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Na drugom koncertu 8. dana klasične gitare u Muzeju grada Splita 3. studenoga moglo je uživati samo četrdeset sretnika koji su na vrijeme osigurali mjesto za recital gitaristice zavidne međunarodne karijere Ane Vidović.
Uvažavajući epidemiološke mjere kapacitet Gotičke dvorane upola se smanjio, a zbog velikog interesa za koncert organizatori su osigurali i prijenos uživo preko Facebooka. Bogata biografija Ane Vidović i dugogodišnji opstanak u vrhu najsjajnijih gitarista uvijek nanovo pobuđuju interes publike, gladne virtuoznih izvedbi uživo. Bilo bi preopsežno nabrojiti gdje je sve i s kim nastupala Karlovčanka koja je karijeru započela graditi još u djetinjstvu, a koja je s trinaest godina postala najmlađa studentica zagrebačke Muzičke akademije u klasi Istvána Römera.
Da ima mnogo koncerata u prstima, bilo je jasno uvidom u opsežan i kompleksan program za čiju je izvedbu, osim tehničke vještine, muzikalnosti i bogatog znanja o interpretaciji stilski različitih skladbi potrebno i mnogo koncentracije, samopouzdanja i kondicije. Sve navedeno posjeduje Vidović, koja je na koncertu otkrila još pregršt svojih vrlina.
SERIOZNO-VESELI PROGRAM
Recital je otvorila kompleksnim i opsežnim djelima Johanna Sebastiana Bacha, Partitom za flautu u A-duru i Suitom za violončelo solo br. 1 u G-duru u iznimno uspješnim transkripcijama za gitaru Valtera Dešpalja. Uslijedila je izvedba Grand Overture, op. 61 Maura Giulianija, koji je i sam bio virtuozni gitarist pa je pred izvođače postavio visoke zahtjeve koje je Ana Vidović spremno i spretno zadovoljila, upuštajući se u maštovito bojenje. Prvi dio koncerta zaključila je uz Nocturno Slavka Fumića, profinjenom i nježnom izvedbom ovog liričnog komada.
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Nakon serioznog karaktera programa prvog dijela koncerta, Ana Vidović nastavlja u ponešto vedrijem ozračju, koji je predvodila Sonatina Federica Morena Torrobe, a zatim i Giulianijeva Gran Sonata Eroica, op. 150. Veseli niz prekinut je izvedbom skladbe Una Limosna por el Amor de Dios Augustina Barriosa-Mangoré, melankoličnog ugođaja s melodijom beskonačnih tremola, koji su tečno titrali pod prstima gitaristice.
U veselo i plesno ozračje gitaristica ponovno uvodi skladbama El Marabino te Venezuelanski valcer 1. i 2. Antonija Laura, najpoznatijeg upravo po opusu za gitaru. Program je zaključila Introdukcijom i varijacijama na Mozartovu temu, op. 9 Fernanda Sora, kojem se zbog zavidnih interpretativnih vještina, ali i važnih djela posvećenih gitari često pripisuje nadimak "Beethoven gitare".
PUBLIKA ZA POŽELJETI
- Tako ste divna publika. Mirni ste i slušate pozorno - skromno i zahvalno Ana Vidović obratila se svojim slušateljima. Njezin jasan, meki i izražajan piano svatko je od generacijski šarolike publike, među kojima su bili učenici i studenti gitare, želio upiti u detalje, a uz takvu interpretatoricu teško bi bilo ne uživati u svemu što nudi. Publici na izbor ponudila je i odabir dodatka, jer se ni nakon dva sata nitko od prisutnih nije mogao oprostiti od Ane i njezine gitare.
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Ravnatelj festivala Josip Dragnić predložio je "Asturias" Isaaca Albeniza kao edukativni poticaj mlađim slušateljima. Vidović je spremno zaronila među žice i s jednakom virtuoznošću i lakoćom iznijela još jedan komad. Ali ni to publici nije bilo dovoljno pa je netko iz sjedećih redova poželio čuti "Sjećanje na Alhambru" Francisca Tárrege. Skladba je to čija je izvedba u interpretaciji Ane Vidović dosegla gotovo osam milijuna pregleda na YouTubeu, ali mekoća i jasnoća tona, emocionalni vrtlog u koji uvlači slušatelja nimalo nije usporediv s onim što je gitaristica pružila uživo.
Ani Vidović zahvaljujemo na svakom poklonjenom tonu i osmijehu, a Josipu Dragniću na upornosti i neustrašivosti, kvalitetama zbog kojih se u Splitu ponekad osjećamo kao u glazbenoj metropoli!
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Na drugom koncertu 8. dana klasične gitare u Muzeju grada Splita 3. studenoga moglo je uživati samo četrdeset sretnika koji su na vrijeme osigurali mjesto za recital gitaristice zavidne međunarodne karijere Ane Vidović.
