Mahler

Synagogue, Novi Sad

Conducotr: Aleksandar Marković Soloist: Željko Lučić, baritone Program: Mahler

WORLD MUSIC DAY

Conductor: Premil Petrović Soloists: Christina Shuklar, violin Irena Josifoska, cello Aleksandar Đermanović, piano Program: Beethoven

  • The continuation of the spring season was marked by Russian music

    “If the first part of the evening was an ode to pianistic virtuosity, the second was an ode to orchestral collectivism. Fourth symphony Tchaikovsky, that extraordinary work that the composer himself called “the perfectionism of fate”, under Bebešelja’s leadership, sounded like a kind of concert for an orchestra, a work that not only seeks, but also demands superb teamwork… Bebešelja, known to the Novi Sad audience for a long time as an endlessly gifted and suggestive “ruler” of the orchestra, managed to build a solid architectural vision of both works on the concert program, leaving the soloists with a dose of personal expression. That rare balance between authority and freedom made the Vojvodina Symphony Orchestra once again confirm its sovereign position in relation to all ensembles in the region…”
    I. Klajn
    Dnevnik, May 2025.

  • In the age of spiritual stumbling of civilization

    “The Vojvodina Symphony Orchestra had another performance at Bemus, with conductor Sergej Smbatyan (Artistic Director and Chief Conductor of the Symphony Orchestra of Armenia and Chief Conductor of the Malta Philharmonic). This is an increasingly productive ensemble, which they explicitly – ready and committed – demonstrate in Shostakovich to the tenth symphony, one of the composer’s most complex comments on the Stalinist era. Although it could happen that their interpretation remains in the shadow of Rachmaninov’s Concerta ya piano no. 3 and Eve Gevorgjan, the ovations were equally distributed…”
    Marija Ćirić
    Radar, October 2024.

  • First time with Petar Pejčić

    “The April program of the Vojvodina Symphony Orchestra, which was conducted by one of our most respected artists, Bojan Suđić, we experienced, following almost all the previous performances of this highly professionally profiled ensemble from the very beginning, as one of the most emotional and ready, and therefore the most exciting concerts, as much because of the great interpretive result achieved with experienced and inspired, romantic literature (in addition to extremely contemporary) very fond and sensitive maestro, as much because of the performance of the young cellist Petar Pejčić (the youngest finalist of the “Queen Elizabeth” International Competition in Brussels, 2022) who played for the first time as a soloist with our musicians…”
    Marija Adamov
    Dnevnik, May 2023.

  • Magical Osetinska

    “Everything in her (Polina Osetinska’s) performance was clear, impressive, but also unique, with personally designed and “carried” acelerandos – outpourings of immediate inspiration, which in such moments demanded greater flexibility and speed of reaction from the orchestra, which was still “surprised” by the suddenness of accelerated solo performances. That would be the only objection to the cooperation of an otherwise excellently prepared ensemble which, with respectable attention and experience, plastically and musically led by the conductor (Marko Hribernik) who himself started his career as a gifted pianist…”
    Marija Ana Adamov
    Novosti, March 2023.

  • Obsession: the restlessness of today

    “In the second part of the evening, the concert-goers had the opportunity to enjoy a refined, finely tonally sculpted interpretation of an extremely interesting work, rarely performed on local concert podiums, the monumental orchestral suite Planete by the twentieth-century English composer Gustav Holst, a work inspired by the author’s fascination with mythological beliefs about the planets of the solar system, realized in an imaginatively developed structure of delicate orchestral sound. Measured, The carefully constructed and suggestive performance of this piece once again demonstrated the exceptional interpretive qualities of conductor Skenderović and the Vojvodina Symphony Orchestra”
    Boris Hložan
    Dnevnik, april 2015.

  • Concert with clinking glasses

    “At the beginning of the evening, the audience listened with pleasure to a well-prepared orchestra that accompanied the conductor in a disciplined and concentrated manner in the performance of the romantic part of Wagner’s overture to the opera Tannhäuser, which in their interpretation just branched out in all its beauty. Special praise goes to the brass players who play an important role in this composition.”
    Ileana Grazio
    Klasika.hr, jul 2014.

  • Monumental, solemn and noble

    “The real challenge for both the guest and our focused and well-motivated musicians were the imposing framework compositions of the program in which all the orchestra’s strengths were masterfully exercised, and both were brought worthy of a successful end to the season. supported by a harmonious and sonorous brass band, as well as rhythmically pregnantly driven parts of woodwind instruments and a convincing string tutti, performed Overture for the opera Masters Singers from Nuremberg by Richard Wagner.”
    Marija Adamov
    Dnevnik, may 2013.

Beethoven’s Eroica

Beethoven’s Symphony No. 3 in E-flat major, Op. 55 — better known as the Eroica — is one of the most renowned and monumental works in the history of musical creation. This titanic composition opened the door to a new artistic path and demonstrated that music can be a powerful…

At the Crossroads of Myth and Philosophy – Opera Oedipe

The opera Œdipe (Oedipus) is a monumental musical and dramatic work in four acts with a prologue, composed to a libretto by the French poet Edmond Fleg, based on Sophocles’ tragedies Oedipus Rex and Oedipus at Colonus.
Nenad Marković

Specters of Maqam – Trumpet Concerto by Alexander Arutiunian

Alexander Arutiunian (1920–2012) was one of the key composers of Armenia’s postwar musical life and long-time director of the Armenian Philharmonic (1954–1990). His Trumpet Concerto, composed during the war years, was not premiered until 1950 in Moscow, performed by Aykaz Messiyan with the Bolshoi Theatre Orchestra. The work is written…