Raspored koncerata /Concert schedule

fotografije na ovitcima / cover and back page photos by Mio Vesović

Zoran Dukić, gitara/guitar1/8 (21h) Stari Grad Pag / The Old Town of Pag2/8 (21h) Dom kulture / Culture House, Kolan

Lovro Pogorelić, klavir/piano4/8 (21h) Solana Pag / Pag Salt Works

Srđan Bulat, gitara/guitar & Biljana Kovač, kontraalt/contralto (Crna Gora/Hrvatska – Montenegro/Croatia)6/8 (21h) Stari Grad Pag / The Old Town of Pag

Vlorent Xhafaj, violončelo/cello (Albanija/Francuska – Albania/France)8/8 (od/from 21h) brod Festini, riva Pag / Festini Boat, Seafront Pag (u slučaju kiše: crkva sv. Frane / in the case of rain: St. Francis’ Church, Pag)

Aleksej Vilegžanin, orgulje (Rusija) / Aleksey Vylegzhanin, organ (Russia) & Enes Vejzović, naracija/narration13/8 (21h) kula / Tower Skrivanat, Pag (u slučaju kiše: crkva sv. Frane / in the case of rain: St. Francis’ Church, Pag)

PagArtFestival predstavlja mladog glazbenika / PagArtFestival presents young musician:

Kristian Keil, klavir/piano17/8 (21h) crkva sv. Frane / St. Francis’ Church, Pag

“Piramide su velike, velik je Mont Blanc i unutrašnjost Petrove stolne crkve u Rimu, ako se ovaj atribut ne pridržava uopće radije za moralni i duhovni svijet, za uzvišenost srca i misli.”

Doktor Faustus, Thomas Mann (prijevod Konstantin Petrović)

“The pyramids are great, Mont Blanc and the interior of St. Peter’s Church in Rome are great — that is, if one prefers not to reserve that attribute for the moral and intellectual world, for the grandeur of the human heart and mind.”

Doctor Faustus, Thomas Mann

odabrao/selected by: Lovro Pogorelić,

umjetnički direktor/Artistic Director

foto/photo: Alan Crljenko

Zoran Dukić (1969., Zagreb) upoznao je gitaru u dobi od šest godina. Danas je jedan od najcjenjenijih klasičnih gitarista našeg vremena.Diplomirao je na Muzičkoj akademiji u Zagrebu kod Darka Pe-trinjaka i nastavio studij kod Huberta Käppela na Visokoj školi za glazbu i ples u Kölnu.U svojim godinama natjecateljskog zamaha (1990.–1997.) pobi-jedio je na zapanjujućem broju natjecanja i jedini je gitarist koji je osvojio oba natjecanja Andrés Segovia, u Granadi i Palma de Mallorci. Pokazujući rijetko impresivno majstorstvo u raznolikim glazbenim periodima i stilovima pobijedio je i na natjecanjima posvećenima Fernandu Soru, Manuelu Ponceu, Manuelu de Falli i Franciscu Tárregi, među ostalim. Na najvećem španjolskom gi-tarističkom natjecanju, pod pokroviteljstvom kraljevske obitelji u Madridu, pored prve nagrade osvojio je i specijalnu nagradu za najbolju izvedbu španjolske kompozicije, prvi put dodijeljenu izvanšpanjolskom izvođaču. Njegove izvedbe širom pet kontinenata inspirirale su mnoge skla-datelje da mu posvete svoja djela. Ostvarivao je turneje s progra-mom samo Bachovih skladbi, izvodeći kompletne cikluse suita za lutnju, violinu ili violončelo. Također gaji poseban interes za španjolski i južnoamerički idiom, srž repertoara klasične gitare.Njegove pedagoške aktivnosti jednako su impresivne. Poučavao je na Visokoj akademiji Barcelone i Visokoj školi za glazbu Aac-hena, a sada predaje na Kraljevskom konzervatoriju u Haagu i kao gostujući umjetnik na glazbenim akademijama Seville i Cardiffa. Također redovito održava majstorske tečajeve širom svijeta i čest je gost brojnih gitarističkih festivala. Veoma je aktivan u komor-noj glazbi i osnovački je član Europskog gitarističkog kvarteta i Gitarističkog trija Volos.Snimao je kompaktne diskove za izdavačke kuće u Njemačkoj, Španjolskoj, Belgiji, Brazilu i Kanadi.

Njegove koncertne izvedbe, podjednako solističke kao i s orke-strom, ostavljaju trajne utiske na publiku i kritiku:

“Uzbudljiv koncert... publika je bila na nogama već nakon prvog djela... fenomenalna večer.” Gevelsberger Zeitung, Njemačka

“...nakon dvije minute publika je ostala bez daha... žičani genije iz Zagreba pokazao je podjednako tehničku briljantnost i osjećaj-nost... s umjetničkim potencijalom i izražajnošću života samog... To je muzičar, ne gitarist.” Kölnische Rundschau, Njemačka

“Kakva snaga za postizanje pažnje publike!”Violão intercambio, Brazil

“Kakva visina interpetativnog kapaciteta... Njegov koncept baro-knog stila daje pečat autentičnosti... zapanjujuća sigurnost...”

El correo de Andalucia, Španjolska

“Pravi umjetnik, muzičar čije dimenzije idu iznad superlativnog dominiona instrumenta... Gotovo je izazvao stanje delirija razi-nom svog virtuoziteta i vulkanske fantazije.” Canarias 7, Španjolska

“Majstor-virtuoz koji potpuno izbjegava težnju za efektom pra-znog virtuoziteta... On tretira svoj instrument s intimnim senzi-bilitetom i obogaćuje topao i plemenit zvuk gitare... On je vodeći gitarist svoje generacije.” Online Musik Magazin, Njemačka

“Majstor instrumenta, sjajeći u virtuoznim momentima jednako kao u intimnima. Zvuk koji on stvara iz svoje gitare zadivljujući je u svojoj paleti izražajnosti i elegancije.” El norte, Meksiko

“Uvijek majstor svog instrumenta, Dukić stalno iznova pokazuje spektakularni virtuozitet zajedno s ogromnom zrelošću i snažnom inspiracijom.” Il gazettino, Italija

“Muzičar sa snagom i moći rezerviranom samo za velikane... nje-gov način vibrata na nekim notama prodire ravno u srce... njegova zvučnost, inspiracija i lirika mogu micati planine...”

