Second International Voice Competition Boris Martinovich – online edition is accepting applications now

𝗜𝗻𝘁𝗲𝗿𝗻𝗮𝘁𝗶𝗼𝗻𝗮𝗹 𝗩𝗼𝗶𝗰𝗲 𝗖𝗼𝗺𝗽𝗲𝘁𝗶𝘁𝗶𝗼𝗻 𝗕𝗼𝗿𝗶𝘀 𝗠𝗮𝗿𝘁𝗶𝗻𝗼𝘃𝗶𝗰𝗵, a classical music songs, opera & operetta voice competition, open to all nationalities all around the world with NO AGE LIMIT, named by the world famous American opera singer bass-baritone 𝗕𝗼𝗿𝗶𝘀 𝗠𝗮𝗿𝘁𝗶𝗻𝗼𝘃𝗶𝗰𝗵.

Singers must apply by choosing between the following twi divisions:
📍opera and classical song
📍under professionals or pre-professionals (University) level.

The 𝘧𝘪𝘳𝘴𝘵 𝘵𝘸𝘰 𝘳𝘰𝘶𝘯𝘥𝘴 will be judged based on the 𝘃𝗶𝗱𝗲𝗼 𝗺𝗮𝘁𝗲𝗿𝗶𝗮𝗹 of the singers, while for the 𝘍𝘪𝘯𝘢𝘭 𝘳𝘰𝘶𝘯𝘥 the singers will have to perform in 𝗟𝗶𝘃𝗲 𝗕𝗿𝗼𝗮𝗱𝗰𝗮𝘀𝘁, while the Jury and the audience will watch.

🗓𝘛𝘩𝘦 𝘈𝘱𝘱𝘭𝘪𝘤𝘢𝘵𝘪𝘰𝘯 𝘥𝘦𝘢𝘥𝘭𝘪𝘯𝘦 𝘪𝘴 𝘍𝘦𝘣𝘳𝘶𝘢𝘳𝘺 15𝘵𝘩, 2022.
🗓𝘛𝘩𝘦 𝘍𝘪𝘯𝘢𝘭 𝘳𝘰𝘶𝘯𝘥 𝘸𝘪𝘭𝘭 𝘣𝘦 𝘰𝘯 𝘔𝘢𝘳𝘤𝘩 28𝘵𝘩, 2022.

International Voice Competition Boris Martinovich is a Branded event for the 𝗽𝗿𝗼𝗺𝗼𝘁𝗶𝗼𝗻 and 𝗰𝗮𝗿𝗲𝗲𝗿 𝗱𝗲𝘃𝗲𝗹𝗼𝗽𝗺𝗲𝗻𝘁, contacts, information about the 𝗮𝘂𝗱𝗶𝘁𝗶𝗼𝗻𝘀 and 𝗷𝗼𝗯 𝗼𝗽𝗽𝗼𝗿𝘁𝘂𝗻𝗶𝘁𝗶𝗲𝘀 for singers, voice students, agents, opera companies and opera directors. 💥

International Voice Competition Boris Martinovich is a Branded event for the 𝗽𝗿𝗼𝗺𝗼𝘁𝗶𝗼𝗻 and 𝗰𝗮𝗿𝗲𝗲𝗿 𝗱𝗲𝘃𝗲𝗹𝗼𝗽𝗺𝗲𝗻𝘁, contacts, information about the 𝗮𝘂𝗱𝗶𝘁𝗶𝗼𝗻𝘀 and 𝗷𝗼𝗯 𝗼𝗽𝗽𝗼𝗿𝘁𝘂𝗻𝗶𝘁𝗶𝗲𝘀 for singers, voice students, agents, opera companies and opera directors. 💥

While still a full scholarship student in New York’s Julliard School of Music, the young croatian-born Boris Martinovich made his debut at Avery Fischer Hall in New York’s Lincoln Center in Refice’s Cecilia, with Renata Scotto, prompting Bill Zakariasen to write in the New York Daily News, “Boris Martinovich is a 21 year old basso of prodigious potential”. Boris Martinovich burst upon the international scene in 1977, when as a Metropolitan Opera Regional Finalist, he was engaged by Gian Carlo Menotti for the Spoleto USA production of Tschaikovsky’s Queen of Spades opposite Magda Olivero, and the new production of Menotti’s The Consul which was televised. Shortly there after, he made his Carnegie Hall debut and soon appeared in the leading opera houses in the USA such as the San Francisco, the Cincinatti Opera, the New York City Opera, and the Baltimore Opera, to name but a few of the musical cities that have acclaimed his performances.

In 1981 he was invited to make his European debut at Spoleto and soon appeared in the most prestigious Italian theaters: Parma (Semiramide, Romeo and Juliette, Lucia di Lammermoor), Pesaro (Mose, Tancredi), Trieste, Roma, Napoli and a tour of recitals in his native Croatia. The same year he was singing the title role of Mose in Pesaro, he made his debut in Milano at the Piccola Scala in Il Convitato di Pietra as well as at the Paris Opera as Colline and Pharaon, with Samuel Ramey and Shirley Verrett, Carmen at the Vienna State Opera.

Among his many varied stage appearances in recent time is the role of the Count in Le Nozze di Figaro in Nantes, in ‘90-‘91 Carmen at the Vienna State Opera, under M° Claudio Abbado, and the new production of Don Giovanni directed by Richard Foreman and conducted by M° Casadesus. Also, in Semptember ‘91, he obtained his long term engagement at the Opernhaus Zurich and sang his first Onegin, Mustafa and Sharpless on stage, apart from that he sang the Verdi’s Requiem in Lisbon, Mozart’s Requiem in Lille, Maddalena by Prokofiev in Paris.

