Rossi fest Belgrade

This concert, which is held every January 27th, marking the World Holocaust Remembrance Day, is a result of the Open Call for Young Composers we have founded four years ago. Concert: Portraits and Remembrance Monday, January 27th 2025, at 8PM Jewish Community Belgrade Portraits and Remembrance represent one of the core program segments of the Rosi Festival. The concert, scheduled for January 27 in honor of International Holocaust Remembrance Day, is the result of the eponymous Composer Competition, established with the festival's first edition. Over the years, we have been pleased to receive submissions from young composers worldwide, each approaching this theme in unique ways. This year, the audience will have the opportunity to hear works by young composers Kristopher Magnuson (USA), Martin Lordian (France), and Mark Wolf (Australia). The concert will be moderated by Bojana Radovanović Šuput, a musicologist from the SANU Institute. What to Expect: Premieres of compositions by emerging composers in Serbia. An intimate atmosphere connecting art and remembrance. A unique opportunity to attend a concert that emphasizes the importance of memory through artistic expression. Admission to this concert is free, but reservations are required via email at contact@rossifest.org. Program: Martin Loridan Chimères, nous sommes montés... Improvisation on the theme of René Char For female voice and clarinet (B) Ana Savić, mezzo-soprano Mihailo Samoran, clarinet Mark Wolf Without an Exit For soprano, percussion, and piano (2016) Mina Kovač Marković, soprano Ivan Marjanović, percussions Vanja Šćepanović, piano Kristopher Magnuson The Circle For soprano, horn, violin, and piano Mina Gligorić, soprano Mirko Marić, horn Mina Mendlson, violin Vanja Šćepanović, piano Concert Moderator Bojana Radovanović , Musicologist and art theorist, Research associate at the Musicology Institute of SANU Kristopher Magnuson (USA) Kristopher Magnuson is a composer from Cleveland, OH. Recent works have seen (or are scheduled to see) performances at the AMOK Experimental Music Platform in York, UK; the Sound Thought Festival in Glasgow, Scotland; the Canadian Music Centre in Toronto, Canada; and the SoundSCAPE Festival in Maccagno, Italy. He has also completed works for guitarist Rob MacDonald in affiliation with the Canadian Music Centre, the Genkin Philharmonic at SUNY Buffalo, and multiple electronic works for the Cleveland Ingenuity Festival. His Palos for string quartet, based on flamenco song forms, won first prize in the University of Toronto String Quartet Composition Competition, and received its world premiere with the Cecilia Quartet at the 2015 University of Toronto New Music Festival. He received his DMA in composition from the University of Toronto in 2018, where he studied with Gary Kulesha. His dissertation, Gambier Mass, was scored for winds, percussion, electric guitar & delay pedal, and men’s chorus. Future works will largely focus on melding the art/alt-rock aesthetic with traditional notions of lieder. The Circle (2018) The Circle is a work for horn trio and soprano that melds the art-rock aesthetic with more traditional notions of art-song or lieder. Its title is drawn from an eponymous poem by Polish writer Zofia Romanowicz. On both technical and emotional levels, I strove for accessibility and immediacy to allow the listener to focus on the poem’s text. Martin Loridan (France) Martin Loridan is a French composer. He graduated from the Paris Conservatoire National Supérieur de Musique (CNSM) and is currently pursuing a PhD in composition at the University of Leeds (UK). His work has been performed internationally at venues and festivals such as the Barbican Center (London), BKA Unerhörte Musik (Berlin), Gasteig Philharmonie (Munich), Estovest Festival (Turin), Mise-En Festival (New York), Kalv Festival (Gothenburg), International Forum of New Music Manuel Enriquez (Mexico City). He has collaborated with ensembles and orchestras such as the Pittsburgh Symphony Orchestra, the Arditti Quartet, ensemble Mise-en, Soundinitiative, Klangforum Wien, Ensemble Xenia, ensemble Accroche Note, Quatuor Tana, Norrbotten NEO, Cepromusic, and international soloists such as Claude Delangle, Rohan de Saram and Claudio Pasceri. He has been awarded prizes in several composition competitions, such as the Reinl-Foundation Composition Prize, the André Jolivet Composition Prize, and the Vareler Composition Prize. He also receives academic grants and awards such as the Stanley Burton Research Scholarship and was recently awarded the prestigious Villa Salammbô residence (Tunis) by the Institut Français. His PhD research develops the idea of “Souffle” (air, breath, and movement) as a multidirectional composition material and composition tool, working on timbre, and texture and exploring relationships with resonance and vibration. His research is funded by the “Leeds Doctoral Scholarship”. His works are published in BabelScores editions. Chimères, nous sommes montés… (Chimeras, we have ascended...) The piece is a homage to René Char. René Char was a 20th-century French poet and member of the French Resistance. The piece sets to music a specific excerpt from “Seuls demeurent”, a poetry collection was written during the war (1938 – 44) but published in 1945. Char was strongly opposed to any form of publication during the French occupation, and, as suggested by the title (“Seuls demeurent”), poetry and its aim are for him the objects that “only remain” in the war’s horror. The piece is inspired by the very last verse of “le visage nuptial” (the largest poem of “Seuls demeurent”) which is an evocation of a brief moment of joy - the love Char briefly found with Greta Knutson during the summer of 1938, before engaging in the somber horror of the war as a resistant. The phonetic and symbolic richness of the text generates the main musical flow. The work starts from the very respiration to slowly create an instrument/voice dialogue, exploring every detail of Char’s words, to ultimately reach an almost silent flow of air (end) - the evocation of the two lovers’ respiration but also of one of death and horrors still to come. Mark Volf (Velika Britanija/Austalija) Mark’s music is motivated by extra-musical processes of invention. His practice focuses on the parallels between architectural space and musical time. His spatio-temporal renderings are steadily reaching wider audiences with recent performances across Europe, North and South America, and Australia. Mark is a graduate scholar of the Royal College of Music, Master of Music in Advanced Composition Programme, earned his Bachelor of Music with Honours in Performance from the Victorian College of the Arts – University of Melbourne and his Bachelor of Music in Composition from the Elder Conservatorium – University of Adelaide. His concert music has received recognition through commissions by Hans Westerman AM, Núcleo Música Nova, British Harpsichord Society, National Portrait Gallery UK, and the Melbourne Symphony Orchestra; premiered at venues including Teatro da Reitoria Brazil, Handel House London, St Martin-in-the-Fields, the National Portrait Gallery UK and the Melbourne Recital Centre. In 2017, Mark was announced the winner of both the Flute New Music Consortium Composition Competition for his solo flute piece Hamarøy Troll and the Etymos Ensemble Composition Prize for Umbra-Penumbra-Antumbra for vibraphone. Mark is currently undertaking his PhD candidature at Queensland Conservatorium, Griffith University. Without an Exit ‘Without an Exit’ is a musical rendering of Daniel Libeskind’s spatial design in the architecture of his Felix-Nussbaum-Haus. Dedicated to the life work of the Jewish painter Felix Nussbaum, a fleeing fugitive forced to work in secret within tiny hidden spaces and killed in Auschwitz in 1944, ‘Without an Exit’ is a retracing of the fatal elements and dead-ends of Nussbaum’s life. The confusing and labyrinth-like orientation of the Felix-Nussbaum-Haus is architecturally designed to influence the visitor’s experience. The directional conditions in ‘space’ translate into the composition’s arrangement of musical events in ‘time’, while Libeskind’s conceptual ideas for integrating physically and spiritually an expression of Nussbaums’s martyred life provides the musical narrative. Dr. Bojana Radovanović Šuput Musicologist and art theorist, Research Associate at the Musicology Institute of SANU She earned her doctorate from the Faculty of Music in Belgrade, focusing on the relationship between voice, vocal technique, and new technologies in contemporary art and popular music. Her research spans contemporary music and art, voice studies, metal music, art, and media, as well as research methodologies in art, music, and musicology. She has published three monographs and has been part of editorial teams for numerous collections of works and other scientific publications. In recent years, she has dedicated particular attention to the work of Dragutin Gostuški, contributing to academic conferences, reissues of his writings, and the first collection of works devoted to this significant figure of Serbian and Yugoslav cultural history. She is a co-founder of the Association for the Preservation, Research, and Promotion of Music "Serbian Composers," a co-founder and vice-president of the Association for Popular Music Studies, and a co-founder, as well as the editor-in-chief, of the scientific journal INSAM Journal of Contemporary Music, Art and Technology (Sarajevo, Bosnia and Herzegovina).