Cahiers de la guitar, Francuska

Zoran Dukić, gitara/guitar

J. S. Bach: Siciliana iz Prve sonate za violinu solo u g-molu/Siciliana from Sonata No. 1 in G minor for Violin Solo, BWV 1001 Andante iz Druge sonate za violinu solo u a-molu/Andante from Sonata No. 2 in A minor for Violin Solo, BWV 1003 Largo iz Treće sonate za violinu solo u C-duru/Largo from Sonata No. 3 in C major for Violin Solo, BWV 1005 Sarabanda iz Druge partite za violinu solo u d-molu/Sarabande from Partita No. 2 in D minor for Violin Solo, BWV 1004A. Piazzolla: Invierno Porteño, obr./arr. by S. Assad Adiós Nonino, obr./arr. by C. Tirao Muerte del Angel, obr./arr. by L. Brouwer J. Malats: Španjolska serenada/Spanish Serenade B. Papandopulo: Tri igre/Three DancesA. Barrios: Preludij u c-molu/Prelude in C minor Caazapá Chȏro de Saudade M. Tadić: Macedonian Girl; Walkdance

“Dukić je, bez pretjerivanja, jedan od najboljih gitarista današnjice i jedan od naj-većih muzičara koje je Hrvatska ikada imala...Virtuoznost koja ostavlja bez daha, fascinantna razina dinamike, zapanjujuća ljepota i čistoća tona i nevjerojatna kon-centracija i fokus dok prodire u dubine duha glazbe, donoseći nam njene metafi-zičke dimenzije prikrivene i zasute u zvuke.” Zarez, Hrvatska

Zoran Dukic (1969, Zagreb) was presented with a guitar at the age of six. Today he is one of the most distinguished classical guitarists of our time. He graduated at the Zagreb Academy of Music with Darko Petrinjak and com-pleted his studies with Hubert Käppel at the Cologne University of Music (Hoch-schule für Musik und Danse).In his tour de force competition years (1990–1997) he has won an astonishing number of competitions, being the only guitarist to have won both Andrés Sego-via competitions, in Granada and in Palma de Mallorca. Showing astounding mastery in a wide variety of musical periods and styles he has also won compe-titions dedicated to Fernando Sor, Manuel Ponce, Manuel de Falla and Francis-co Tárrega, among others. At the greatest Spanish guitar competition in Madrid, patronized by the Royal Family, he was awarded, in addition to the first prize, the special prize for the best interpretation of Spanish music, first time awarded to a non-Spaniard.

His performances throughout the five continents have inspired numerous com-posers to dedicate their works to him. He has also toured with entire Bach pro-grams, performing complete cycles of lute, violin or cello suites. He also has a special affinity for Spanish and South American musical idiom, the core reper-toire of classical guitar.

His pedagogical activities are equally impressive. Having taught at the School Superior in Barcelona and at the University of Music in Aachen, he is currently teaching at the Royal Conservatory of Music in The Hague and as a guest artist at Seville and Cardiff Music Universities. In addition to this, he regularly gives mas-terclasses all over the world and is often an invited guest to numerous guitar fes-tivals. Zoran Dukic is also a very active chamber music performer and a founding member of the European Guitar Quartet and Volos Guitar Trio. He has recorded compact discs for labels in Germany, Spain, Belgium, Brazil and Canada.

His concert performances, both as a soloist or with an orchestra, leave long-lasting impressions on audiences and critics alike:

“A thrilling concert... the audience was on its feet already after the first piece... a phenomenal evening.” Gevelsberger Zeitung, Germany

“...after two minutes the audience was breathless... the string genius from Zagreb showed both technical brilliance and tenderness... with the artistic potential and expressive power of life itself... This is a musician not a guitarist.”

Kölnische Rundschau, Germany

“...what a power for captivating the attention of the audience!” Violão intercambio, Brazil

“ What a height of interpretative capacity... His concept of baroque style bears a stamp of authenticity... petrifying security...” El correo de Andalucia, Spain

“A true artist, a musician whose dimension goes beyond superlative dominion of the instrument... He almost caused a state of delirium through the level of his virtuosity and volcanic fantasy.” Canarias 7, Spain

“...Master-virtuoso, avoiding at every instance effect-striving, empty virtuosity... He treats his instrument with intimate sensibility and cherishes warm and noble guitar sound... He is the leading guitarist of his generation.”

Online Musik Magazin, Germany

“...Master of the instrument, shining in virtuoso moments as well as in the intimate ones. The sonority he creates from his guitar is as admirable as his palette of ex-pression and elegance.” El Norte, Mexico

“...always the master of his instrument, Dukic demonstrated spectacular virtuosity over and over again together with a great maturity and powerful inspiration.”

Il gazzettino, Italy

“A musician with vigour and power reserved only for the great... his way of vi-brato on certain notes goes straight to your heart... his sonority, inspiration and lyricism can move mountains...” Cahiers de la guitare, France

“...Dukic is, without exaggeration, one of the best guitarists of today and one of the greatest musicians Croatia has ever had... Breathless virtuosity, fascinating levels of dynamics, astounding beauty and clarity of tone and unbelievable concentration and focus as he dives into the depths of the spirit of the music, bringing back to us its metaphysical dimension disguised and cloaked in sound.” Zarez, Croatia

foto/photo: Mario Majcan

Lovro Pogorelić (1970.) dobio je prvu poduku iz klavira od svog oca Ivana, akademskog muzičara. Od dvanaeste godine radi s ruskim pijanistom i pedagogom K. Boginoom. Od sedamnaeste godine redovito koncertira širom svijeta. Solistički ili s orke-strom, ostvaruje pijanističke kreacije uvjerljive snage i nepobitne individualnosti, o čemu je zapisano:

“Stil Lovre Pogorelića precizan je i dobro školovan...” G. Norris, The Daily Telegraph, London, 1988.

“Evo jedinstvenog umjetnika koji će, nesumnjivo, podijeliti mi-šljenja. Diskutabilan za neke. Fascinantan za druge. Zanimljiv, u svakom slučaju...”

