| Abstract | Rad koji slijedi sadrži biografije odabranih skladatelja, analize i prijevode odabranih skladbi iz njihovih opusa, te razlaže njihove tehničke, agogičke i interpretativne poteškoće. Odabrane skladbe skladatelja su Caro mio ben (Giuseppe Giordani), Oh, had I jubal's lyre (George Frideric Händel), izbor pjesama iz ciklusa Malinconia, Ninfa gentile, Vanne, o rossa fortunata, Vaga luna che inargenti, L'abbandono, Per pietà, bell'idol mio (Vincenzo Bellini), Dein blaues Auge (Johannes Brahms), Warum sind denn die Rosen so blass (Fanny Hensel), Frühlingsglaube (Franz Schubert), Pastourelle (Josip Hatze), Seh duš dan (Blagoje Bersa), Son (Sergej Rachmaninov), Margaritki (Sergej Rachmaninov), Měsíčku na nebi hlubokém (Antonin Dvořák), Addio, del passato (Giuseppe Verdi). Za uspješnost izvođenja skladbi na solističkom koncertu, bitno je poznavanje sadržaja i stilskih karakteristika razdoblja odabranih skladbi, kao i vokalne mogućnosti pjevača. Rad je koncipiran prema redoslijedu izvođenja skladbi na koncertu. |
| Abstract (english) | The following work contains biographies of selected composers, analyses, and translations of selected compositions from their opuses, and dissects their technical, agogic, and interpretative challenges. The chosen compositions of the composers are Caro mio ben (Giuseppe Giordani), Oh, had I jubal's lyre (George Frideric Händel), selection of songs from the cycle Malinconia, Ninfa gentile, Vanne, o rossa fortunata, Vaga luna che inargenti, L'abbandono, Per pietà, bell'idol mio (Vincenzo Bellini), Dein blaues Auge (Johannes Brahms), Warum sind denn die Rosen so blass (Fanny Hensel), Frühlingsglaube (Franz Schubert), Pastourelle (Josip Hatze), Seh duš dan (Blagoje Bersa), Son (Sergej Rachmaninov), Margaritki (Sergej Rachmaninov), Měsíčku na nebi hlubokém (Antonin Dvořák), Addio, del passato (Giuseppe Verdi). For the successful performance of compositions in a solo concert, it is crucial to have a knowledge of the content and stylistic characteristics of the chosen pieces' era, as well as the vocalist's vocal abilities. The work is conceived according to the sequence of performance of compositions in the concert. |