The closing concert of this year’s edition of the Rosi Festival promises an explosion of energy and emotion through the vibrant klezmer style. With a unique blend of classical tones and an unconventional club-like ambiance, this concert offers the audience an authentic experience that blurs the boundaries between traditional and modern music. Concert: Rossi's Open Bar Dorćol platz, Beograd 06. februar 2025. u 20h The closing concert of this year’s edition of the Rosi Festival promises an explosion of energy and emotion through the vibrant klezmer style. With a unique blend of classical tones and an unconventional club-like ambiance, this concert offers the audience an authentic experience that blurs the boundaries between traditional and modern music. On stage, members of the Jewish Chamber Orchestra and the Braća Baruh Choir will perform alongside renowned local soloists. The event is directed by Ana Grigorović, with Stefan Zekić conducting. What to Expect: A dynamic and lively interpretation of klezmer music. The authentic ambiance of Dorćol Platz, merging art and unity. A synergy between performers and the audience, inspired by music that celebrates joy and togetherness. Tickets for this concert, priced at 400 dinars, can be purchased at Dorćol Platz just before the event, with prior reservations required via email at contact@rossifest.org . Program: Overture on Hebrew Themes, Op. 34 Sergei Prokofiev (1891–1953) Traditional Klezmer Melodies arranged by Nikola Đurica: Frailach No. 5 (Happy Song) Yankelle Traditional Yiddish Melody Zaydn's Tants (Grandfather’s Dance) Kiever Sher (Sher – a traditional song form) Pizzikati (A famous Sephardic melody) Oblivion Astor Piazzolla (1921–1992) Arr. Nikola Đurica Clarinet Quintet Ante Grgin (1945–) Choral Pieces arranged by Joshua Jacobson: Sholem; Alle brider Rad Halaila; Zemer lakh Hey Harmonica; Maim, Maim Simona mi Dimona Performers: Nikola Đurica – Clarinet Mina Mendelson – Violin Staša Žikić – Violin Lazar Miletić – Viola Ladislav Mezei – Cello Boban Stošić – Double Bass Vanja Šćepanović – Piano Radan Jovanović – Piano Aleksandar Radulović – Percussion Baruh Brothers Choir Stefan Zekić - Conductor

This concert, blending music and gastronomy, offers a truly synesthetic experience. Titled Dialogue of Tastes, the event is designed to unite music, ambiance, and flavors through a unique setting. Renowned French harpsichordist of Serbian origin, Željko Drion-Manić, will perform a selection of Bach’s Fantasias for harpsichord, delivering an unforgettable experience through the timeless beauty of this great composer’s work. Concert: Dialogue of Tastes Monday, February 3, 2025, 8:00 PM Little Bay Restaurant, Belgrade This concert, blending music and gastronomy, offers a truly synesthetic experience. Titled Dialogue of Tastes , the event is designed to unite music, ambiance, and flavors through a unique setting. Renowned French harpsichordist of Serbian origin, Željko Drion-Manić , will perform a selection of Bach’s Fantasias for harpsichord, delivering an unforgettable experience through the timeless beauty of this great composer’s work. With carefully chosen musical pieces and a menu paired to complement each interpretation, the audience will be inspired to engage in dialogue and share impressions during intermissions. What to Expect: An intimate restaurant setting with a thoughtfully curated selection of culinary specialties. Performances of Bach’s works by a world-class artist. Audience interaction and inspired conversation in a creative and welcoming atmosphere. Tonight’s theme: An Interplay of Senses (Dialogue of Tastes: Bach’s Reflection) Reservations and tickets for this event are available at the restaurant, Dositejeva 9a. The reservation fee, which includes the concert and a set menu of two appetizers, a main course, and dessert, is 4,000 dinars. Join us for an evening of intertwined senses and timeless music! Program: Johann Sebastian Bach Željko Drion-Manić (Serbia/France) Fantasy with Two Themes in G Minor, BWV 917 Fantasy and Unfinished Fugue in C Minor, BWV 906 Fantasy in C Minor – Johann Bernhard Bach (mistakenly attributed to J.S. Bach, BWV 919) Fantasy/Prelude in A Minor, BWV 922 Fantasy and Fugue in A Minor, BWV 904 Fantasy and Fugue in A Minor, BWV 944 Adagio in G Major, BWV 968 Chromatic Fantasy and Fugue in D Minor, BWV 903 Fantasy in G Minor, BWV 920 Željko Drion-Manić, harpsichord Željko Drion-Manić, a celebrated French-Serbian harpsichordist, has been recognized with numerous musical awards, including 3rd Prize at the International Harpsichord Competition Conde de Oeiras (2018, Lisbon, Portugal) and the ABA Prize (2011, Gmunden, Austria). He regularly performs as a soloist and chamber musician across Europe, with appearances at renowned festivals and venues such as Festival d’Ambronay, Händel-Festspiele Göttingen, Festival Musiq3, MAfestival Brugge, OudeMuziek Utrecht, Music Chapel Festival, BOZAR, Flagey, and Chapelle Royale de Versailles, among others. He has collaborated with esteemed baroque musicians and ensembles such as François Fernandez, Julien Chauvin, Jaap Schröder, Valentin Tournet, Les Muffatti, La Chapelle Harmonique, and Harmonia Sacra. Born in Belgrade, Željko began studying accordion at the age of six, later expanding his training to piano, harpsichord, vocal performance, and vocal coaching. He won multiple first prizes in competitions, including the Kornelije Stanković Piano Competition (2008), the Serbian National Solo Singing Competition (2011), and the 10th International Petar Stojanović Festival in the solo singing category (2012). Focusing on harpsichord and early music, Željko pursued studies with Frédérick Haas at the Royal Conservatory of Brussels, where he earned a bachelor's degree in 2015 and a master's degree with high distinction in 2017. He further honed his skills in masterclasses with renowned musicians such as Pierre Hantaï, Skip Sempé, Amandine Beyer, Mira Glodeanu, and Paolo Zanzu. In 2012, shortly after moving to Belgium, Željko was invited by BOZAR Brussels to open the retrospective exhibition “Antoine Watteau” with a harpsichord recital. That same season, he performed Bach's harpsichord concertos across Belgium, France, and Serbia. He was selected for the Emerging program in 2016 with the ensemble BarrocoTout and performed as a soloist and continuo player under Rinaldo Alessandrini with the OFJ Baroque Orchestra in 2017. Željko also studied operatic singing at the Royal Conservatory of The Hague and specialized in baroque vocal performance with Pascal Bertin, Robin Blaze, and Peter Kooij. As one of the rare classical musicians who sings while accompanying himself on harpsichord or organ, Željko performs both standard baroque repertoire and roles created specifically for him. In 2017, he portrayed the title role in Monteverdi’s L’Orfeo at deSingel (Antwerp, Belgium) under the direction of Luigi De Angelis and conductor Hernán Schvartzman. In 2020, he created the theatrical recital Ceux qui savent pleurer ont les plus beaux yeux du monde, performed in France and Belgium. In 2025, Željko will continue to perform lead roles in Charivari at the Avignon Festival and at Studio Lyrique de Tourcoing with the ensemble Il Buranello, directed by Denis Mignien. A CD version of the production will be recorded in the summer of 2025. Željko’s concerts have been broadcast by France Musique, Culturbox, Musiq3, Klara Radio, ORF Radio, and Radio Belgrade. He has recorded albums with Les Muffatti and Musæ Jovis and contributed to Sanda Majurec’s original album. Composers Jug K. Marković and Sanda Majurec have dedicated harpsichord solo pieces to him. Željko works as a vocal coach, accompanist, and vocal instructor with countertenor Xavier Sabata and ensembles such as Les Ombres, B-Rock, and Harmonia Sacra. He collaborates with organizations like Musiektheater Transparant and teaches harpsichord at the Hoofdstedelijke Kunstacademie Brussel (2023–2024).

