Dejan Ivanovich
Curriculum Vitae

DEJAN IVANOVICH started his guitar study when he was 8. He studied with Predrag Stankovic and Vojislav Ivanovic in Primary and Secondary Music School in Tuzla (B&H), in period 1984-1993. He graduated in 1998 in Darko Petrinjak's class in Zagreb Music Academy (Zagreb, Croatia). He participated in master classes with Costas Cotsiolis, Roland Dyens, Elliot Fisk, Thomas Müller-Përing, Gilbert Biberian, John Duarte (guitar), Walter Despalj (violoncello), Michael Steinkühler (viola da gamba) and Igor Lesnik (percussions).

His professional career started simultaneously with his academic study (1994-98). So far, Dejan performed in some of the most prestigious music festivals such as Spoleto Festival (personally invited by maestro Gian Carlo Menotti) - (4th of July in St. Michael’s church in Gavelli and 11th of July 1998 - Palazzo Campello in Spoleto), Edinburgh Summer Festival, (18th -23rd of August 1997 in De Marco Foundation) Estoril Summer Festival (3rd of August 1999) and Porto 2001 - European City of Culture (17th of May 2001).

He is the winner of 1st prize and Special prize for the best interpretation of Spanish music on 13th International Guitar Competition "Dona Infanta Cristina" held in Madrid (1998); 1st prize in the 3rd International Competition "Sinaia ‘98" in Romania; 1st prize in 17th International Guitar Competition "Andrés Segovia" in Herradura-Spain (2001); 1st prize and Public prize in 35th International Guitar Contest "Francisco Tarrega" in Benicássim, Spain (2001); 1st prize in International Guitar Competition of Creta (2005). He is also a laureate in the competitions in Italy, Belgium and Portugal.

Dejan has recorded for the following radio and television stations: Croatian Radio, Croatian National Television, Romanian National Television, RTP-Portugal, TSF, Antena 2, Charleroi Regional TV (Belgium), Valencia Regional Television (Spain) and Radio BiH (Bosnia-Herzegovina). He has performed with Orchestre Royal de Chambre de Wallonie, (Concerto by H. Villa - Lobos) Benicássim Orchestra (Concierto de Aranjuez by J. Rodrigo), Chamber Orchestra of Slovakia (Concierto by M. M. Ponce), Aveiro Orchestra (Concierto Madrigal by J. Rodrigo), Vojvodina Symphony Orchestra among others.

His recitals in Holland, Greece, Chile, Sweden, Germany, USA, Japan, Ireland, UK, Slovenia, Scotland, Belgium, Bosnia & Herzegovina, Spain, Italy, Croatia and Portugal have received a warm acceptance by public and critics. "El País", "Ritmo", "El Periódico" (Spain), "Bremer Umchau" (Germany), "Sunday Herald Times" (USA), "The Scotsman" (Scotland), "Slobodna Dalmacija", "Vjesnik" (Croatia) and "Oslobodjenje" (B&H) have dedicated their columns for Dejan's musicianship.

"Ritmo" has described him as "... courageous, sensitive young artist with surprising technique, profound musicality and creativity in every note and phrase..." His premiere CD recording for NAXOS in 2002 with some of the rare performances of works by Mompou, Rodney-Bennett, Arnold, Garcia Abril, Salvador and McPherson has already brought him the accolades of such music critics like Spanish "mundoclassico.com", English "musicweb.co.uk" and "The American Record Guide". He is a head professor of guitar in "Jean Piaget" Institute and University in Lisbon, Portugal. Also, he is the artistic director of International Guitar Festival and Competition "Guitarmania" in Almada, Portugal.