A. Busser, Nice-Matin, 1992. “Klavirski talent iz kategorije velikana... On je genijalan u svom sviranju bez nepotrebnog uljepšavanja, ne nastojeći nikoga za-vesti, čineći sve da uđe u dušu svakom tonu i udahne mu punu vrijednost. Nema površnosti ili lakih rješenja u njegovoj izvedbi, sve je predstavljeno jasno i snažno...”

P. Woetmann, Berlingske Tigendde, Kopenhagen, 1993.

“Izgleda da Pogorelić ustrajno kreće uzbrdo... Neobično je i dir-ljivo iskustvo sresti tako velikog umjetnika...”

J. Jacoby, Politiken, Kopenhagen, 2000.

“Hrvatski klavirski lav... Pogorelić je pijanist s velikim P. Njego-va tehnika je nadmoćna a snaga medvjeđa... U Slikama s izlož-be kontraste daje toliko plastično i snažno da možemo gotovo dotaknuti djecu u Tuillersu, osjetiti napad Bydla, doživjeti or-giju boja u Limogesu, čuti huk u Katakombama, a Velika vrata Kijeva postala su veća i moćnija nego što smo čuli ikada prije. Je li ikome nedostajala Ravelova orkestracija? Ne, interpretacija Lovre Pogorelića je dovoljna... Prokofjev (7. sonata) ostaje vjeran sebi u sva tri stavka... U trećem je potpuno nadvladao uznemire-ni tempo, snažno ali s osjećajem, svirajući tako da svi ostaju bez daha. To je bilo nadmoćno!”

H. Krarup, Dagblader, Danska, 2003.

“Pijanist Lovro Pogorelić pronašao je kako investirati u nezaobi-laznost slavenske glazbe snažnim, raskošnim vlastitim stilom... Koncertni veteran svirao je preplavljenoj publici.”

C. Porter, Washington Post, 2003.

“Radi se o pijanistu izvjesne reputacije sa zadivljujućim muzič-kim argumentima...”

J. Hamada, The Record Geijutsu Disc Review, Japan, 2006.

“U toj muževnoj perspektivi Sonata u h-molu osvanjuje vjerodo-stojnije od posljednih prenemaganja s Dalekog Istoka. Isto tako, Dolina Obermann se ne valja u sublimnosti te na mračan način iznosi snažne stvari...”

O. Bellamy, Le monde de la Musique, Pariz, 2006.

“U Slikama s izložbe Lovro Pogorelić manje se trudi zavesti slu-šatelja nego ga voditi. Iz tog odsustva prisile, nije li više odan zapisu djela? Bez sumnje, zato što njegova dobro postavljena i odmjerena ekspresivnost, njegova živa harmonična inteligencija (Katakombe), njegov smisao za ganuće i njegovo nagnuće pri-zivu intimnog (Stari dvorac) zarobljava. Malo bučnosti i puno fino izbrušenih boja, gotovo bez našeg znanja, kroz prizivanje orkestra. Lijepo ostvarenje.”

F. Langlois, Le monde de la musique, Pariz, 2009.

“Briljantni Lovro Pogorelić u SC-u... svirajući lirske, duboko introvertne, melankolične, nabijene emocijama, kompozicije iz serije ‘Godine hodočašća’ na kojima je pokazao virtuoznu spo-sobnost postizanja pijanizima od kojeg je publika zanijemila.”

B92 Beograd, Tanjug, autor nepotpisan, 2011.

“Lovri Pogoreliću u Hrvatskoj, a i izvan nje nije potrebno poka-zivanje i/ili dokazivanje: ovaj ingeniozni umjetnik od formata posjeduje zavidnu nutarnju puninu koju sa sobom donose zrele godine, a koje su u sretnom suglasju sa superiornom tehničkom spremom. Kao ni njegov životopis, niti tehničku spremu Lovre Pogorelića nije potrebno opisivati – ona se podrazumijeva. Nje-gov položaj na našem sve razgranatijem pijanističkom obzorju ne može ugroziti niti jedan novi, blistavi talent. Prije bi se reklo da je Lovro Pogorelić jedna od referentnih točki suvremenog hr-vatskog pijanizma. Takvog je umjetnika užitak slušati, bez ob-zira kojem se repertoaru okreće: Brahmsu, Lisztu, Chopinu ili, kako na ovom koncertu, ruskim autorima...”

H. Novak Penga, KLASIKA.hr, 2017.

Lovro Pogorelić poučava klavir kao redovni profesor pri Muzičkoj akademiji u Zagrebu. U slobodno vrijeme osvaja planinske vrhove.

Lovro Pogorelić, klavir/piano

A. N. Skrjabin/Scriabin: 24 Preludija/24 Preludes, Op. 11 Fantazija u h-molu/Fantasy in H minor, Op. 28 Poema/Poem, Op. 41 Peta sonata za klavir/Piano Sonata No. 5, Op. 53

Lovro Pogorelich (1970) received his first piano lessons from his father Ivan, a classically trained musician. At the age of twelve he began studying with the Russian pianist and pedagogue Kon-stantin Bogino. Since his seventeenth birthday he has been play-ing concerts worldwide. The following was written about him:

“Lovro Pogorelich’ style is precise and well schooled...” G. Norris, Daily Telegraph, London, 1988

“Here is a unique artist who will, undoubtedly, divide opinions. Questionable for some. Fascinating for the others. Interesting, in any case...” A. Busser, Nice-Matin, Nice, 1992

“A Piano Talent from the Master Category... He is genuine in his playing without unnecessary embellishment, not trying to mislead anyone, doing everything to enter the soul of every tone and to inhale it the full value. There is no superficiality or easy solutions in his performing; everything is presented clearly and strongly...” P. Woetmann, Berlingske Tidene, Copenhagen, 1993

“It seems that Pogorelich persistently plays uphill ... It is an un-usual and moving experience to meet such a great musician...”