The fourth edition of the Summer Opera Academy will commemorate the 100th anniversary of Giacomo Puccini's passing with a performance of his opera Suor Angelica. Additionally, the 145th anniversary of the Baruch Brothers Choir will be celebrated with a special concert, held as part of the European Days of Jewish Culture. Both events are scheduled to take place at the Madlenianum Theatre in Belgrade on September 27, 2024. O festival The 8th Edition of Rosi Fest January 27 – February 6, 2025, Belgrade Music as the Language of Dialogue and Unity Music, as one of the oldest forms of dialogue that transcends cultures and generations, reminds us that despite our differences, it provides a shared space for communication at the most subtle level. This is also the core idea of this year's edition of the international Rosi Fest, which will take place under the theme "Dialogue and Unity" from January 27 to February 6 in Belgrade. The festival begins on Monday, January 27, at 8 PM, in the ceremonial hall of the Jewish Community of Belgrade, with the traditional concert of young composers titled "Portraits and Memories." This event also commemorates International Holocaust Remembrance Day. This year’s program will feature works by composers Kristofer Magnuson (USA), Martin Lordian (France), and Mark Wolf (Australia), with the concert moderated by Bojana Radovanović, a musicologist from the Institute of SANU. On Monday, February 3, the festival will present a concert titled "Dialogue of Flavors" at the "Little Bay" restaurant in Belgrade. Through this unconventional concept at a unique venue, Rosi Fest aims to emphasize and recall the social role of music as a cornerstone of dialogue and unity since ancient times. The idea is to inspire the audience to engage in meaningful communication, exchange opinions, and share interpretations in the pauses between musical pieces. A carefully curated menu will symbolically accompany a recital of Bach's music performed by renowned French harpsichordist of Serbian origin, Željko Drion-Manić. Through the diverse characters of Bach's Harpsichord Fantasies, Željko will bring to life the timeless aesthetic of Bach’s music. The final concert of this year's edition will be marked by the fiery and spirited klezmer style. It will take place on Thursday, February 6, at 8 PM at Dorćol Platz. By blending classical sounds with an unconventional club atmosphere, the audience will experience an authentic synesthetic journey that will undoubtedly push the boundaries of classical music. The concerts will feature members of the Jewish Chamber Orchestra, the Baruch Brothers Choir, and distinguished domestic vocal and instrumental soloists. The performances will be directed by Ana Grigorović and conducted by Stefan Zekić. Every performance, composition, and rendition at the festival symbolizes dialogue – between composers and audiences, performers and listeners, tradition and modernity. Each tone is an invitation to converse between the past and the future. This approach fosters an emotional connection with the audience and highlights the essence of Rosi Fest – music as a means of understanding and unity. We invite you to join us in experiencing the dialogue of tones and flavors and feel the unity that only music can offer. Let us together celebrate the power of art that connects us! MORE Summer Opera Academy September 20-27, 2024 Beograd The fourth edition of the academy will commemorate the 100th anniversary of Giacomo Puccini's passing with a performance of his opera Suor Angelica. Additionally, the 145th anniversary of the Baruch Brothers Choir will be celebrated with a special concert, held as part of the European Days of Jewish Culture. Both events are scheduled to take place at the Madlenianum Theatre in Belgrade on September 27, 2024. OPŠIRNIJE The seventh edition of Rossi Fest January 27 - February 1, 2023. Belgrade From January 27 to February 1, 2024, Belgrade hosted the seventh edition of the international Rossi Fest. The festival included a variety of programs with top artists, held in the Jewish Cultural Center, Dorćol Platz, and the Ceremonial Hall of the Jewish Municipality of Belgrade. The opening of the festival on January 27 was marked by the "Portraits and Remembrance" with premiere of David Cesky's composition "Three Psalms for String Orchestra". Ballet soloists Tamara Pjević and Jakša Filipovac also performed under the direction of Ana Grigorović. In the Ceremonial Hall of the Jewish Municipality of Belgrade, on January 28, the "Baroque Feast" concert was held in cooperation with the Belgrade Baroque Academy, with the performance of baroque works on historical instruments. On January 29, at the Jewish Cultural Center, dr. Ivan Ćurković held a lecture on "War and Peace in the Oratorios of Georg Friedrich Handel". On the same day, in the same place, the opera "Rinaldo" by Georg Friedrich Handel, directed by Sreten Manojlović, was performed. The festival ended on February 1 with the concert "Erev Shel Shoshanim" in the Atrium of the National Museum, on the occasion of the 145th anniversary of the Baruch Brothers Choir. In addition to the choir, the Jewish Chamber Orchestra, baritone Stefan Hadžić, and tenor Marko Živković performed under the direction of Stefan Zekić. MORE Rossi Fest - winner of the "Classical Music" award in the festival of the year category! 21. 03. 