Foto: Marija Cerar

“The strongest, warmest personality is Vera DANILOVA, a singer with high and light soprano voice…Soprano’s Gilda was an amazing experience.”                  

Jure DOBOVISEK [critic, writing in the Slovenian national newspaper Delo]

 

                                                                                                                                                                     Photo: Marija Cerar

 

VERA DANILOVA

Curriculum vitae

 

 

Vera Danilova was born in Macedonia. Currently living in Slovenia, she is beginning to make a distinguished solo career, not only in other parts of central and Eastern Europe but also here in Slovenia, where she has sung such roles as Norina (Don Pasquale) at the Ljubljana Opera and La Sonnambula and Gilda (Rigoletto) in other theatres, as well as many concerts.

Her repertoire includes Lucia, Rosina, Rita (Rita), Elvira (Puritani), Lakmé, and the Waldvogel from Siegfried.

After she finished the Music high school in Skopje at only eighteen years old, she was accepted at the Academy of Lyric Art in Osimo (Accademia d’arte lirica di Osimo [Italy]), mentored by the music impresario Sergio Segalini and Raina Kabaivanska. There she sang her first Susanna in Le Nozze di Figaro and Ilia in Idomeneo.

After one year in Italy, she continued her musical education at the Music Academy in Ljubljana at the university of Ljubljana in Slovenia where she graduated in singing with honours.

She was awarded the student’s Preseren prize (Prešernova nagrada), the highest award for a student in Slovenia for extraordinary achievements in music (nominated for the part of the Soprano in Carl Orff’s Carmina Burana).

During her studies, Vera won several competitions and sang in many concerts. It was while she was  a student that she made her Opera debut singing Adina in L’Elisir d’Amore.

She quickly became a member of the Opera studio at the Slovenian National opera in Ljubljana and at the age of 25 she became a soloist. She sang there exclusively leading opera roles from belcanto to modern composers: Norina (Don Pasqale), Berenice (L’occasione fa il ladro), Die Prinzessin (Die Prinzessin auf der Erbse), Bubikopf (Der Kaiser von Atlantis), Adele (Die Fledermaus), Rosaura (Le Donne Curiose), Sophie Uhlich or Madame Herz in the original version (Der Schauspieldirektor) and others.

She has worked with the conductors such as Dieter Rossberg, Uroš Lajovic, Milivoj Šurbek, Borut Smrekar, Toshio Janagisava, Marko Gašperšič, etc. and with the stage directors Gregor Horres, Manfred Schweigkofler, Diego de Brea, Vinko Möderndorfer, Henrik Neubauer etc.

She is a guest at the Ljubljana Summer Festival (Slovenia), Skopje Summer Festival (Macedonia), Bled Festival (Slovenia), Festspielhaus St. Pölten (Austria), the National Opera in Zagreb, the RTV Slovenia Symphony Orchestra, and the National Opera in Macedonia.

She sang at the Austrian première of J. Offenbach’s romantic opera Die Rheinnixen (Nixe) in St Pölten.

Vera Danilova is currently working and studying under the mentorship and guidance of the tenor and vocal coach, Alexander Brown.

She performs as a concert singer and has a wide repertoire of recitals (Opera arias, Antique and Baroque arias, German lied, Russian romances, Italian chamber music). The Slovenian National Radio recorded many of her performances.

Her cooperation with the Slovenian pianist Erik Šuler resulted in many highly successful projects and recitals throughout the country. Starting with Rachmaninoff’s romances, later their repertory was expanded and they added other Russian composers (such as Rimsky-Korsakov, Tchaikovsky, Glinka), German (Wolf, Schumann, R. Strauss) and Italian chamber music (Bellini, Rossini, Arditi…), different composers and styles.

She is also a member of the Slovenian chamber music theater SKGG.

 

 

“… and the young Macedonian soprano Vera Danilova was tenderly enthralling, so incredible was the sensitivity of her singing, so soft and splendid her nuancing even in the higher positions and fortissimo, so warm and relaxed was her voice. How could anyone doubt that Amor flies everywhere (Amor Volat Undique)? The performance of the young singer, especially with the culmination of the soprano line in Tempus Est Iocondum, offered an experience of music as the art of a noble Eros, an art of pure musical sensuality.”

Gregor PIRS [critic, writing in the Slovenian national newspaper Delo]