(b Florence, 16 July 1804; d Paris, 20 Aug 1863). Italian composer and singing teacher. He settled in Paris about 1830, the year when Antonio Pacini published a collection of six romances dedicated to Maria Malibran. Known as the ‘Bellini of the romance’, Masini wrote over 400 works in this genre intended for the high Parisian society of the July Monarchy. His works were often collected in luxurious albums offered as a gift on the first day of the year. Among Masini’s favourite poets to set to music are Émile Barateau, Amable Tastu, and Laure Jourdain; only a single Masini romance is based on a text by Victor Hugo (Le papillon et la fleur). The success of his romances (published mainly by Latte, Meissonier, and Colombier) was enhanced by the collaboration with famous illustrators such as Jules David and Achille Devéria. The latter provided lithographic illustrations for the editions’ frontispieces, conceived in harmony with the texts and musical settings. Masini’s melodies are elegant, transparent, and light-hearted. They give voice to a Romanticism tinged with melancholy and delicate hues (as one can appreciate in ...
Translator : Fabio Morabito
(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 ...
[Carmen Mária Štefánia (Beatrix) Farkašová-Čelková]
(b Bratislava, 20 Oct 1931). Czech singer of Slovak origin. After completing her studies at the Gymnasium in Komárno (1950), she was unable to proceed to higher education owing to her political unreliability, but she completed a theatre course at the State Conservatory in Bratislava, and worked as an actress in the 1950s in theatres in Žilina and Bratislava. In 1958 she moved to Prague, where she acted and sang in the Alhambra and in the Rokoko and Semafor theatres. However, she established her career primarily as a singer of chansons, building her repertoire from songs by Petr Hapka and Jiří Šlitr, with texts by Petr Rada and Pavel Kopta, who also provided Czech texts for her to numerous French chansons. In the early 1960s she appeared at the Olympia in Paris, and in Switzerland and the German Federal Republic, where she also made recordings for the radio and appeared on television. She sang more frequently at significant foreign festivals such as Ostend, Wiesbaden, Cannes, and Sopoty, and in countries outside Czechoslovakia (Argentina, Cuba, Canada, and others), than at concerts in Czechoslovakia, though she played minor roles in many Czechoslovak films. Up to her retirement, on health grounds, in her 80s, she gave full-evening recitals in the Kalich and Ungelt theatres in Prague, and in other venues, accompanied on the piano by Petr Malásek. Outside the Czech sphere she has sung chansons in the original languages and has been nicknamed ‘the Prague Edith Piaf’ or ‘the Czech Juliette Gréco’, though as a singer she has retained a very distinctive Slavic style....
(b Ostrava, 7 June 1953). Czech folk singer, poet, and composer. After completing his studies at Gymnasium (1971) and at a school of librarianship, he entered the field of popular music as a writer of lyrics (he has written song texts principally for singers from Ostrava). As a guitarist, violinist, flautist, and accordionist he is entirely self-taught. In the 1980s he began to appear at Czech festivals of folk music, singing songs of his own with their distinctive texts. Gradually he has become one of the most popular of Czech singers. He mainly sings his own songs, but also translations of songs by the Russian composers Vladimir Vysotsky and Bulat Okudzha, and settings of the poems of Aleksandr Blok. He has set, and sung, poems by the Czech poets Petr Bezruč and Jiří Šotola. His songs owe their popularity largely to the fact that he sings of ordinary people living ordinary lives; they are lyrical and epic, and often ironical and extremely funny. Nohavica is fond of using the dialect of the Ostrava and Těšín region. He has also produced successful translations of opera libretti for works performed at the Ostrava Opera (for example, Mozart’s ...
(b Vsetín, Moravia, 27 June 1929; d Vsetín, 11 Feb 2017). Czech folk singer. Trained in dressmaking, she worked between 1945 and 1949 as a furrier’s seamstress. From 1950 until her retirement in 1985, she was the manager of a shop selling gramophone records in her native town. Her musical talent, inherited from her parents, was evident from her youth, when she began to appear as a singer in local choirs and folk ensembles. From 1952 she was a soloist with the Brněnský rozhlasový orchestr lidových nástrojů (BROLN, ‘Brno Radio Orchestra of Folk Instruments’), with whom she performed hundreds of times in the then Czechoslovakia and also abroad (in Vietnam, China, Mongolia, the USSR, Korea, Cuba, Belgium, the UK, Senegal, Bulgaria, Romania, Japan, the USA, Canada, Poland, Germany, the Netherlands, Finland, and Denmark). She also performed with various folk ensembles (Vsacan, Jasénka, Kyčera, and the dulcimer ensemble Technik, whose leader, Jan Rokyta, decisively influenced her later development as a singer), and between ...