"...By perfect handling of details, splendid technical virtuosity and by sensitive approach to music in general, Ivanovich showed all those elements that could classify him to the highest world guitar elite in his further carreer... His infinite understanding and feeling of the performed music received with reason, a tremendous acclamation in a completely full church of St. Donat..." (Slobodna Dalmacija, Croatia)

"...Dejan Ivanovich and guitar graced the Auer Hall stage Friday evening and quickly sold himself as an artist who'll need to be paid attention to in years ahead... He is a commanding instrumentalist and a sensitive musician. He is also courageous... The sharp, distinct enunciation of notes as well as the seamless handling of those notes in succession required by these Bach sonatas were beautifully handled... Quiet as much of this piece is (Sonata Op. 61 by J. Turina), it also throbs with Latin passion, a fact not lost on Friday's soloist. He made glorious moonlight of the score... The guitarist interpreted the music (J. Rodrigo's Zapateado) as an expression of romance; in his hands, it gained a sense of subtle yet limpid ecstasy... The feel of serenading marked Ivanovich's playing of Vicente Asencio's Collectici Íntim, five pieces of, indeed, intimate scale. As the guitarist played them, they seemed designed not for an audience but for one to one soul sharing..." (Sunday Herald Times, USA)

"...I said "a new face" because he presented himself in the highest guitar artistry with his recital. Firstly, I would emphasize his relaxed and very attractive performance which displays an artist who is completely drawn into music which is performed and who respects the listener and devotes himself to the public's attention... In those five movements (P. Bellinati's Suite Contatos), once again, Dejan Ivanovich presented all the splendour of his technique and musicality which grace his music interpretation..." (Vjesnik, Croatia)

“El croata Dejan Ivanovich consigue el primer permio del prestigioso certámen (Francisco Tarrega) tras una espectacular interpretación que provocó el aclamo de la audiencia. El cierre de la sesión la llevó a cabo el guitarrista en una apasionada interpretación del Concierto de Aranjuez del maestro Rodrigo. Obra a la que siguió Capricho Arabe de Francisco Tárrega interpretación que le brindaría el premio especial del público... (guitarrissima.com)"

"Dice el viejo aforismo castellano: 'lo bueno, si breve, dos veces bueno'. La corta duración de la mayoría de obras compuestas para guitarra, hace de la brevedad una virtud cuasi inherente al instrumento, lo que siempre favorece una audición agradable de aquéllas, incluso entre los menos allegados al mismo. El disco del que nos ocupamos reúne varias piezas de esas características, buena parte de ellas poco habituales en las grabaciones - lo que es muy de agradecer a la dirección de la serie -, y se escucha con gran interés de principio a fin. De entrada, hay que decir que la interpretación de Ivanovic es excelente. Su técnica, absolutamente impecable; con una óptima agilidad y una limpieza fuera de lo común, cuidando al máximo el fraseo y obteniendo en todo momento una extensísima paleta de color instrumental. Y, por encima de todo, una musicalidad de gran calado, honda y versátil. Es esta concepción del instrumento al servicio de la partitura lo que permite a Ivanovic pasearse con la mayor naturalidad por obras de tan diferente concepción como las que contiene este CD, pasando del emotivo lirismo de El cant dels Ocells (la Cançó de Mompou) y la gracia saltarina de la Dansa a la pulquérrima versión que hace de la Sonata de Bennett; una obra cimentada en el dodecafonismo, pero con una estructura de desarrollo muy abierta a la expresividad. En esta obra, el intérprete croata conjuga muy acertadamente el respeto a la escritura y los sentimientos que de ella manan. Del mismo modo, la energía que imprime a los movimientos central y extremos de la Fantasía de Arnold enmarca vigorosamente la ternura de dos Arrietas absolutamente deliciosas. En los Tres Preludios Urbanos, de García-Abril, logra el aire entre romántico e impresionista con el que están escritos y que tan bien le va a la guitarra. Como colofón del disco, la limpieza y expresión del Estudio in moto perpetuo anteceden a un Recuerdos de la Alhambra en el que Ivanovic se recrea en un tempo marcadamente lento, como sólo los grandes se arriesgan a hacer: buscando la mayor expresividad y sin apenas resentirse la regularidad rítmica imprescindible en el trémolo.” (mundoclassico.com)

"...Whilst listening to this disc I found myself so engrossed in the music that I was unaware of the guitarist Dejan Ivanovich. This is a compliment to his playing as at no time did the technical difficulties get in the way of the music. The interpretation and use of tone colour seems totally appropriate and the general oneness with the music assured. Overall this is a fine, well-played collection of mostly rarely recorded music for guitar and while it will appeal to the guitar enthusiast it is still a worthwhile buy for those interested in the lesser known works of the British composers Malcolm Arnold and Richard Rodney Bennett." (musicweb.uk.net)

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