New cooperation with St. George’s Strings


St. George’s Strings will begin its jubilee 30th season with maestro Srba Dinić in the role of the new chief conductor and Artistic Director.

The first concert will be held at March 30.

Maestro Dinic will conduct at 5 concerts in Belgrade with St. George’s Strings, this jubilee season.

Concert with Symphony orchestra of Montenegro


Maestro Srba Dinić will be a guest on Friday, March 18, in Montenegro.

With the Symphony Orchestra of Montenegro concert will be held on the Grand stage of the Music Center od Montenegro.

Montenegrin symphonists will perform: “Adagio for Strings” by one of the most performed American composers of the XX century – Samuel Barbera, “Sunset” by Italian composer Ottorino Respighi and the Symphony in G minor No. 40, entitled “The Great” by Wolfgang Amadeus Mozart.

Srba Dinić is the new chief guest conductor of the Radio Television of Serbia Music Production (RTS)


Maestro Srba Dinić is the new chief guest conductor of the Radio Television of Serbia Music Production (RTS). Srba will lead the RTS Symphony Orchestra in interesting concert projects, which are planned for the upcoming music season.

The first concert will be held on Saturday, February 19, at the Kolarac hall. The program will include works by Beethoven and Brahms, and one of the most talented young pianists of today, Ivan Bašić, will perform as a soloist.

Ivan Bašić will perform Beethoven’s famous “Third Concerto for Piano and Orchestra”. The program will also include the overture “Coriolan”, as well as Brahms’ last symphony, Symphony no. 4 ”.

Pianist Ivan Basic was born in Belgrade in 1996. He graduated from the Faculty of Music in Belgrade in the class of prof. Nevena Popović, where he was proclaimed the most promising pianist of his generation. In 2017, he was admitted to the concert class of prof. Konstantin Sherbakov at the University of Arts in Zurich, the city where he is currently studying. Critics define his pianism as “passionate, with enormous emotions emanating from him” (G. Krajačić, “Književne novine”), and he is described as a “technically superior and extremely musical pianist” (R. Mitrović, “Ars Sonora”, Radio Belgrade 2).

Concert in European Capital of Culture for 2022.


On 10 February, at the Serbian National Theatre, the universal language of music will connect: World-famous violin virtuoso, Stefan Milenković, one of the greatest contemporary pianists, Kemal Gekić, maestro Srboljub Dinić and Vojvodina Symphony Orchestra.

This is one of the concerts within the program port “SEOBE” Novi Sad – European Capital of Culture 2022, presenting a program called “The Best of Novi Sad”.

Kemal Gekić, one of the most prominent pianists of his generation, studied and worked at the Academy of Arts in Novi Sad. His interpretations are adorned with an original approach, often provocative and intriguing, brave and convincing.

This musical evening will be enriched by the performance of another artist with an amazing biography, who, after many years spent abroad, passes on his knowledge to young violinists of the Academy of Arts in Novi Sad. Stefan Milenković, great virtuoso on the violin, will perform Concerto for Violin and Orchestra no. 2 Felix Mendelssohn.

The repertoire will also include Sergei Prokofiev’s Classical Symphony.

Srba Dinic and Croatian National Theater


During February, Srba Dinić will conduct the opera “Magic Flute” at the Croatian National Theater. Performances are scheduled for February 1, 3, 21, 23 and 25th.

This setting has received numerous positive reviews:

“The Magic Flute, directed by Krešimir Dolenčić and performed by all the protagonists, is a real triumph of humanity and optimism, masterfully read from Mozart’s magical score.” –

Who was the best? Nobody! They were all the best. Indeed, one should see and hear the Zagreb Magic Flute in which everyone feels good and the audience leaves radiant. Rarity. – Morning paper

Cycle 1700 years of Jewish life in Germany


Continuation of the cycle »1700 Years of Jewish Life in Germany« under the musical direction of General Music Director Srba Dinić with works by Gustav Mahler, Erich Wolfgang Korngold, Alexander Zemlinsky and Erwin Schulhoff.