J. Jacoby, Politiken, Copenhagen, 2000

“Croatian Piano Lion ... Pogorelich is a pianist with the capital P. His technique is overwhelming and his strength is bear-like... In Pictures at an Exhibition his contrasts are so plastic and power-ful that we can almost touch children in Tuileriers, feel Bydlo’s attack, experience the orgy of colours at the Market-place at Li-moges, hear rumble in Catacombs, and enlarge and empower the Great Gate of Kiev more than heard ever before. Did anybody miss Ravel’s orchestration? No, Lovro Pogorelich’s interpreta-tion is sufficient. Prokofiev (The 7th Sonata) remains faithful to himself in all three movements... In the third one he dominant-ly mastered restless tempo, vigorously but with strong feeling, leaving everybody breathless while playing. That was over-whelming!” H. Krarup, Dagblader, Denmark, 2003

“Pianist Lovro Pogorelich has discovered how to invest the brooding inevitability of Slavic music with the blustery style of his own... already a veteran concert artist, Pogorelich played an all-Slavic program for an overflow audience.”

C. Porter, Washington Post, 2003

“It is clear that this is a pianist of a considerable reputation with impressive musical arguments...”

J. Hamada, The Record Geijutsu Disc Review (Japan), 2006

“In this manly perspective, the Sonata in H minor appears more credible than the most recent affectation from Far East. Also, the Obermann Valley does not wallow in the sublime, so that power-ful things are expressed in a dark manner...”

O. Bellamy, Le monde de la musique, Paris, 2006

“In Pictures at an Exhibition Lovro Pogorelich’s intention is less to grasp his audience than to guide them. Isn’t this absence of violence closer to the spirit of the piece? Without a doubt, his expression well paused and measured, his vivacious harmonic intelligence (Catacombs), his manner of touching the keys and his sound inclined towards intimacy (The Old Castle) captivate. Not forced, but richly coloured, his performance succeeds, al-most without noticing it, to evoke the orchestra. Nice work.”

F. Langlois, Le monde de la musique, 2009

“Brilliant Lovro Pogorelich at SC... by playing lyrical, deeply introverted, melancholic, emotionally charged pieces from the Années de Pèlerinage, thus showing the virtuosic ability of achieving pianism that left the audience speechless.”

B92 Beograd, Tanjug, unknown author, 2011

“Lovro Pogorelich does not need to show and/or prove himself in Croatia or outside of it: this ingenious and outstanding artist possesses an enviable inner fullness rendered by mature years, which is in blissful harmony with a superior technical mastery. His biography, as well as his technical mastery, does not need to be described – it is implicit. His position on our increasingly ex-panding artistic horizon cannot be threatened by any new, spar-kling talent. It can be assumed that he is one of reference points of modern Croatian pianism. Such an artist is a pleasure to listen to, regardless of his choice of repertoire: Brahms, Liszt, Chopin or, as in this concert, Russian composers...”

H. Novak Penga, KLASIKA.hr, 2017

Lovro Pogorelich teaches piano as a full professor at the Zagreb Academy of Music. In his spare time, he conquers mountain peaks.

Srđan Bulat (1986., Split) jedan je od najuspješnijih kla-sičnih gitarista nove generacije, s najvišim nagradama na gotovo svim najvažnijim međunarodnim gitarističkim na-tjecanjima, među ostalim Francisco Tarrega (Benicassim, Španjolska), Julian Arcas (Almeria, Španjolska), Michele Pittaluga (Alessandria, Italija), Alhambra (Valencia, Špa-njolska), Gredos San Diego (Madrid), Međunarodno gitari-stičko natjecanje Londona, Fernando Sor (Rim); a osvojio je i mnoge specijalne nagrade za najbolje izvedbe španjol-ske glazbe koju redovito izvodi u svojim programima.Magistrirao je s najboljim ocjenama na Kraljevskoj glaz-benoj akademiji u Londonu, u lipnju 2014. Dobio je tako-đer i prestižnu stipendiju ABRSM-a (ocjenjivačkog odbora kraljevskih muzičkih škola Ujedinjenog kraljevstva), kao jedini strani student generacije. U rujnu 2015. završio je svoj drugi poslijediplomski studij na Muzičkoj akademiji u Zagrebu, gdje se specijalizirao na

djelima hrvatskih skladatelja zaklasičnu gitaru.Održao je brojne recitale širom svijeta (London, Pariz, Rim, Madrid, Oslo, Kopenhagen, Helsinki, New York, Chicago, Toronto), i snimio dva solistička albuma – prvi za RTVE (Španjolska radio-televizija) a drugi za reprezentativnu iz-davačku kuću Naxos, objavljen u rujnu 2012.

Srdjan Bulat (1986, Split) is one of the most successful classical guitarists of the new generation and the top prize winner at almost all of the most important international classical guitar competitions – Francisco Tarrega (Beni-cassim, Spain), Julian Arcas (Almeria, Spain), Michele Pittaluga (Alessandria, Italy), Alhambra (Valencia, Spain), Gredos San Diego (Madrid), London International Guitar Competition, Fernando Sor (Rome), just to name a few; and has also won numerous special awards for the best interpretation of Spanish music, which is featured prom-

Srđan Bulat, gitara/guitar Biljana Kovač, kontraalt/contralto

G. Caccini: Amarilli, mia bellaC. Monteverdi: E pur io torno, I miei subiti sdegni, arija Ottonea iz opere “Krunidba Popeje” S. L. Weiss: CiacconaG. F. Händel: Priva son d’ogni conforto, arija Kornelije iz opere “Julije Cezar” Già l’ebro mio ciglio; Non fu gia men forte, arije Orlanda iz opere “Orlando”K. Arakeljan: Fantasia Dvije pjesme E. Dickinson/Two songs after E. Dickinson Stiješnjeni stvor u travi (Zmija)/A Narrow Fellow in the Grass (The Snake) Nada je pernato biće/Hope is the Thing with FeathersI. Albéniz: Mallorca, obr./arr. by S. BulatM. de Falla: Sedam španjolskih pučkih pjesama/Seven Spanish Folk Songs

inently in all of his recital programmes.He has a Master of Arts degree from the Royal Acade-my of Music in London, which he successfully completed, with high distinction, in July 2014. He was also awarded the prestigious ABRSM scholarship as the only interna-tional student of his generation to be given this honour. In September 2015, he completed his second postgraduate degree at the Music Academy in Zagreb, Croatia, where he specialized in classical guitar music written by contempo-rary Croatian composers.