Uvažavajući epidemiološke mjere kapacitet Gotičke dvorane upola se smanjio, a zbog velikog interesa za koncert organizatori su osigurali i prijenos uživo preko Facebooka. Bogata biografija Ane Vidović i dugogodišnji opstanak u vrhu najsjajnijih gitarista uvijek nanovo pobuđuju interes publike, gladne virtuoznih izvedbi uživo. Bilo bi preopsežno nabrojiti gdje je sve i s kim nastupala Karlovčanka koja je karijeru započela graditi još u djetinjstvu, a koja je s trinaest godina postala najmlađa studentica zagrebačke Muzičke akademije u klasi Istvána Römera.
Da ima mnogo koncerata u prstima, bilo je jasno uvidom u opsežan i kompleksan program za čiju je izvedbu, osim tehničke vještine, muzikalnosti i bogatog znanja o interpretaciji stilski različitih skladbi potrebno i mnogo koncentracije, samopouzdanja i kondicije. Sve navedeno posjeduje Vidović, koja je na koncertu otkrila još pregršt svojih vrlina.
SERIOZNO-VESELI PROGRAM
Recital je otvorila kompleksnim i opsežnim djelima Johanna Sebastiana Bacha, Partitom za flautu u A-duru i Suitom za violončelo solo br. 1 u G-duru u iznimno uspješnim transkripcijama za gitaru Valtera Dešpalja. Uslijedila je izvedba Grand Overture, op. 61 Maura Giulianija, koji je i sam bio virtuozni gitarist pa je pred izvođače postavio visoke zahtjeve koje je Ana Vidović spremno i spretno zadovoljila, upuštajući se u maštovito bojenje. Prvi dio koncerta zaključila je uz Nocturno Slavka Fumića, profinjenom i nježnom izvedbom ovog liričnog komada.
---
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Nakon serioznog karaktera programa prvog dijela koncerta, Ana Vidović nastavlja u ponešto vedrijem ozračju, koji je predvodila Sonatina Federica Morena Torrobe, a zatim i Giulianijeva Gran Sonata Eroica, op. 150. Veseli niz prekinut je izvedbom skladbe Una Limosna por el Amor de Dios Augustina Barriosa-Mangoré, melankoličnog ugođaja s melodijom beskonačnih tremola, koji su tečno titrali pod prstima gitaristice.
U veselo i plesno ozračje gitaristica ponovno uvodi skladbama El Marabino te Venezuelanski valcer 1. i 2. Antonija Laura, najpoznatijeg upravo po opusu za gitaru. Program je zaključila Introdukcijom i varijacijama na Mozartovu temu, op. 9 Fernanda Sora, kojem se zbog zavidnih interpretativnih vještina, ali i važnih djela posvećenih gitari često pripisuje nadimak "Beethoven gitare".
PUBLIKA ZA POŽELJETI
- Tako ste divna publika. Mirni ste i slušate pozorno - skromno i zahvalno Ana Vidović obratila se svojim slušateljima. Njezin jasan, meki i izražajan piano svatko je od generacijski šarolike publike, među kojima su bili učenici i studenti gitare, želio upiti u detalje, a uz takvu interpretatoricu teško bi bilo ne uživati u svemu što nudi. Publici na izbor ponudila je i odabir dodatka, jer se ni nakon dva sata nitko od prisutnih nije mogao oprostiti od Ane i njezine gitare.
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Ravnatelj festivala Josip Dragnić predložio je "Asturias" Isaaca Albeniza kao edukativni poticaj mlađim slušateljima. Vidović je spremno zaronila među žice i s jednakom virtuoznošću i lakoćom iznijela još jedan komad. Ali ni to publici nije bilo dovoljno pa je netko iz sjedećih redova poželio čuti "Sjećanje na Alhambru" Francisca Tárrege. Skladba je to čija je izvedba u interpretaciji Ane Vidović dosegla gotovo osam milijuna pregleda na YouTubeu, ali mekoća i jasnoća tona, emocionalni vrtlog u koji uvlači slušatelja nimalo nije usporediv s onim što je gitaristica pružila uživo.
Ani Vidović zahvaljujemo na svakom poklonjenom tonu i osmijehu, a Josipu Dragniću na upornosti i neustrašivosti, kvalitetama zbog kojih se u Splitu ponekad osjećamo kao u glazbenoj metropoli!
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Jakov Prkić/Cropix
Ana Vidović odabrala je opsežan i kompleksan program koji traži mnogo koncentracije, samopouzdanja i kondicije
Bogata biografija Ane Vidović i dugogodišnji opstanak u vrhu najsjajnijih gitarista uvijek nanovo pobuđuju interes publike
Publici na izbor ponudila je i odabir dodatka, jer se ni nakon dva sata nitko od prisutnih nije mogao oprostiti od Ane i njezine gitare
Gitaristica s trinaest godina postala najmlađa studentica zagrebačke Muzičke akademije u klasi Istvána Römera
Ana Vidović pred splitskom publikom, koju je nazvala divnom
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16. svibanj 2024 01:33
