio-San in Madama Butterfly, Leonora, Marguerite in in Faust,
Micaela in Carmen, and Mimì. In 1969 she made her first appearance at the
Deutsche Oper Berlin as Maria in Pyotr Ilyich Tchaikovsky's Mazeppa.
Bakocevic
made her La Scala debut on December 31, 1972 in the title role of Bellini's
Norma under the baton of Gianandrea Gavazzeni with Fiorenza Cossotto as
Adalgisa, Gianni Raimondi as Pollione and Ivo Vinco as Oroveso. She returned
the following season for several performances of the title role in Puccini's
Tosca, with Placido Domingo and Vladimir Atlantov sharing the role of
Cavaradossi and Mario Zanasi as Scarpia. Also in 1972, Bakočević made her first
appearance in Paris
at the Palais Garnier as Norma. She returned many times to Paris during the 1970s, performing in all of
the major houses in that city. In 1973 she made her debut with the Philadelphia
Lyric Opera Company as Amelia in Un ballo in maschera with Plácido Domingo and
Bernabé Martí alternating as Riccardo, Cornell MacNeil as Renato, Lili
Chookasian as Ulrica, and Patricia Wise as Oscar. Her last opera performance
was in 1982 in the title role of Puccini's Turandot at the Deutsche Oper am
Rhein.
Bakočević's
many other appearances between 1965 and 1982 included performances at the
Bavarian State Opera, the Bolshoi Theatre, the Grand Théâtre de Bordeaux, the
Grand Théâtre de Genève, the Hamburg State Opera, the Hungarian National Opera,
La Fenice, the Liceu, the Opéra National de Paris, the Palacio de Bellas Artes,
the Polish National Opera, the Romanian National Opera, the Teatro Colón, the
Teatro Comunale Florence, the Teatro dell'Opera di Roma, the Teatro di San
Carlo, the Teatro Massimo, the Teatro Nacional de São Carlos, the Teatro Regio
di Parma, and the Teatro Regio di Torino to name just a few.
Other
roles that Bakočević created on stage during her career including: Adriana in
Francesco Cilea's Adriana Lecouvreur, Aida in Verdi's Aida, Amelia in Verdi's
Simon Boccanegra, Antonida in Mikhail Glinka's A Life for the Tsar, Beatrice in
Bellini's Beatrice di Tenda, Cherubino in Mozart's Le nozze di Figaro,
Desdemona in Verdi's Otello, Elisabetta in Gaetano Donizetti's Roberto
Devereux, Elisabeth in Wagner's Tannhäuser, Elvira in Verdi's Ernani, Giulietta
in Jacques Offenbach's Les Contes d'Hoffmann, Iolanta in Tchaikovsky's Iolanta,
Jaroslavna in Alexander Borodin's Prince Igor, Leonora in Verdi's La Forza del
destino, Lisa in Tchaikovsky's The Queen of Spades, Manon in Puccini's Manon
Lescaut, Marie in Bedřich Smetana's The Bartered Bride, Mlada in Smetana's
Dalibor, Pauline in Sergei Prokofiev's The Gambler, Poppea in Claudio
Monteverdi's L'incoronazione di Poppea, Salome in Richard Strauss's Salome,
Tatyana in Tchaikovsky's Eugene Onegin, and Violetta in Verdi's La Traviata.
Radmila
Bakočević : primadonna assoluta / priredio, Slobodan Joković.
Published:Beograd : Verzal press, 1999. Format:Book PhysicalDesc.:
443
p. : ill. ; 23 x 25 cm.
Language:Croatian
Biblioteka,
Posebna
izdanja ISBN:867388148X9788673881485
Bibliography:Includes
bibliographical references and indexes. Contributor:Joković, Slobodan.