He has given many recitals around the world (London, Par-is, Rome, Madrid, Oslo, Copenhagen, Helsinki, New York, Chicago, Toronto), and recorded two full length solo al-bums – his first for RTVE (Spanish National Radio Televi-sion), and his second for the prestigious recording company Naxos, in September 2012.

foto/photo: Damil Kalodjera

Biljana Kovač diplomirala je pjevanje na Konzervatori-ju Verdi u Milanu nakon čega je dobila stipendije za Aka-demiju Puccini u Torre del Lago, potom za Operni studio LTL (Toskana, Italija) i Beogradsku baroknu akademiju. Pobjednica i finalistica mnogih međunarodnih natjeca-nja, Biljana Kovač ima široki repertoar koji se proteže od baroka do suvremenih djela. U Austriji je debitirala ulogama markize Berkenfield u operi Kći pukovnije Do-nizettija i Berte u Seviljskom brijaču Rossinija. Njen glas opisan je u bečkim novinama Die Presse kao “bogat i snažan kontraalt, posebno u niskom registru...”. Izvodila je naslovne uloge u Händelovom Orlandu s or-kestrom New Trinity Baroque. Njene izvedbe uloga gos-pođe Quickly (Falstaff, Verdi), Tetke princeze (Sestra Angelica, Puccini) i Grofice u Pikovoj dami Čajkovskog visoko je ocijenila podjednako kritika i publika. Bila je gost u programu proslave godišnjice A. Scarlattija u Rimu te u izvedbi Bachovog Magnificata s Orkestrom i Zborom Radio Televizije Srbije.

Njena muzička i scenska raznovrsnost učinile su ju protagonisticom dviju suvremenih opera (Satyricon B. Maderne i Alfred, Alfred F. Donatonija) na 1. Festiva-lu suvremene glazbe Zaklade Arene Verone. Nastupala je također na koncertima s orkestrima, među ostalim u

Pjesmama mrtvoj djeci i 2. Simfoniji Mahlera kao i u komornim programima sa svojom sestrom Vedranom za klavirom i sa Srđanom Bulatom za gitarom, na raznim ljetnim festivalima širom Europe, Azije i Južne Ameri-ke. Nastupala je među četiri pjevača predstavljajući Hr-vatsku na koncertu s Filharmonijom Amazona na Svjet-skom nogometnom prvenstvu 2014. i sa Simfonijskim orkestrom Kaljiningrada prošle godine u Rusiji.Biljana tečno govori ruski, engleski i talijanski, dobro francuski i njemački jezik.Diplomirala je i biokemiju na moskovskom državnom sveučilištu Lomonosov.

Biljana Kovac has gained Opera Singing Diploma at Verdi Conservatory in Milan, subsequently winning a scholarship for Torre del Lago Puccini Academy, then LTL Opera Studio (Tuscany, Italy) and Belgrade Ba-roque Academy. The winner and finalist of many inter-national competitions, Biljana Kovac’s wide repertoire spans from baroque music to contemporary pieces. She debuted Marquise de Berkenfield in La Fille du Regi-ment by Donizetti and Berta in The Barber of Sevilla by Rossini in Austria. Her voice is defined as “rich and pow-erful contralto, particularly in the low register...” by Die Presse, Wien. She has performed as the title role soloist

in Händel’s Orlando with New Trinity Baroque Orche- stra. Particularly appreciated both by critics and audience, were her performances of Mistress Quickly (Falstaff, Verdi), The Aunt Princess (Sister Angelica, Puccini) and Countess in The Queen of Spades by Tchaikovsky. She was a guest performer for A. Scarlatti’s anniversary cel-ebration in Rome and in Bach Magnificat with Orchestra and Choir of Radio Television Serbia. Her musical and scenic versatility made her protagonist of two contemporary operas (Satyricon by B. Maderna and Alfred, Alfred by F. Donatoni) at the 1st Contempo-rary Music Festival by Arena di Verona Foundation. She has also performed at concerts with orchestra, among other Songs on the Death of Children and 2nd Symphony by Mahler, in chamber music with her sister Vedrana by piano, and Srdjan Bulat by guitar, for different summer festivals all over Europe, Asia and South America. She was among four Croatian singers to represent Croatia at the concert with Amazonas Philharmonic during the FIFA World Cup 2014 and with Kaliningrad Symphonic Orchestra last year in Russia. Biljana speaks fluently Russian, English and Italian, good French and German. She has also graduated biochemistry at Lomonosov Moscow State University.

foto/photo: Lorenzo Basile

Vlorent Xhafaj počeo je učiti svirati violončelo u dobi od šest godina. Sa šesnaest je osvojio 1. nagradu prvog izdanja natjecanja Young Talents i nakon nekoliko tjedana otišao je u Francusku. Nastavio je studij kod V. Marin-Queyrasa na Regionalnom konzervatoriju u Parizu gdje je diplomirao 2003. s jednoglasnom prvom nagradom. U međuvremenu je savjetovan od velikih glazbenika kao Kvartet Alban Berg, Philippe Muller, Enrico Dindo, Tilmann Wick, Miklos Perenyi, Mario Brunello. Potom je studirao u klasi Anne Gastinel na Nacionalnom superiornom konzervatoriju za glazbu i ples u Lyonu, gdje je magistrirao s prvom nagradom za violončelo i komornu glazbu. Bio je član najboljih svjetskih omladinskih orkestara, kao što su Simfonijski orkestar Pacifika, Schleswig-Holstein festivalski orkestar, Orkestar mladih Mahler, Orkestar mladih Festivala Luzern, kao prvi violončelist u 2007. i 2009, svirajući s dirigentima kao što su Valery Gergiev, Pierre Boulez, Herbert Blomstedt, Esa-Pekka Salonen, Sir Neville Marriner i dr.Kao solist i komorni muzičar nastupao je u teatrima kao što su Ircam (Pariz), Philarmonie (Koeln), KKL (Luzern), Salle Molière (Lyon), Cité de la Musique (Paris), Palais des Congres (Strasbourg), Concertgebouw (Amsterdam), Sun-tory Hall (Tokyo), Teatro Coliseo (Buenos Aires), Teatro Bradesco (Sao Paulo). Svirao je na svim kontinentima s toplim odjekom kritike i publike.Njegov repertoar uključuje neke premijerne izvedbe suvre-menih djela skladatelja kao što su Luis de Pablo, Bruno Mantovani, Georges Aperghis i dr., kao i velika violončeli-stička djela, ali i neka rijetko izvođena, kao što su skladbe

za violončelo i klavir Liszta, Busonija (Kultaselle, Mala suita), Suka (Balada i Serenada), Prokofjeva (Valada, Con-certino i Sonata za violončelo solo), Saint-Saënsove sonate (1. i 2.), sonate Mjaskovskog i dr.Njegovi partneri u komornoj glazbi su Irina Zaharenkova, Tedi Papavrami, Boris Brovtsin, Francois-Frederic Guy, Ilja Gringolts, Akiko Suwanai, Nikita Boriso-Glebski, Aleksander Kobrin, Peter Laul i Severin von Eckardstein. Redovno svira s Ansamblom Intercontemporain, Komornim orkestrom Auvergnea, Orkestrom Opere Lyona i Orkestrom Suisse Romande, Kraljevskom filharmonijom i Filharmonijom Strasbourga. Podupire ga Glazbena fondacija Société Générale.