After making a spectacular debut in Santiago singing Atilla in October ’92, he was immediately re-engaged for Carmen in June ’93, January ’94 and Aprill ’94. Highlights of the ‘94-‘95 seasons included a debut at the Teatro Colon in Buenos Aires portraying Escamillo in Carmen, conducted by Maestro Antoni Ros-Marba and made his debut at the Teatro alla Scala in Les Contes d’Hoffmann. In December ’97, he sang Romeo and Juliette in the opening season of Palermo’s Teatro Massimo and in January ’98, he made his debut as Arnoldo with Mariella Devia in Donizetti’s Adelia. Immediately after, he sang Carmen with Agnes Baltza in Mannheim and he will repeat the same performance for his debut at the Bayerische Staatsoper in Munchen followed by another performance of Escamillo in Sao Paolo, Brazil. He returns to Tel Avia in 2000 to appear in the spectacular performance of Turandot. Future performances included a world tour of recitals with Goran Filipec and a new production of Don Giovanni by Pier Luigi Pizzi in Sevilla, Venezia, Croatia and Portugal.

Boris Martinovich is Artistic Director of Foundation Opera Morlacci in Perugia, Italy and he is active as Voice Teacher, teaching his Masterclasses all over the world, and Producer.

How did this project start and what are the main purposes of your masterclasses and contest?
My wife Diana Martinovich, who is very talented opera singer, voice professor ,manager and producer, gave me the idea to make an International Voice Competition that carries my name. The idea was created right before the Covid pandemic started. Because of Covid situation ,we decided not to cancel it,but to take a risk and organize it online. The first International Voice Competition was a huge success. It reached over a million views. Bringing together 200 outstanding performers, world-class adjudicators,educators,music managers, voice teachers and opera directors from around the globe.Hopefully this year we will have even more outstanding performers and help even more young singers to be heard, promoted and find their career path in this challenging time.
The main purpose of the contest is to connect talented singers from all around the world, regardless their nationality, ethnicity, religion or age with artists managers and agents,to provide them career development,auditions and job opportunities,to connect voice students with Universities all around the world ,to promote singers participants, but also to promote their voice teacher,music schools,universities ,agencies and opera companies and, off cource to reward them financially.
The purpose of my masterclasses is ,not just to help them to develop their singing and artistic skills,but also to help them finding the performance opportunities and jobs. By working with students on my masterclasses, I get to know them better and I have a clear insight in how to help them further in their career ddevelopment.
When I was young, I had a luck to work with an outstanding voice teacher- Armin Boyagian-as well as the other teachers at the Juliard school of music where I have studied voice and composition. But also further in my career with the best singers ,conductors and opera directors who helped me ,all through my career ,to become as successful as I was. Now ,it is my legacy and human obligation to continue that tradition of helping young singers to fulfill their full potential and get the chance to express their talents and art.

What’s the jury looking for in the winners and why should a young singer choose to participate?
Our Jury is made of highest professionals – opera directors ,conductors ,producers,managers and voice professors. Each of them is looking for a talent , voice and artistic skills and possibility to improve and get better as a performer and artist. To become better artist and improve his or her talent to the maximum. Our competion is not just a competition for the sake of an award, but it is also a certain audition for opera directors, managers and producers with an oppportunity to get an engagement with management agency or opera theater, and to be promoted world -wide,which is something that most of young singers need and desire.
A young singers should participate because of all this that I named before, but also because in this online edition the costs are much lower ,because there are no traveling and accomodation costs, and also our competition provides an opportunity for the young artists to express all of their talents in a best possible way. Also, besides money reward,we are offering scholarships for Summer Opera School Masterclasses ,promotions (marketing and PR opportunities) and performance opportunities at the live concert this Summer in Zadar in Croatia, in opera from G.Rossini :Il Barbiere di Sevilla and oportunity to be involved in world tour concerts and opera performances that celebrates my 50th professional anniversary (I started when I was 16 years old).

Considering the tough times that we’re going through, do you think that the singing contents became less or more important for the development of a young artist’s career?
I think more improtant,because it is a way to be heard , to improve your skills and to get a better insight about your place on a world map of other singers and performers.

What’s your main advice, repertoire wise, for those that are will participate at your contest?
It is all individual and depends on their abbilities. The one should choose the repertoire that shows all of their possibilities and artistic skills in a best manner, following the nature of their voice.

What are your plans for the future, regarding your contest & masterclasses?
Next year I am celebrating 50 years of my professional career. Alongside many concerts and opera performances all around the world, I established International Summer Opera School in beautiful Duke’s Palace in the city of Zadar in Croatia, on the Adriatic coast.
The School will take place in June -July 2022. Besides masterclasses for singers help by myself, Fabio Armiliato , Svetla Vassileva and Diana Martinovich,there will be a concert with participation of the singers-participants of the Opera school, as well as the production of G.Rossini’s opera Il barbiere di Sevilla,also with Opera school participants as main soloists ,and Opera Gala with the Summer Opera School teachers. This Opera School is going to become a yearly tradition.
As for the contest, this year we are releasing our 2nd edition which will be held online also, because the Covid situation is still not stable enough to organize it in real space. For the 3. Edition of the Competition and further one , hopefully we will organize it Live, and the audience and the singers will be informed about all the detailes on time!


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