(b Glišikj, Kavadarci, Republic of Macedonia, 1918; d Skopje Sept 25, 1976). Macedonian folk singer. His lyric tenor voice, with its distinctive timbre (simultaneously light and warm), was recognized soon after his first performance in Radio Skopje in 1948, and it was established as a model for the male vocal repertory of traditional Macedonian music. He sang softly, with richness, in a narrow piano dynamic spectrum, and with delicate use of vibrato and ornaments. He became an idol among Macedonian audiences worldwide and has been adored by Balkan audiences as well, taking tours in Europe, Canada, USA, and Australia....
Trena Jordanoska and Dimitrije Bužarovski
(b San Antonio, TX, May 16, 1883; d New York, NY, Dec 12, 1943). American operatic tenor and recitalist of Mexican and German heritage. He was the most prominent Mexican American opera singer of his day, although perhaps to advance his career he used the Italian-sounding first name “Rafaelo,” and press reports sometimes identified him as Spanish instead of Mexican American or Mexican. Díaz attended the German-English School and the West Texas Military Academy (now Texas Military Institute) in San Antonio. He studied piano with Amalia Hander, a local music teacher, and at the Stern Conservatory in Berlin. After vocal studies with Vincenzo Sabatini in Milan, he returned to the United States and in ...
(b Haskovo, 29 June 1896; d Sofia, 31 July 1978).
Bulgarian singer, internationally famous as a schlager performer, nicknamed the ‘Knight of the Upper F’. As a child he was a solo singer in the church choir in the town of Stara Zagora. Later on he went to the military school in Sofia and in 1920 took professional vocal lessons. In 1923 Leshnikoff went to Berlin, where he received a scholarship at the Sternischen Konservatorium. In 1927 he was appointed at the Grosses Schauspielhaus – a review theatre – and in 1928 joined Comedian Harmonists, a newly formed male vocal sextet, to perform the first tenor part. Becoming one of the most popular groups in Europe before World War II, Comedian Harmonists developed a style, based on aspects of German schlager, bel canto opera singing, pleasing tunes influenced by traditional lyrical songs, and Afro-American-derived patterns associated with the blues, gospel, and close harmony vocal techniques. Their records were released by labels including Odeon, Electrola, Columbia, and His Master’s Voice. In ...