2023. Belgrade On Tuesday, March 21, at the Museum of the National Theater in Belgrade, the annual awards of the "Classical Music" revue were held for the eleventh time. Rossi Fest was declared the best festival in 2022. The "Classical Music" award was established in 2010 when the first "Classical Music" magazine issue was published. It was designed to recognize domestic artists, festivals, publishers, critics, music institutions, and media, who have left the most significant mark on the domestic music scene within the calendar year. ROSSI FEST Rossi Fest is an international music festival, named by the famous Jewish-Italian composer Salomone Rossi (ca.1570-1630). Rossi was a transitional figure between the late Italian Renaissance and early Baroque. His musical style was compound between a classical Renaissance and Jewish traditional texts, written in Hebrew. This combination makes him unique among Baroque composers. One of the most well-known is a famous collection of Jewish liturgical music, Hashirim asher leShlomo (The Songs of Solomon ), published in 1623. Having in mind the nature of Rossi’s work and his contribution to music history, the main objective of the festival is to focus on an intercultural dialog by promoting the respect for diversity and embraces a unique heritage of Jewish, European and Serbian repertoire of the highest musical, artistic and poetic quality. Allowing musicians to evolve through joint musical performances, workshops, advisory sessions and the choice of venues. In these terms, Rossi fest is committed to music education for all ages, young to adult. One of many advantages of this concept is the possibility for all singers to perform in excellent choral ensembles appropriate to their interest and abilities. Meanwhile, music professionals can benefit from resources that help them increase their musical and leadership skills toward their own pursuit of excellence. Rossi Fest, conceived as an innovative and dynamic multicultural musical event, has inspiring passion for learning in its core, and provides a necessary foundation for achievement and success. Intended to be among future leaders of Belgrade’s cultural events and committed to musical education and implementation of quality in performance, this Festival will also be involved in the life of a wider community, both local and international. Festival will raise awareness through partnerships with various ensembles, music organizations and individuals. This in order for all people to have same, equally designed opportunities in musical learning and education. This project among other things, offers to prepare artists and other participants for new opportunities and contemporary challenges. Hopefully, sharing together our experience and enthusiasm, Rossi Fest has a chance to become a significant contributor for all groups and individuals to meet the artistic challenges of the future. FESTIVAL DIRECTOR Stefan Zekić CONDUCTOR Founder and director of Rossi Fest . Graduated from the University of Arts, Faculty of Music in Belgrade, in two departments: conducting and solo singing. Additional education includes trainings and workshops with the most prominent european conductors, such as: Uros Lajovic (AU), Michael Sheck (BE), Andrew Parrott (UK), and Max Frey (GE). Currently, he's pursuing Phd at the University of Arts in Belgrade in the field of opera conducting. He began conducting at the age of 17 and since 2006 he’s the chief conductor of the Baruch Brothers Choir . He’s a founder and artistic director of the ensemble for early music Canticum Novum , and is the conductor of the Jewish chamber orchestra. Since the season 2009/10 he’s engaged at the National Theatre of Belgrade where his first performance was Le nozze di Figaro (W. A. Mozart). In 2014. he became the chief conductor of the Opera studio of the National Theatre and successfully performed two premieres - Die Zauberflote and Bastien und Bastienne . He also performed a notable concerts in cooperation with many different ensembles such as Madrigal Choir and Symphony Orchestra of University of Arts in Belgrade, Vocal Ensemble Oktoih , Musica (Slovenia), Vocal Ensemble Marienhain (Germany), St. George Royal Strings , Jewish Chamber Orchestra, Symphony Orchestra Stanislav Binički , Montenegro Symphony orchestra, etc. Stefan Zekic won numerous national and international rewards at the prestige festivals and competition, as well as special reward of the state of Israel for a remarkable contribution to strengthening Israel-Serbia relations. Among the prominent artists he has collaborated with are Oscar-winner Jiří Menzel, John Ramster, Martin Evans, Olga Makarina, István Székely, Eraldo Salmieri, Claudia Eder and others. ARTISTIC COMMITTE Zoran Erić COMPOSER, PROFESSOR AT THE UNIVERSITY OF BELGRADE Full-time professor of Composition at the University of Arts, Faculty of Music in Belgrade, rector of the University of Arts in Belgrade. He earned his BA and MA degrees in Composing (professor Stanojlo Rajičić) at the Faculty of Music, Belgrade, and specialized at the Orf University in Salzburg, as well as on V. Lutoslavski`s masterclass in Grožnjan. His opus includes works of different genres, ensembles and soloists, such as: balets Banović Strahinja and Jelisaveta , Slovo Siluana for baritone, women’s choir and tape, then Off , Cartoon , Talea Konzertstück , The Great Red Spot of Jupiter , Abnormalni udarci Dogona (Abnormal punches of Dogon ), Helium u maloj kutiji (Helium in a small box ), Nisam govorio (I didn’t speak ), Oberon , Six scenes-comments , Ko je ubio galeba (Who killed seagull ), Sedam pogleda u nebo (Seven looks into the sky ) and more. Special place in his opus takes theater and film music that he created in collaboration with notable theater and film makers. He’s the winner of numerous rewards and recognitions. Additionally he was the artistic director and selektor of various music festivals (BEMUS and others), and currently is the president of the Executive Board of Serbian music copyright agency SOKOJ. Ana Stefanović MUSICOLOGIST, PROFESSOR AT THE UNIVERSITY OF BELGRADE Full-time professor at the University of Arts, Faculty of Music in Belgrade and associate Researcher at IreMus, Paris. She earned her MA degree at the Faculty of Music in Belgrade and her PhD in musicology at the Paris-Sorbonne University (Université Paris-Sorbonne, Paris IV). Main areas of her research are: baroque opera, solo song, relation between music and text, as well as questions of musical style and stylistic analysis. She is also the author of six volumes of The Anthology of Serbian Art Song (Belgrade, UKS, 2008-2014), books La musique comme métaphore, La relation de la musique et du texte dans l’opéra baroque français: de Lully à Rameau , (Paris, L’Harmattan, 2006), Temporality and Narrativity in Music Drama (Belgrade, FMU, 2017), along with a large number of studies and articles published in reviews for musicology and music theory. Prof. Stefanović organized various international conferences in the field of music theory and is the author of various collections of papers in the field of music theory. Branka Cvejić-Mezei DIRECTOR OF THE BARUH BROTHERS CHOIR , DIRECTOR OF BELGRADE PHILHARMONIC ORCHESTRA IN RETIREMENT Most of her career her held the leading positions in cultural institutions in Serbia. She graduated Flute and Piano at the Faculty of Music, Belgrade, where she also earned her MA degree. Her specialization she did in Paris at the École Normale de Musique , where she receives a diploma Licence de concertes . Since 1971 she was a full-time member of the Belgrade Philharmonic Orchestra, firstly as a soloist (first flute), and in 1988 she’s becoming the direct where she’ll stay for 12 years. Later she’ll become a deputy director at the National Theater in Belgrade (2000-2001), and then filled the role of coordinator and counselor on cultural and humanitarian matters within