A great man is one who collects knowledge the way a bee collects honey and uses it to help people overcome the difficulties they endure - hunger, ignorance and disease!
- Nikola Tesla

Remember, remember always, that all of us, and you and I especially, are descended from immigrants and revolutionists.
- Franklin Roosevelt

While their territory has been devastated and their homes despoiled, the spirit of the Serbian people has not been broken.
- Woodrow Wilson

Melodije bliske srcu

U ciklusu „Nove godine“, Beogradska filharmonija obeležiće u četvrtak Novu godinu po julijanskom kalendaru izvodeći muziku iz najpoznatijih domaćih filmova. Ovu „muzičku sinemaniju“ na Kolarcu predvodiće mladi Vladimir Kulenović, rezidencijalni dirigent filharmonije. Publika će se priseti antologijskih melodija iz „Otpisanih“, „Maratonaca“, „Balkan ekspresa“, „Nacionalne klase“, „Petrijinog venca“ i drugih dela.

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Mladi umetnik, koji gradi uspešnu karujeru u SAD, nedavno je pred američkom publikom dirigovao repertoar iz Diznijevih filmova. Srpski film mu je, otvoreno priznaje, „bliži srcu“.

- Ono zbog čega mi je ovaj koncert posebno drag je zato što je to muzika iz filmova uz koje smo odrasli i koje smo voleli - kaže za „Novosti“ Kulenović.

Kao stalni dirigent Simfonijskog orkestra u Juti, srpski umetnik održi oko sto koncerata godišnje, a često gostuje u Evropi i Aziji. Našao se i na listi šest najperspektivnijih dirigenata u Americi, što mu donosi pozive za gostovanja sa uglednim orkestrima.

- Kada sam diplomirao, u kratkom periodu nastupao sam u SAD, Japanu, Tajlandu i Srbiji. To je odlična prilika da vidite razliku između evropske, američke ili azijske publike. I ne samo publike, jer su temperament, kultura, sviranje i ponašanje okrestara drugačiji. Dirigent mora da bude kameleon, da se prilagodi sredini - objašnjava Kulenović. - U Srbiji mi je najbolje. Ako bih negde ostajao po izboru, to bi bilo ovde.

Želja mu je i da u budućnosti češće izvodi dela svog oca, kompozitora Vuka Kulenovića, profesora na Berkliju.

Simfonijski orkestar Jute, gde je Kulenović stalni dirigent, smešten je u Solt Lejk Sitiju, a delom ga finansira država. Osim nastupa širom Amerike, ovaj ansambl svake godine predstavlja se i najmlađoj publici, gostujući po školama, što je, po njegovim rečima, odličan primer za sve druge orkestre.

- Odlazimo u škole, „držimo časove“ najmlađima, što zaista pravi veliku razliku kasnije. Jer, ta deca pričaju roditeljima i sa njima dolaze na koncerte. Jednostavno, zavolimo se i budemo dobrodošli u njihovim životima. Dobijate publiku koja vam je verna - objašnjava Kulenović.

Porodica

Vladimir potiče iz umetničke porodice. Osim oca kompozitora, njegov deda Skender Kulenović bio je čuveni pesnik, a baba Vera Crvenčanin Kulenović prva žena reditelj u Srbiji.

- Moj otac je bio i profesionalni vaterpolista, a i ja sam se bavio sportom - skijanje je moja druga ljubav. Volim tenis, a u poslednje vreme sam posvećen ronjenju. Moram da se pohvalim da sam nedavno oborio svoj lični rekord u ronjenju na dah, spustio sam se do dubine od 30 metara!


SA

 

People Directory

Sava Vemić

Sava Vemić (born 1987), bass, comes from Belgrade, Serbia. He is a member of The Metropolitan Opera’s Lindemann Young Artist Development Program in the season 2014/2015.

He studied singing in the Music School Mokranjac with prof. Tanja Obrenović and later at the Faculty of Music, University of Arts in Belgrade with prof. Nikola Mijailović. In Mozart’s Magic flute he made his debut as Sarastro at the opera stage of Madlenianum Opera & Theatre in Belgrade. He received scholarships from the International Vocal Arts Institute (IVAI) in 2013 when he sang Bartolo in an IVAI production of Le nozze di Figaro and in July 2014 when he sang Osmin in their production of Die Entführung aus dem Serial in Tel Aviv, Israel. In June 2014 he made his Carnegie Hall debut as Sir Walter Raleigh in Donizetti’s opera Roberto Devereux with The Opera Orchestra of New York led by Mo. Queler. In 2012 he performed at the Esterhazy festival in Haydnsaal, Austria.

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Publishing

On Divine Philanthropy

From Plato to John Chrysostom

by Bishop Danilo Krstic

This book describes the use of the notion of divine philanthropy from its first appearance in Aeschylos and Plato to the highly polyvalent use of it by John Chrysostom. Each page is marked by meticulous scholarship and great insight, lucidity of thought and expression. Bishop Danilo’s principal methodology in examining Chrysostom is a philological analysis of his works in order to grasp all the semantic shades of the concept of philanthropia throughout his vast literary output. The author overviews the observable development of the concept of philanthropia in a research that encompasses nearly seven centuries of literary sources. Peculiar theological connotations are studied in the uses of divine philanthropia both in the classical development from Aeschylos via Plutarch down to Libanius, Themistius of Byzantium and the Emperor Julian, as well as in the biblical development, especially from Philo and the New Testament through Origen and the Cappadocians to Chrysostom.

With this book, the author invites us to re-read Chrysostom’s golden pages on the ineffable philanthropy of God. "There is a modern ring in Chrysostom’s attempt to prove that we are loved—no matter who and where we are—and even infinitely loved, since our Friend and Lover is the infinite Triune God."

The victory of Chrysostom’s use of philanthropia meant the affirmation of ecclesial culture even at the level of Graeco-Roman culture. May we witness the same reality today in the modern techno-scientific world in which we live.