(b Prague, 8 March 1980). Czech pop singer and actress. Her family was one of musicians (her father, Jiří Vondráček, is an actor and singer, her mother, Hana Sorrosová-Vondráčková, writes lyrics, and her aunt, Helena Vondráčková, is also a singer). Lucie was trained in music and drama at the Prague Conservatory and later obtained the doctorate in the Arts Faculty at Prague University (2006). From early childhood she appeared in films and TV serials for children; in 1992 she became a presenter of children’s programmes on TV, and in 1993 she issued her first record album. There have been more than 10 of these, and all have been enthusiastically received by her public in sales; she regularly features as one of the most popular Czech singers. As an actress, she often plays major roles in Czech films, stage plays, and musicals.
(b Kuršumlija, Serbia, 1966). Bosnian and Herzegovinian composer. She graduated with a degree in composition from the Academy of Music in Sarajevo (1991), in the class of josip magdić, after which she gained the Master of Composition (2004) under the mentorship of composer dejan despić. Her first position was at the Srednja muzička škola (‘music high school’) in Valjevo, Serbia (1992–2000). She returned to Eastern Sarajevo, Bosnia and Herzegovina, to work as an Associate Professor of Harmony and Harmonic Analysis.
Dutina’s compositions reflect her interest in Balkan folklore, mostly of a rural-vocal type, and in the formal and harmonic devices associated with neoclassicism. She has composed solo songs, chamber music, symphonic works, vocal-instrumental music, choral music, music for children, and film music.
Dutina also cherishes folkloric vocal traditions through her engagement as founder and artistic director of the female vocal ensembles Rusalke (...
[Gjergji, Ludovik Ndoj]
(b Shkodër, Albania, 11 Nov 1923; d Shkodër, 27 Dec 2015). Albanian singer. His name is linked in particular to the musical repertoire of Ahengu and Kânge Jare, songs in which Ottoman musical roots blend with Western influences.
Born into a family from the Mirdita region, from childhood he was interested in the urban song of Shkodër. Between 1945 and 1947, in Tirana, he came to the fore as a performer with the ensemble Grupi Karakteristik Shkodran directed by Paulin Pali. In 1947 he took part in the performance of Dasma shkodrane, by Prenkë Jakova, an important pioneer of Albanian musical theatre.
In the early 1950s Bik Ndoja emerged in the musical milieu of Shkodra by singing on the radio, in the House of Culture, and at the Perlat Rexhepi musical club.
During the years of the dictatorship, he continued to live in Shkodra and worked as a tailor, though his renown as a singer grew steadily, thanks to his activity at Radio Shkodra and Radio Tirana, and at the local ...
Vocal technique of high-pitched sustained wailing or howling with a trilling aspect involving rapid movement of the tongue and uvula. Ululation is practised usually by women in many Arab, African, and Asian cultures. It is associated with celebrations such as weddings, and with grieving. It is used in worship in Eritrean and Ethiopian Orthodox churches. Ululation is also part of audience participation in music of the Shona in Zimbabwe. Western singers such as Joan La Barbera have incorporated ululation into their extended vocal techniques. See ...
(b Boskovice, 19 Jan 1984).Czech composer and performer (voice, accordion, and tap dance). She studied the accordion (2004–10) and composition (2007–8) at the Brno Conservatory, and composition at the Janáček Academy of Music and Performing Arts (with martin smolka and Peter Graham). She also studied as an exchange student at the Royal Conservatory in The Hague, the California Institute of the Arts (with michael pisaro), the Universität der Künste Berlin (with Marc Sabat), and Columbia University (with george e. lewis).
While she often works with elements outside of music, there is almost always an intense engagement with direct listening, often arrived at through intense focus on very limited material. Sources for her work include Morse code, maps of garments which she turns into scores (Shirt for Harp, Oboe, and Accordion; Jacket for Ensemble), field recordings which she notates descriptively and then asks musicians to interpret the notation (...