Karic Foundation (2001-2006). Ladislav Mezei VIOLONCELLIST, PROFESSOR AT THE UNIVERSITY OF BELGRADE Full-time professor at the Chamber Music Department of the Faculty of Music in Belgrade, where he earned his BA and MA degrees. Specialization he did at the Franz Liszt Academy of Music in Budapest. His extensive artistic biography includes two seasons playing as a solo cellist of Sarajevo Opera and Philharmonic Orchestra, full-time membership in Belgrade Philharmonic Orchestra and lead cellist position (1975–2004), then solo performances with Sarajevo Philharmonic Orchestra, Vojvodina Symphony Orchestra , RTS Symphony Orchestra, Military Orchestra of Yugoslavia and more. He was a soloist and member of baroque ensemble Muzika Florida and academic chamber ensemble Ensemble Jeunesse Musicale . Among his performances stands out the Millenium Gala Concert in NY Lincoln Center in 1999. He is a permanent associate at the orchestra Camerata Serbica , as well as the member of Pancevo string quartet (today: Arco String Quartet ). He’s the founder of Jewish Chamber Orchestra, with which he has made a large number of performances. The string quartet TAJJ, whose member mr. Mezei is, became in 2005 the first quartet that earned an MA degree at the Faculty of Music, Belgrade. 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The 7th Edition of Rosi Fest January 27 – 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 local artists. Events will take place at the Ceremonial Hall of the Jewish Community, Dorćol Platz, and the Little Bay restaurant in Belgrade. The eight edition of Rossi Fest January 27 - February 6, 2025, Belgrade Music as the Language of Dialogue and Unity Music, as one of the oldest forms of communication, transcending spoken languages and time, connects diverse cultures and generations. It reminds us of the possibility of a shared space where communication and understanding occur on the most subtle level. This is also the central theme of this year’s edition of the International Rosi Festival, titled Dialogue and Unity . Following this idea, all festival events will explore, on various levels, the concept of dialogue that connects—between composer and audience, performer and listener, tradition and modernity, and even between different senses. The festival opens on Monday, January 27, at 8 PM in the ceremonial hall of the Jewish Community of Belgrade with the traditional concert Portraits and Remembrance . This program will feature thematically composed works by young composers and will mark International Holocaust Remembrance Day. This year’s selected works include compositions by Kristopher Magnuson (USA), Martin Lordian (France), and Mark Wolf (Australia), with Bojana Radovanović Šuput , a musicologist from the SANU Institute, serving as the concert moderator. Admission to this concert is free, but reservations are required via email at contact@rossifest.org. On Monday, February 3, the program will feature an extraordinary concert and event titled Dialogue of Tastes. Set in the unique operatic interior of the “Little Bay” restaurant, this event will play with the interplay and dialogue between the senses. A carefully curated menu will accompany a recital of Bach’s Fantasias, performed by the renowned French harpsichordist of Serbian origin, Željko Drion-Manić . Through the thoughtful curation of the event, audience members will be encouraged, during the intervals between musical segments and courses of the menu, to engage in inspiring dialogue and share their impressions of the performances. Reservations and tickets for this event are available at the restaurant, Dositejeva 9a. The reservation fee, which includes the concert and a set menu of two appetizers, a main course, and dessert, is 4,000 dinars. The festival concludes with a vibrant and spirited klezmer concert, Rossi's Open Bar in the urban ambiance of Dorćol Platz on February 6, starting at 8 PM. By blending classical sounds with a club-like atmosphere, the audience will experience an exciting shift in the boundaries of classical music. The concerts will feature members of the Jewish Chamber Orchestra and the Baruch Brothers Choir , as well as prominent local vocal and instrumental soloists, under the direction of Ana Grigorović and the baton of conductor Stefan Zekić. Tickets for this concert, priced at 400 dinars, can be purchased at Dorćol Platz just before the event, with prior reservations required via email at contact@rossifest.org. The program is supported by the Jewish Community of Belgrade, the Embassy of Israel in Serbia, Dorćol Platz, and the festival’s longstanding friends. Welcome! Program 2025 January 27, Monday 20:00 Concert: Portraits and Remembrance "Dialogue with History: Voices, Words, Sounds" Jewish Community of Belgrade, Kralja Petra 71a February 3, Monday 20:00 Concert: Dialogue of Tastes Program: Johann Sebastian Bach Restaurant Little Bay Dositejeva 9a February 6, Thursday 18:00 Concert: Rossi's Open Bar Program: Traditional and klezmer music Dorćol Platz Dobračina 59 Portraits and Remembrance Dialogue of Tastes Rossi's Open Bar

The fourth edition of the academy will commemorate the 100th anniversary of Giacomo Puccini's death with a performance of the opera "Suor Angelica" and celebrate the 145th anniversary of the founding of the Baruch Brothers Choir with a concert as part of the European Days of Jewish Culture. Both concerts will take place in the theater Madlenianum in Belgrade on 27th September 2024. SUMMER OPERA ACADEMY August 20-27, 2024, Belgrade Rossi Fest Summer Opera Academy is dedicated to presenting and promoting opera to domestic and international audiences and educating young opera professionals. The fourth edition of the academy will commemorate the 100th anniversary of Giacomo Puccini's death with a performance of the opera "Suor Angelica" and celebrate the 145th anniversary of the founding of the Braća Baruh Choir with a concert as part of the European Days of Jewish Culture. One of the festival's key goals is the development and enhancement of the professional skills of young opera artists in line with global standards. This year, the Summer Opera Academy offers young singers the opportunity to attend a masterclass with Metropolitan Opera soprano Olga Makarina and work with conductors Adi Bar Soria (Israel) and Stefan Zekić. The program includes: Intensive stage and music rehearsals for the production of Giacomo Puccini's opera "Suor Angelica." Individual online sessions with Olga Makarina. Work with conductors Adi Bar Soria and Stefan Zekić. Acting workshop "Character Through Action" – creating a character through active stage presence, led by director Ana Grigorović (National Theatre in Belgrade). Stage production with an orchestra for the "Suor Angelica" opera at the Madlenianum Theatre. Media coverage of performances (post-production, interviews, etc.). Professional video and audio recordings of the performances. Professional photographs of all events, including rehearsals. Application and Information: The application is free of charge. Application deadline: September 3, 2024. Participation fee: 800€ Rossi Fest offers special scholarships to the most talented young singers from Serbia. For more information, contact us at: contact@rossifest.org . Artistic team: Adi Bar Soria conductor, vocal coach Stefan zekić conductor Ana Grigorović director Ana Grigorović director Previous editions of Summer Opera Academy 2023 Concert of the participants of the Academy 2021 Mocart competition 2022 Opera "Il Tabarro" 2022 Gala concert "Renewal" 2023 Opera review "Der Schauspieldirektor" 2023 Concert of the Academy participants