Vlorent Xhafaj began to study cello at the age of 6. At the age of sixteen, he won the 1st prize of the first edition of the Young Talents competition, and after a few weeks went to France. He continued his studies with V. Marin-Queyras at the Con-servatory Regional in Paris, where he got his diploma in 2003 with a 1st prize unanimously. Meanwhile, he received advices from major musicians as the Alban Berg Quartet, Philippe Muller, Enrico Dindo, Tilmann Wick, Miklos Perenyi, Mario Brunello. He studied after in the class of Anne Gastinel at the Conservatoire National Supérieur de Musique et de Danse de Lyon, where he finished with a master degree and the 1st prize in cello and chamber music. He was a member of the world’s best youth orchestras, such as Pacific Symphony Orchestra, Schleswig-Holstein Festival Orchestra, Mahlerjugendorches-ter, Lucerne Festival Orchestra Jugend, as principal cello in

Vlorent Xhafaj, violončelo/cello

J. S. Bach: Četvrta suita za violončelo solo u Es-duru/Cello Suite No. 4 in E flat major, BWV 1010 B. Britten: Druga suita za violončelo solo/Cello Suite No. 2, Op. 80A. T. Šaban: Lamento per violoncello solo

2007 and 2009, playing with conductors like Valery Gergiev, Pierre Boulez, Herbert Blomstedt, Esa-Pekka Salonen, Sir Neville Marriner etc.In solo and chamber music he performed in theatres as Ircam (Paris), Philarmonie (Koeln), KKL (Luzern), Salle Molière (Lyon), Cité de la Musique (Paris), Palais des Congres (Stras-bourg), Concertgebouw (Amsterdam), Suntory Hall (Tokyo), Teatro Coliseo (Buenos Aires), Teatro Bradesco (Sao Paulo). He has played in all the continents with warm critic from the press and the public.His very large repertoire includes some premieres of contemporary works from composers like Luis de Pablo, Bruno Mantovani, Georges Aperghis etc., and the major work of cello, but also pieces that are not often played, like all the pieces for cello and piano by Liszt, the works by Busoni (Kultaselle, Kleine Suite), Suk (Ballade and Serenade), Prokofiev (Ballade, the Concertino, and the Sonata for cello solo), Saint-Saëns sonatas No. 1 and 2, Myaskovsky sonatas, etc.His chamber music partners include Irina Zahharenkova, Tedi Papavrami, Boris Brovtsyn, Francois-Frederic Guy, Ilya Gringolts, Akiko Suwanai, Nikita Boriso Glebsky, Alexander Kobrin, Peter Laul and Severin von Eckardstein. He plays regularly with the Ensemble Intercontemporain, the Chamber Orchestra of the Auvergne, the Orchestra of the Opéra de Lyon or the Orchestra of the Suisse Romande, Royal Philarmonic Orchestra and Orchestre Philarmonique de Strasbourg.He is supported by the Société Générale Patronage Musical.

foto/photo: Gregory Massat

Aleksej Vilegžanin (1987., Novosibirsk) najraniju glazbenu poduku dobio je od svojih roditelja, akademski obrazovanih muzičara; oca pjevača i majke dirigentice. S klavirskim obra-zovanjem započeo je u dobi od 6 godina, dok je prvu orguljaš-ku poduku dobio nekoliko godina kasnije. Završio je peda-goški i koncertni studij orgulja na Novosibirskom državnom konzervatoriju u klasi N. Baginskaje, a potom i magistrirao na Sveučilištu za umjetnost u Grazu, u klasi G. Rosta. Tre-nutno je student odsjeka za crkvenu glazbu na istom sveuči-lištu, i redoviti je orguljaš nekoliko crkava u Grazu i okolici. Sudjelovao je na mnogim majstorskim tečajevima od kojih se ističu oni s D. Rothom, Z. Szathmaryjem, L. Lohmannom, J. van Oortmerssenom, E. Bellotti, W. Porterom i N. Hakimom.Dobitnik je brojnih nagrada na velikim orguljaškim natje-canjima. Redovito koncertira u Rusiji, Sloveniji, Hrvatskoj, Njemačkoj, Austriji i Engleskoj. Od važnijih koncerata ističe koncert u Katedrali u Moskvi (2009.), solo koncerte u Kate-drali u Grazu (2009.), redovite koncerte u crkvi Srca Isusova u Grazu te projekte u koncertnoj dvorani MUMUTH u Grazu: organ@MUMUTH (2013.), Petr Eben: Faust (2014.), Organ on Stage (2015.), Brat smrti (2016.). Redovito surađuje s ista-knutim zborovima, orkestrima i raznim komornim glazbe-nim ansamblima, s posebnim interesom za interdisciplinarne projekte i jazz.Snimio je dva nosača zvuka klasične glazbe; Klaus Lang – Organ Works Vol. 1 (GOD Records) i Aleksey Vylegzhanin plays Naji Hakim (Klangdebüts, KunstUniGraz, Vol. 53), je-dan jazz album s pjevačicom Linom Rahne, i u procesu je sni-manja novog albuma s vlastitim obradama Mozartovih arija. Također se bavi i fotografijom. (http://vylegzhanin.org)

Aleksey Vylegzhanin (1987, Novosibirsk) got his earliest musical influence from his parents, a classically trained singer (father) and a choir conductor (mother). He started

playing piano at the age of 6 and took his first organ lessons a few years later. He finished the pedagogical and concert organ study at the Novosibirsk State Conservatory under N. Baginskaya, and then got a master’s degree at the Univer-