Jazz came to loom large in Schulhoff’s creative and professional life: He worked as a jazz pianist, and his use of that idiom in his compositions was the real (European, not American) thing, not superimposed from outside of himself. Schulhoff wrote the present work in 1921, calling it “Suite in the new style,” the new style, of course, being jazz. Later he changed the title to Suite for Chamber Orchestra, Op. 37. At the time he was well into Dada, the movement based on the principles of deliberate irrationality, anarchy, cynicism, and the rejection of laws of beauty and social organization. He didn’t continue in the Dadaist ideals, but he did preface the Opus 37 Suite with a nonsense poem in its style: Grant me unheard-of powers/I will eat you all/Into the sausage machine with you/Band of Pigs!!!/Then, then comes the moment in the Cosmos/When I will be transformed in “BAYER Aspirin.”

Mahler wrote the poetry for Lieder eines fahrenden Gesellen (“Songs of a Wayfarer”) himself, though he was heavily influenced by the folk verses in the collection Des Knaben Wunderhorn (“The Youth’s Magic Horn,” selections from which he would later set for voice and orchestra).

The cycle of four Lieder for low voice (often performed by women as well as men) was written around 1884-1885 in the wake of Mahler’s unhappy love for soprano Johanna Richter (1858-1943), whom he met while conductor of the opera house in Kassel, Germany, and orchestrated and revised in the 1890s.

Erich Wolfgang Korngold, the great Austrian opera composer, coined and composed film music in America with great success and brought his European note there. The tone poem “Tomorrow” from 1944 presents its musical language with a great symphony orchestra sound, supported by the choir and vocal soloist.

The music of Alexander Zemlinsky’s Sinfonietta lies somewhere between Mahler-style late-romanticism and a linear objectivity, with the second movement, a Ballade, coming closest to the spirit of Mahler. The work shows what Viennese music can sound like without Schönberg’s influence. 

The Magic Flute


The premiere of the opera “The Magic Flute” will take place tomorrow, December 4th, in the Großes Haus, Braunshweig. 

Mozart’s miraculous blend of the human and the supernatural, comedy and romance, draws us into a world where a prince, Tamino, and a princess, Pamina, triumph over every obstacle in their search for wisdom and enlightenment, and are finally united in love.

With the »Magic Flute«, director Dagmar Schlingmann shows a surreal world in which the lines between good and bad are blurred. 

Is it – as the Queen initially claimed – Sarastro who is a tyrant and must be overthrown, or does he and his entourage have better ideas? When confronted with these different systems and worlds of thought, it is the young protagonists who have to find their own values ​​and thus their own new path into the future.

Cycle 1700 years of Jewish life in Germany


Braunschweig State Orchestra under the direction of Srba Dinic will present “1700 Years of Jewish Life in Germany”, works by Kurt Weill, Franz Schreker and Paul Abraham as well as Mozart’s Piano Concerto in D minor with the award-winning Olga Scheps on the piano.

The composers Kurt Weill, Franz Schreker and Paul Abraham were all three born in Europe at the end of the 19th century and their work experienced a sudden turning point when the National Socialists came to power.

Der Silbersee: ein Wintermärchen (The Silver Lake: a Winter’s Fairy Tale) is a ‘play with music’ in three acts by Kurt Weill to a German text by Georg Kaiser. The subtitle is an allusion to Heinrich Heine’s 1844 satirical epic poem, “Germany. A Winter’s Tale”. The Silver Lake concerns the harsh realities of a socially and economically divided world at a time of last of widespread unemployment. It belongs to the same “play-with-music” genre as The Threepenny Opera – a three hour evening, of which about one hour is musical. The Silver Lake includes some celebrated hits but on closer inspection, instead of Threepenny jazz band, there are a medium-sized orchestra without any jazz instruments, and intead of a few brief passages for a beggarly chorus, an almost Masonic role for a four-part chorus.