This concert, which is held every January 27th, marking the World Holocaust Remembrance Day, is a result of the Open Call for Young Composers we have founded four years ago. Concert: Portraits and Remembrance Thursday, January 27th Rossi Fest YouTube Channel , 20PM (GMT +1) Portraits and Remembrance represent one of the main program features of Rossi Fest. This concert, which is held every January 27th, marking the World Holocaust Remembrance Day, is a result of the Open Call for Young Composers we have founded from the first edition of the festival. Over the years, it has been a pleasure to receive applications of young composers from all around the world, who expressed their personal perspectives on the topic of the holocaust. For the Rossi fest 2022 Program seven pieces by composers from five different countries were selected by the festival Artistic committee and will be recorded and performed as part of the festival program. Authors will mostly attend the rehearsals of their pieces live online, while the Portraits and Remembrance concert will be screened online on Rossi Fest YouTube channel on January 27th at 20h (GMT +1). Aside from that, the composers will introduce us more with their pieces in short video-presentations, which will be screened prior to the performance of their pieces. This year our program for young composers is joined by the musicologist, Bojana Radovanović, whose interviews with the selected composers of this year's Open Call will be soon available at the festival website. Update: Given the current Covid19 situation, performance of pieces by Marko Karanfilovski, Otto Wanke and Gil Dori will have to be rescheduled - new performance date will be announced soon. Pieces by Carmel Curiel, Jorge Andres, Chesney Palmer and Pavel Nesit will be performed, as originally scheduled, on Rossi Fest YouTube Channel, on January 27th, 20 PM (GMT +1). Program: Marko Karanfilovski: Forced march Otto Wanke: Paths...Shadows Jorhe Andrés Ballesteros: First they came... Carmel Curiel: Is there anything sadder than a train Gil Dori: by my death... II Chesney Palmer: In the Spaces, I still remember (2021) Pavel Nesit: 1396, for alto saxophone, snare drum and cymbal Performers: Radan Jovanović, conducturo Mina Mendelson, violin Jelena Španović, flaute Mihajlo Samoran, clarinet Aleksandar Radulović, percussions Ivan Marjanović, percussions Marko Bogdanovic, piano Marina Popović, viola Ladislav Mezei, violoncello Jasmina Vrbanić, violoncello Boban Stošić, double bass Nikola Macura, saxophone Predrag Nedeljković, bass clarinet Vuk Zekić, baritone Evgenija Jeremić, soprano Tatiana Ivković, narator Photography and video production: Tamara Stojanović Dejan Đurašinović Staniša Stojanović Audio production: Marko Perić Marko Karanfilovski: Forced march The piece Forced march is composed on the text of the poem of the same name, by Hungarian poet of Jewish descent, Miklós Radnóti. The poet spent a part of WWII in the copper mine in the city of Bor, which was used as a concentration camp at the time. During the forced labor Radnóti wrote poems that were found in the pocket of his pants after the exhumation and later published under the title Bor Notebook. I find Radnóti`s poetry and the story of him very personal, given that I am a native of Bor. Ensemble: clarinet, piano, drum / tambour, baritone, cello; Marko Kranfilovski was born in Bor, Serbia in 1994. He gained his BA (2017) and MA (2019) Degrees in Composition at the Faculty of Music of the University of Arts in Belgrade, under prof. Tatjana Milošević Mijanović. He attended masterclasses by distinguished composers, such as Ivo Medek, Dimitris Andrikopoulos and Yinam Leef. His pieces were performed in numerous concerts and festivals in Serbia, Bosnia and Herzegovina and USA. He also writes music for short films, theater plays and commercials. Otto Wanke: Paths...Shadows My chamber ensemble piece Paths...Shadows is based on compiled phrases from Antonina Żabińska’s diary Ludzie i zwierzęta (released in 1968) and from Dante Alighieri’s Purgatorio written in the early 14th century. Both highly contrasting text sources were merged into a text collage, which shows connecting lines between two different stories in different times as well as between Dante’s mystical world and real-life of Żabińska. Ensemble: flute, bass clarinet, vibraphone, piano, soprano, violin, cello; Otto Wanke has undertaken a series of musical studies: first jazz composition in Prague, later classical, film, and electroacoustic composition – under Karlheinz Essl, Iris ter Schiphorst, Wolfgang Liebhart in Vienna. Recently I have been active as a performer of electroacoustic music, working as a soloist as well as in cooperation with other musicians. In 2018 I was employed as an assistant at the Department of Ethnomusicology at the Music university of Vienna and I started doing a Ph.D. program. Jorge Andrés Ballesteros : First they came... First they came... is a somber meditation on Martin Niemöller's famous poem about the cowardice of many members of German society during the rise of the Nazis that led to the Holocaust. The ensemble tries to maintain unity, but bit by bit the instruments shy away from each other when the texture threatens them. One by one, their voices are cut short with each line of the poem, until only silence is left. Ensemble: flute, clarinet, violin, viola, cello; Jorge Andrés Ballesteros is a composer and speaker based in Boston. A polystylist, his works center on classical music vernacular but include a range of musical styles. He is regularly commissioned to create projects and original works that engage with issues facing the community. He has written for groups such as the Chattanooga Symphony and the Mozart Society Orchestra. He received his BA in Music from Harvard University, where he studied with Chaya Czernowin, Edgar Barroso, and Trevor Bača. Carmel Curiel: Is there anything sadder than a train Primo Levi is one of the cultural heroes of the Jewish history of the Holocaust. He deals in his writing with the human qualities he attributes to man which were taken from him during the Holocaust. In his poem Monday, he makes a jarring comparison of the sadness in the existence of the train and of the horse to the sadness in the existence of a man, showing a man is deprived of his humanity.In my work, I referred to the transition from the mechanics to the humanity that exists in the poem - from the metal- rhythmic train, to the horse, walking at the pace dictated to it and to the man who is perceived as having free choice. I also referred to the rhythmic process in the poem - from the fast train that doesn't stop to the static, lonely person, who has no purpose to go towards. Ensemble: flute, clarinet, violin, cello; Carmel Curiel (b.1998, Israel) is a composer and a violinist. She is a student at the Jerusalem Academy of Music, with Prof. Yinam Leef. Carmel received the Sharett Foundation excellence scholarship in composition. She won the 1st prize in the Israeli Composers Competition, and at Mark Kopytman Composition Contest. 