Aleksej Vilegžanin, orgulje / Aleksey Vylegzhanin, organEnes Vejzović, naracija/narration

F. Liszt: Jecati, zdvajati, žaliti, plašiti se/Weeping, crying, lamenting, fearing, S. 673J. Reubke: Sonata na 94. psalam u c-molu/Sonata on the 94th Psalm in C minor

Silazak u pakao; Josip i njegova braća, T. Mann – odabrani ulomci u prijevodu Milana SoklićaDescent into Hell; Joseph and his Brothers, T. Mann – selected excerpts translated by Milan Soklić

foto/photo: Aleksej Vilegžanin

sity of Music and Performing Arts in Graz, under G. Rost. He is currently a student of the Church Music Department at the same University and a regular organist in several churches in Graz and its surroundings. He has participated in many master-classes of which the ones with D. Roth, Z. Szathmary, L. Lohmann, J. van Oortmerssen, E. Bellotti, W. Porter and N. Hakim stand out. He is the winner of numerous awards at major organ competitions. He holds regular concerts in Russia, Slovenia, Croatia, Germany, Austria and England. Some of the most important concerts are the concert in Moscow Cathedral (2009), solo concerts in Graz Cathedral (2009), regular concerts in the Church of the Sacred Heart of Jesus in Graz and projects in the concert hall MUMUTH in Graz: organ@MUMUTH (2013), Petr Eben: Faust (2014), Organ on Stage (2015), Schlafes Bruder (2016). He regularly cooperates with prominent choirs, orchestras and various chamber music ensembles, with a special interest in interdisciplinary projects and jazz.He has recorded two classical music albums; Klaus Lang – Organ Works Vol. 1 (GOD Records) and Aleksey Vylegzhanin plays Naji Hakim (Klangdebüts, KunstUniGraz, Vol. 53), one jazz album with a signer Lina Rahne, and is currently in the process of recording a new album with his own covers of Mozart’s arias. He is also into photography. (http://vylegzhanin.org)

Enes Vejzović je hrvatski kazališni, filmski i televizijski glu-mac. Diplomirao je smjer: gluma, 1998. godine na Akade-miji Dramske Umjetnosti u Zagrebu. Stalni je član ansambla Gradskog Dramskog Kazališta Gavella u Zagrebu u kojem je ostvario više od 40 uloga, od kojih izdvaja Salierija u Ama-deusu Petera Shaffera, Candida u Voltaireovom Candideu, Argana u Umišljenom bolesniku J. B. Molièrea... Osim u kla-sičnom repertoaru sudjeluje i u djelima suvremenih domaćih i inozemnih autora kao što su Pommerat, Viripajev, Matišić... Usporedno s kazališnom posvećen je i filmskoj te televizijskoj produkciji gdje ostvaruje značajne uloge. Na međunaronom planu ističe suradnju s kultnim redateljem P. Greenawayem u njegovom filmu Goltzius i Pelikanova družina (Goltzius and the Pelican Company). Dobitnik je nekolicine nagrada za svoj umjetnički rad.

Enes Vejzović is a Croatian theatre, film and television actor. In 1998 he graduated from the Academy of Dra-

matic Arts in Zagreb, major in acting. He is full-time member of Gavella Drama Theatre in Zagreb, in which he has acted in more than 40 roles, of which he points out the role of Salieri in Peter Shaffer’s Amadeus, Candide in Voltaire’s Candide, Argan in J. B. Molière’s Imaginary Invalid... In addition to the classical repertoire, he has also participated in the works of contemporary national and international authors, such as Pommerat, Viripajev, Mat-išić... Simultaneously with the theatrical, he has also been committed to film and television production where he has had significant roles. At the international plan, he points out the cooperation with the iconic director P. Greenaway in his movie Goltzius and the Pelican Company.

He has received several awards for his artistic work.

foto/photo: Mak Vejzović

Kristian Keil (1995.) klavir je počeo učiti u Umjetničkoj školi u Poreču u klasi J. Crljenka, a nastavio u Glazbenoj školi Pavla Markovca u klasi R. Dalibaltayana, završivši četverogodišnju srednju glazbenu školu u tri godine, te je 2013. godine upisao Muzičku akademiju u Zagrebu. Di-plomirao je u lipnju o.g. u klasi Lovre Pogorelića. Tijekom svoga glazbenog obrazovanja pobijedio je na sko-ro svim hrvatskim pijanističkim natjecanjima, osvojiv-ši pritom preko dvadeset prvih nagrada, domaćih i među-narodnih (Lions Grand Prix u Rijeci, EPTA natjecanje u Osijeku, Regionalna i Državna natjecanja učenika i stu-denata glazbe, Mladi virtouzi i Zlatko Grgošević u Zagre-bu, Chopinov Zlatni Prsten u Sloveniji, Daleki akordi u Splitu). Nagrade je osvajao i u ansamblima (duo, klavirski duo i trio). Više puta je nastupio u emisiji Majstori svirači Hrvatske radiotelevizije, koja okuplja najbolje mlade glazbenike iz cijele Hrvatske te je također pet puta gostovao u emisiji Dobro jutro, Hrvatska.Pohađao je seminare raznih domaćih i stranih pedagoga kao što su J. Rose, E. Krasovski, V. Efstathiadou, E. Indjić, P. Eicher, D. Rahmanov, J. E. Cruz, K. Bogino, N. Patarčec, D. Cikojević, Z. Peter, R. Lehrbaumer, V. Babin. Sa Zagrebačkim omladinskim komornim orkestrom na-stupio je kao solist u Zagrebu, Poreču i Čakovcu. Odr-žao je samostalne koncerte u Zagrebu (velika dvorana HGZ-a), Ivanić-Gradu, Varaždinu, Splitu, Šibeniku, Kri-ževcima, Vinkovcima, Rijeci, Puli, Rovinju, Osijeku, Vrsaru i Poreču. U siječnju 2018. godine nastupio je, pored Velikog zbo-ra Muzičke akademije, kao solist u projektu Gioachino

Rossini: Petite Messe Solennelle pod ravnanjem Jasenke Ostojić, a potom Dunje Vejzović. Uz solističku karijeru, posebnu pažnju posvećuje umjetničkoj suradnji s drugim instrumentima, od čega se posebno izdvaja polje vokal-ne glazbe. Ostvario je niz suradnji s kolegama s odsjeka pjevanja, od kojih se mogu izdvojiti izvedbe ciklusa Win-terreise F. Schuberta s Florijanom Tavićem i Frauenliebe und Leben R. Schumanna s Magdalenom Bačanek. Su-djelovao je u projektima hrvatske vokalne baštine kao što su Božidar Kunc i Priča o Ivani (Ivana Lang). U godini 2016. ostvario je niz koncerata s uspješnom hrvatskom violinisticom Carolinom Blašković.