Der ferne Klang is remarkable in a number of ways. In the first place Schreker handles a large orchestra with the greatest subtlety of nuance. There is, in the orchestration, a meticulous attention to timbre and colour, general avoidance of doubling, and an original and innovative treatment of effects. Startling contrasts of harmony add to the atmosphere of the drama in a score that may now be seen to be seminal in its influence on younger composers, a work of the greatest power and relevance, part of an existing operatic and musical tradition, which it served very considerably to extend.

Hungarian composer Paul Abrahám enjoyed huge success across Europe with his ‘jazz operettas’, not least in Weimar Berlin where his works scored for an orchestra augmented by a jazz band caused a sensation. Ball im Savoy (‘Ball at the Savoy’) has a plot reminiscent of Die Fledermaus and its variety of influences, some European and some reflective of contemporary American popular song, won the kind of acclaim only equalled by Franz Lehár. 

This varied program is complemented by a double audience favorite: One of the most wonderful pianists, Olga Scheps, plays one of Mozart’s most famous piano concertos, a dramatic, melancholy dialogue between the orchestra and the soloist.

Srba Dinic and Ivo Pogorelic in Novi Sad


After forty years, the renowned pianist Ivo Pogorelic will perform in Novi Sad, at a concert with the Vojvodina Symphony Orchestra conducted by Srba Dinić.

The concert will be held at the Serbian National Theater on Sunday, October 10.

Ivo Pogorelic’s virtuosity has often been commented on by critics as “a genius who plays as if he were 200 years ahead of his time.”

Pogorelic was born in Belgrade, where he completed his primary music education, and then moved to Moscow, where he attended the P.I. Tchaikovsky. He experienced a radical change in his artistic development while working with a prominent Georgian pedagogue and pianist, Alisa Kezeradze. He made his debut at Carnegie Hall in 1981 and in London the same year. He has performed on the most important world stages.

The following works will be on the program on the big stage of the Serbian National Theater:

M. von Weber: Overture to the opera “The Magic Shooter”

Chopin: Piano Concerto no. 2 in F minor, Op. 21

Mendelssohn: Symphony no. 4 in A major, “Italian”

Srba Dinic with St George Strings – 1st of October, Belgrade


After a break of more than two years, Srba Dinić will perform again with the String of St. George, whose chief conductor he was in the period from 2013 to 2019.

On Friday, 1.10. in the Assembly of the City of Belgrade, Serbs and Strings report Brandenburg Concerto no. 6 and Concerto for two violins and orchestra in D minor, by Johann Sebastian Bach, as well as Vivaldi Concerto for 2 violins and orchestra in A minor and Holberg’s world by Edward Grieg.

 In the six ‘Brandenburg’ Concertos, Bach explores every facet of this genre, with regard to both instrumentation and the way in which he handles the form.

One of Bach’s many experiments in instrumentation is the Brandenburg Concerto No. 6 In B-flat.  The concerto is scored for two violas, two violas da gamba (already considered an old instrument when this concerto was written in 1721), one cello, one violone (bass fiddle) and harpsichord. No soprano instruments save for the upper register of the keyboard. The resulting tonal color in the hands of a lesser composer would perhaps have become too dull and monotonous, but Bach writes music of great beauty in a joyful color.

“In 1711, Etienne Roger, the Amsterdam publisher, brought out what was to become the most influential music publication of the first half of the 18th century: Vivaldi’s L’estro armonico, Op. 3,” writes Michael Talbot, biographer of Antonio Vivaldi. Certainly, these 12 concertos for one, two, three, or four violins became widely known during their first years of publication. J.S. Bach knew them, and he transcribed six of them for organ or keyboard, one of which is this A-minor Concerto for two violins, strings, and basso continuo.

Vivaldi’s fast movements are famous for dash and verve, and the opening Allegro of this work is no exception. Add to that the catchiness of the themes, and you have the recipe that has fascinated listeners from J.S. Bach to our time. In the solo parts, Vivaldi gives us just the right balance between beauty and virtuosic display.