2nd prize at Klon Award for emerging composers. Her pieces were played by the NY Philharmonic Orchestra, Iineraire Ensemble, I.C.S Quartet, Mivos Quartet, Meitar Ensemble, etc. Gil Dori: by my death... II by my death... II is a standalone movement from a larger work that is the creative culmination of my doctoral research into representations of the Holocaust in music. It features two poems by Julia Kolchinsky: Inheritance and Away From Babi Yar. Both reflect on a personal story and relay the general narrative of Holocaust victims. The piece deals with the culture of remembrance of the Holocaust between tradition and innovation, past and future, and extermination and resurrection. Ensemble: violin, reciter, live electronics; Gil Dori is interested in interactive electronic music, graphic notation, proportional procedures, and Jewish music. In addition to his artistic work, Gil is a co-founder of the EyeHarp Association, a cooperative start-up that develops accessible digital instruments, based in Barcelona, Spain. He also teaches online computer music and sound design classes at Ben-Gurion University and Sapir Academic College, Israel. Gil holds a Doctor of Musical Arts degree from Arizona State University. Chesney Palmer: In the Spaces, I still remember In the Spaces, I still remember is a work for submission to Portraits of Remembrance (2022) based on The Six Righteous Among the Nations in Auschwitz. It serves as a contribution to the memory of these beautiful human beings that sought to preserve life among their communities. The narration provokes powerful imagery of a terrible time that the world will not soon forget. In keeping the memory alive of these courageous few we hope history will teach us how to be better. Ensemble: Bb clarinet, violin, cello, double bass, piano, 2 percussionists: tubular bells, vibraphone, glockenspiel; Chesney Palmer is a pianist, clarinetist, and emerging composer from South Africa with a keen interest in abstraction theories and the links between visual abstract art and music. As a synesthete, he uses his multi-associative experiences to explore abstract art in a personal way that emphasizes textures, shapes, and sounds in music. He is currently pursuing a Ph.D. under Lukas Ligeti. Pavel Nesit: 1396, for alto saxophone, snare drum and cymbal With my composition I want to pay tribute to the memory of the victims of the Roma Holocaust. I was looking for inspiration, among other things, when visiting the memorial of the concentration camp in Hodonín near Kunštát. It brought me appalling testimonies of human suffering and fundamentally affected my composition. For example, the rhythm of a small drum is supposed to evoke the beating stereotype of slave labor. The number 1396 is the number of prisoners who were in Hodonín. Ensemble: alto saxophone, snare drum, cymbal; Pavel Nesit was born in 1997 in Ostrava, where he also studied composition at the conservatory, under Milan Báchorek and Michal Janošík. Currently he is studying composition for fourth year at the Prague Academy of Music in the class of doc. Ph.D MgA. Slavomír Hořínka. In his current work, I prefer to work with limited compositional material and I focus on improving the purity of his compositional language. He has written a number of compositions for various ensembles (solo, choral, chamber or orchestral) and music for theater and film. Jevrejski kamerni orkestar Jevrejski kamerni orkestar osnovao je 2012. godine violončeista Ladislav Mezei, u saradnji sa B'nei B'rit ložom Srbije, a članovi orkestra su profesionalni muzičari jevrejskog porekla i njihovih prijatelji. Primarni cilj orkestra predstavljanje muzike jevrejskih kompozitora, kao i drugih kompozitora čija su dela inspirisana jevrejskim temama, a interpretacija orkestra povezana je sa tradicijom, kulturom i istorijom jevrejske zajednice u Srbiji.

portraits and remembrance Theme of the Call refers to the culture of remembrance of the World War II, Holocaust victims and the Righteous Among the Nations. Emerging composers have the opportunity to give their contribution to world heritage, by composing works based on historical, literary or other sources, as well as personal stories, deeds and events during World War II. This way Rossi Fest aims to encourage the young artists to research and interpret the historical events in their own personal way and to give an important contribution to the remembrance culture of the Holocaust. PROVIDED SUPPORT FOR THE SELECTED COMPOSERS The festival's Artistic Committee will select up to 7 pieces to be included in the Rossi Fest 2023 Programme. The composers whose pieces are selected will be provided with: Active contribution in music and stage rehearsals with performers and stage director Performance of the compositions as part of the concert Portraits and Remembrance Audio and video recording of the performance Media support and promotion Accommodation Certificate of participation in the festival CONDITIONS OF PARTICIPATION The Call is open to students of Composition and composers not older than 35 year of age. The work should fit the theme of the Portraits and Remembrance as explained above. Length of the work: up to 8 minutes. The piece should be written for the ensemble Aratos Trio - violin, clarinet, and piano In this edition the advantage is given to works that are inspired by the life experience and letters of Hilda Dajč. Letters can be downloaded here . In accordance with the theme of the concorso (letters by Hilda Dajč), soloists can be added: soprano, mezzo-soprano, tenor, baritones, or reciter; as well as: tape, electronics, ambient sounds, etc.* can be added * Kindly contact us if you have any further information regarding the options for performing ensemble. APPLICATION PROCESS The application is done by submitting the Application form, click here to apply. In order to apply it is needed to provide a short biography with the information about the education, prizes and awards, and professional activities, a high resolution headshot, score of the piece, and the artistic explanation for it. Call timeline: Opening: October July 10th 2022 Application deadline : November 10th, 2022 Announcement of the results: December 31st, 2022 Rehearsal period: 23-26 January 2023 Concert Portraits and Remembrance, the announcement of the winners, and the awards ceremony: 27 January 2023 ANY QUESTIONS? If you have any questions regarding the Call and the Festival, do not hesitate to write to us via the contact form on the website or by email (contact@rossifest.com ).