Kristian Keil (1995) took his first piano lessons with J. Crljenko at the Art School of Poreč, Croatia. He continued his education at the Music School Pavao Markovac in Za-greb, where, under the tutelage of R. Dalibaltayan, he grad-uated high school in three, as opposed to the usual four years. Having then enrolled at the Zagreb Academy of Mu-sic, he graduated in June this year with Lovro Pogorelich. During his education, Kristian has won almost all piano competitions in Croatia, bringing home more than twenty first prizes from both national and international competi-tions. Those include: Lions Grand Prix in Rijeka, Euro-pean Piano Teachers’ Association (EPTA) Competition in Osijek, Young Virtuosi and Zlatko Grgošević in Zagreb, Chopin’s Golden Ring in Slovenia, Distant Chords in Split. He also received first prizes in categories such as duo, pi-ano duo and trio.He has appeared multiple times on national television, most notably as part of the show Master Performers, which show-

Kristian Keil, klavir/piano

D. D. Šostakovič/Shostakovich: Preludij i fuga u C-duru/Prelude and Fugue in C major, Op. 87 Preludij i fuga u a-molu/Prelude and Fugue in A minor, Op. 87L. van Beethoven: Sonata za klavir br. 30 u E-duru/Piano Sonata No. 30 in E major, Op. 109 S. Dedić: All that BluesM. P. Musorgski/Moussorgsky: Slike s izložbe/Pictures at an Exhibition

cases the most successful young musicians of Croatia, and in Good Morning Croatia show.Kristian has attended masterclasses given by different teachers, including J. Rose, E. Krasovski, V. Efstathiadou, E. Indjić, P. Eicher, D. Rahmanov, J. E. Cruz, K. Bogino, N. Patarčec, D. Cikojević, Z. Peter, R. Lehrbaumer, V. Babin.

His concert activities have taken him across Croatia: Kristian performed as a soloist with Zagreb Youth Chamber Orchestrain Zagreb, Poreč and Čakovec and gave recitals in cities such as Zagreb, Ivanić-Grad, Varaždin, Šibenik, Rijeka, Pula, Poreč, Vrsar, Križevci, Vinkovci, Rovinj, Osijek, and Split.

In 2018 he played the part of the leading piano in G. Rossini Petite Messe Solennelle alongside the Choir of the Zagreb Academy of Music, conducted by Jasenka Ostojić, then Dunja Vejzović.

Kristian also nurtures the area of music accompaniment, especially with vocalists. His most notable accomplishments in the field of vocal accompaniment include a performance of F. Schubert Winterreise with Florian Tavić and R. Schumann Frauenliebe und Leben with Magdalena Bačanek. He took part in projects featuring composers who have left their mark on the Croatian vocal music heritage, performing pieces by Božidar Kunc in and those of Ivana Lang.

Besides vocal music, in 2016 Kristian held a successful se-ries of concerts with the award-winning young Croatian vi-olinist Carolina Blašković.

foto/photo: Vedran Tolić

PagArtFestival podržali / PagArtFestival is supported by:

Turistička zajednica Paga / Pag Tourist BoardMaricom Tourist Service, UO Festini, Pag91, PagII, Hotel Plaža, Hotel Belveder, Perla Travel Agency, Lorenco,

Grad Pag / The Town of Pag, Restaurant Dubrava, Trattoria i Villa Padre iz Paga/from Pag; Digitalprint, Omiteh d.o.o. iz Zagreba/from Zagreb

zahvaljujemo / thanks to:Turističkom centru Paga na svesrdnoj pomoći / Pag Tourist Centre for the wholehearted support

zahvaljujemo na gostoprimstvu i suradnji / thanks for welcoming and cooperation to:don Gašparu Dodiću i župnom uredu Paga / don Gašpar Dodić and Pag Parish Office

posebno zahvaljujemo / special thanks to:gospodinu Josipu Portadi na fotografijama / Mr. Josip Portada for photosgospodinu Milanu Sokliću na ustupljenom prijevodu / Mr. Milan Soklić for the ceded translationgospodi/Gentlemen: Tvrtko Maras, Robert Kulaš, Elvis Šmit, Jure Orlić na fotografijama i snimkama / for photos and recordingsgospodji Verici Stojanović na ustupljenom vanjskom oglašavanju / Mrs. Verica Stojanović for the ceded out-door promotiongospodinu Aljoši Paru na scenografskoj pomoći / Mr. Aljoša Paro for set design and assistancegrađanima i turistima otoka Paga na odazivu / citizens and visitors of the Island of Pag for attending the performances

naročito zahvaljujemo / very special thanks to:pokojnom gospodinu Josipu Vičeviću na inicijativi i Društvu Pažana i prijatelja Paga u Zagrebu na pokretanju Festivala / late Mr. Josip Vičević for his initiative and the Zagreb-based Association of Residents and Friends of Pag for launching the Festival svim ljudima dobre volje koji su na bilo koji način pomogli u realizaciji naših programa / all the people of good will who have somehow contributed to the realization of our programs

pomoćnik umjetničkog direktora / Assistant Artistic Director: Krešimir Bedek produkcija, marketing, organizacija i odnosi s javnošću / Production, Organization, Marketing and Public Relations: Nina Pogorelićpomoćnice / Assistants: Tea Kulaš, Ana Pogorelićprijevod i korektura / translation and proofreading: Iva Špoljar Šarićpriprema za tisak / prepress: Krševan Savić

Festival zadržava pravo promjene programa / The Festival reserves the right to modify the programUmjetnička organizacija / Artistic Association “Lovro&Nina”, Mesnička 24, HR–Zagreb