Interview: baritone Marko Kalajanović
Meandering
Paths of Young Opera Singers
"Two state opera house (Belgrade,
Novi Sad), a private chamber one (Madlenianum, Belgrade) and the quiet whisper
of conception scene in Niš and Kragujevac, give only the imaginary possibility
of choice and diversity. Policy of the houses is not propitious to the influence
of youth power (which is logical because there are enough full-time employees),
and the auditions are phantasmagoria categories"
By TIJANA
ĐURIČIĆ
from Belgrade, SERBIA
Young
baritone Marko Kalajanović (24) wished to perfect his voice in order to perform
better various spiritual choral pieces (sang for the three years in the church
choir 'Mokranjac'). After a year of working with Ljubodrag Begović he got completely
'infected' with opera. Loves the sound of the extreme heights and the emotional
charge felt during a role preparation. Yes, 5 years ago, he went to the opera
performance for the first time and today he is compared with the famous Italian
baritone Ettore Bastianini. Marko studied singing with Radmila Bakočević, Zivan
Saramandić, Enza Ferrari, Bruno Nicoli, Gianni Fabrini, and he performed the 20th
solo recital in front of the cheering audience on the Kolarac Hall few days ago.
Kalajanović's honey voice colour, rowdily character and well-formed phrases make
his each sang melody essentially moving. Tenor heights, the depths of bass, great
suggestiveness, and impressive CV, give him the right to share with us his impressions
of singing climate in Serbia.
How to become the opera singer in Serbia?
Country
that bears the legacy of folklore as the tendency prefers ethnic folk music requires
constant effort in the popularisation of high art - classical music. Given the
late introduction of the classics (due to the famous Turk occupation), it is the
surprise that during 50's of XX century, Belgrade Opera was renowned as one of
the world's best opera houses. Today, unfortunately, such image vanished.
Two
state opera house (Belgrade, Novi Sad), a private chamber one (Madlenianum, Belgrade)
and the quiet whisper of conception scene in Niš and Kragujevac, give only the
imaginary possibility of choice and diversity. Policy of the houses is not propitious
to the influence of youth power (which is logical because there are enough full-time
employees), and the auditions are phantasmagoria categories.
Why would
a talented professional after 10 years of education decide to focus on opera singing
and not sing on the 'splavovi' (clubs on the river)?
I believe that
the only answer to this question is great love for music, but, unfortunately,
it is insufficient in the era of global moving and deeply rooted society of spectacle.
How can a young singer build a career in Serbia?
Only persistence
in work and a great love for Serbia can give a person enough strength to fight
the circumstances. As there is no organized system that would directly give a
chance to the talented educated individual, it is necessary to constantly examine
the circumstances and try to find meandering roads in scheduling concerts and
preparing roles. Love of Serbia is a feeling and a decision of belonging here
and it is necessary to raise the artistic and cultural values, here, not abroad
- in some economically safer country. Improving yourself, you can improve your
environment, your society and the state.
What keeps you here?
Talent
should not be sold to other cultures and their ups. For me such activity is betrail.
Of course, as a guest, as a Serbian baritone, I would gladly performed around
the world. I like Serbs, Serbia and I fell well here.
Active work of the
concert agencies in affirming the young artists, managers who would lead careers
of opera singers, and communicate with other countries, differently regulated
system of the selection in existing opera house are Sisif's yearn of the classical
music scene in Serbia.
Young artists still resist numerous existential
challenges and through the vicious love and enthusiasm, as the strong lions, remain
in almost dead opera scene in Serbia.
(Published:
20.06.2009.)