Program 25-27 January 10:00 - 13:00 Museum of the National Theater in Belgrade Opera singing Masterclass Olga Makarina 14:00 - 17:00 German Lied Vocal Masterclass Alessandra di Giorgio / Sanja Radišić 25 January, Saturday 20:00 National Theater, Stage Raša Plaović Concert of the Ensemble Salomone Rossi (IT) Musical flowers from Jewish Baroque 27. January, Monday 17:30 Museum of the National Theater Judicium Salomonis: Two baroque interpretarions in oratorios by Carissimi and Charpentier Lecture by Prof. Ana Stefanović 18:45 Museum of the National Theater Before and After the Music of Messiaen’s Quatuor pour la fin du temps Lecture by Prof. Tijana Popović Mlađenović 27. January, Monday 20:00 National Theater, Stage Raša Plaović Concert: Portraits and Remembrance Quatuor pour la fin du temps , Olivier Messiaen Director: Ana Grigorović Stage design: Dunja Kostić Choreography: Miloš Kecman, Milan Bačkulja Video: Jovan Vlahović, Matija Novaković Mina Mendelson, violin Nikola Đurica, clarinet Vanja Šćepanović, piano Pavle Savić, violoncello 28. January, Tuesday 18:00 Museum of the National Theater Concert of the participants of the vocal masterclass 20:00 National Theater, Stage Raša Plaović Concert: The Psalms of David The Baruch Brothers Choir Conductor: Stefan Zekić Olga Makarina (USA), soprano Ayelet Cohen (Israel), soprano Alessandra di Giorgio (Germany/Serbia), mezzo-soprano Ladislav Mezei, violoncello Hristina Antić, organ Aleksandar Radulović, percussions Mina Marinković, harp

SUMMER OPERA ACADEMY August 2021, Belgrade Rossi Fest Summer Program focuses on the development of necessary professional skills for voice students and emerging opera artists, giving personalized attention to each participant, according to her/his specific strengths and needs. The Summer Program offers two packages: 1) Carmen production two-week program of intensive voice lessons, coachings, musical and stage rehearsals, and a performance with an orchestra of Bizet’s Carmen on a theatre stage. 2) Voice Masterclass & Mozart Competition program consisting a voice masterclass, a performance at Mozart competition with an orchestra, and a possibility of winning several prizes. Opera "Carmen" Rossi Fest production August 18, National Theatre Belgrade Ana Grigorović's Carmen focuses on the social question of Roma people and migrants' life in the systems of European countries - groups that were faced with different ways of discrimination throughout the migrant crisis from 2015-2019. The production is set in the present, placing the action in a guarded refugee house, where the characters` urge for freedom becomes apparent. The freedom that Carmen as the first operatic Roma heroine sings about is the same freedom that vulnerable social groups are looking for - the right to move, to work, and lastly, to love freely. This adaptation of the opera had its Serbian premiere with this Rossi Fest production with great success. This performance is the result of the Carmen production Academy program, in which vocal soloists had the opportunity to work on their vocal, artistic, and stage skills with Rossi Summer Academy lecturers throughout the period of two weeks. Conductor : Srboljub Dinić Director : Ana Grigorović Voice professor : Olga Makarina Second conductor : Stefan Zekić Répétiteur : Srđan Jaraković Stage design : Dunja Kostić Costume : Ivana Ivić Choreography : Tamara Pjević Video art : Matija Novaković Light design : Vlado Marinkovski Carmen – Shai Terry (IL) Don José – Marko Živković (RS) Escamillo – Vuk Zekić (RS) Micaëla – Elena Kozina-Claps (RU) Zuniga – Milan Tošić Lillas Pastia – Nemanja Stamatović Garcia – Đorđe Živadinović Grgur Orchestra ensemble: Concertmaster : Vesna Jansens Violin : Aleksandra Dimitrijević Viola : Mirko Crnojević Cello : Jasmina Vrbanić Double bass : Svetozar Vujić Flute : Jelena Španović Oboe : Marija Lazić Clarinet : Mihailo Samoran Bassoon : Ana Đorđević Horn : Igor Lazić Trumpet : Nenad Ninković Trombone : Ivan Jovanović Percussions : Aleksandar Radulović Light operator : Igor Vukojević Video operator : Dejan Ostojić Subtitles operator : Ana Bunjak Stage master : Zoran Mirić Mocart takmičenje MOZART COMPETITION August 12, National Theatre Belgrade Rossi Fest dedicates its very first opera competition to W. A. Mozart, as 2021 marks 230 years from the death of this musical genius. After the online elimination process, seven participants will have the opportunity to work on their repertoire with Rossi Fest Summer Academy lecturers and present it with the orchestra on the main stage of the National Theatre Belgrade, in front of a renowned international jury and audience. Competition Final: Tamara Mitrović Ach, ich fühl’s / Die Zauberflöte In uomini, in soldati / Così fan tutte Milica Damnjanac Der Hölle Rache / Die Zauberflöte Batti, batti, o bel Masetto / Don Giovanni Milutin Jocić Hai già vinta la causa Non più andrai / Le Nozze di Figaro Shai Terry Non so più / Le nozze di Figaro Smanie implacabili / Così fan tutte Helena Anat Susha Deh vieni, non tardar / Le Nozze di Figaro Padre, germani, addio! / Idomeneo Milos Milojević Madamina, il catalogo e’ questo / Don Giovanni Diggi, daggi, shurry, murry / Bastien und Bastienne Olivera Krivokuća Padre, germani, addio! / Idomeneo Strider sento la procella / Lucio Silla Conductors: Stefan Zekić and Adi Bar Director: Ana Grigorović Orchestra ensemble: Flute: Jelena Spanović Oboe: Marija Lazić Clarinet: Nikola Đurica Basson : Ana Djordjević Chorn : Igor Lazić First violin: Vesna Jansens Second violin: Aleksandra Jovanović Viola: Mirko Crnojević Double bass: Boban Stosić Orchestration : Srđan Jaraković Jury members: Olga Makarina soprano founder of Grand Stage International Arts Foundation Aneta Ilić soprano Voice professor and Vice-Dean at the Faculty of Music, Belgrade Katarina Jovanovič soprano Voice professor at the Faculty of Music, Belgrade Srboljub Dinić conductor General Music Director at the State Theatre Braunschweig Adi Bar conductor Prizes & Awards Certificates for all participants I, II, and III prize Potential engagement for Serbian-speaking singers in one of the upcoming productions Scholarship for Setúbal CantoFest 2022 (Portugal) Scholarship for Neustadter Meistersingerkurs mit Wettbewerbskonzert 2022 (Germany)