bio
Dejan Sinadinović studied at the Faculty of Music in Belgrade and Tchaikovsky Conservatory in Moscow with Eliso Virsaladze. He has performed in numerous renowned venues all over Europe: Tchaikovsky Great Hall in Moscow, Studio Ernest-Ansermet of the Radio Suisse Romande in Geneve, Salle Cesar Franck in Paris, Glinka Hall in St. Petersburg, Dvořák Hall of Rudolfinum in Prague, Kolarac Hall in Belgrade. Recent performances include recitals in St. Petersburg, Manchester, London, Worcester, Augsburg, Dresden, Heidelberg, Brandenburg, Florence, Bergamo, Alessandria, Barcelona, Toledo and Geneva. He is a Professor at the Faculty of Music, University of Art in Belgrade, where he served as the Vice-Dean from 2002-2006. He also teaches at the Academy of Fine Arts in Belgrade where he was the chairman of the music department from 1998 to 2006. He is the President of the European Piano Teachers Association in Serbia and the artistic director of Belgrade Spring Piano Feast.
Press Clipping:
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“One of the visitors on the recital of Dejan Sinadinovich made his point: “it was a three-dimensional power plant!” Another visitor talks about musical magic.”
Rhein Neckar Newspaper Heidelberg
Piano magic
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…”Schon die Stücke op. 118 von Brahms, deren Interpretation allzu oft zwischen Behäbig-keit und übertriebener Innerlichkeit angesiedelt ist, präsentierte er mit luftiger Finesse und resolutem Zugriff. Den anschließenden Komplex aus Prelude, Choral et Fugue von Cesar Franck ging er mit bezwingend stringentem roten Faden aIs musikalische Bergbesteigung an, vermittelte dabei den Genuss jeden einzelnen neuen harmonischen Ausblicks und ließ deutlich spüren, auf welchem Energieniveau sich die Reise gerade befand.
Bestechend vermittelte er in den fünf letzten Preludes von Skrjabin die magische Kraft dieser zwischen vulkanischer Verdichtung und existenzieller Einsamkeit schwankenden Konzentrate. Gleißend und vor Energie berstend meißelte er Ravels “Alborada del gracioso” in den Flügel, während die “Barque sur l’ocean” selten so konturiert und gleichzeitig sinnlich zu hören sein dürfte.
Die spannendste Entdeckung war indes die Echo-Suite des in den siebziger Jahren durch Freitod aus dem Leben geschiedenen Belgrader Komponisten Mokranjac: eine bestrickende Mischung aus dem Nachhören von Klängen meditativer lnnerlichkeit und berstender Orgiastik. Es bleibt zu hoffen, dass das Pubhkum im Rhein~Neckar-Raum diesem Ausnahme-Pianisten wieder begegnen wird.”
Belgrad war Trumpf – Heidelberg, May 2005, Denija Perica
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The afternoon’s concert with the Serbian pianist Deyan Sinadinovich was pure narcotics. Only seldom I have heard a pianist or for that matter a musician, who simply splashed the music directly into one’s veins. He played in such a way, that all senses were roused and opened widely. I look forward to get an opportunity to hear the composer as well as the pianist again.
Anna Berit Asp Christensen
Dansk Musik Tidsskrift, DMT – 2004/05 – No. 4, Februar 2005
Odense, Denmark
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“Extrovert temperament. Natural and pure music eloquence.”
Michel Debrocq, Le Soir
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“Divergent, powerful pianist. Diabolic virtuosity.”
Thierry Lassence, La Libere Belgique
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Powerful piano sound… On this occasion we have listened to a technically perfected and musically well conceived performance of this “symphonic poem” for piano (Liszt: B minor sonata). The breakneck passages were made to sound crystal clear, and dynamic nuancing worked out in detail.
Dušan S. Maksimović, Politika ekspres, March 21 1998
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Virtuoso power, the richness of touch, the precision of nuancing, the emotional spectrum, technical perfection, and as the overall impression: a memorable event! All this has been woven into the performance of the pianist Dejan Sinadinović… his high reputation is best confirmed by the presence of many of our artists and students who live in Paris, who instead of going to Pogorelić’s concert (in the Gaveau Hall, within the series “Grand Recitals”) came to greet the Belgrade artist… Sinadinović played with volcano energy and poetical passion, turning the piano into an orchestra… Chopin, Franck, Liszt were his choice, and their beauty intermingled with the entire audience (among whom we recognized pianist and conductor Valeri Afanasev, actress Dara Čalenić, art historian Irina Subotić, painter Bata Mihajlović and many others). Paris will remember Dejan…
O. Đoković, Vesti, April 11 1998
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Nevertheless, the central figure of the show was pianist Dejan Sinadinović, who had already been known for his ability to perform miracles on the piano. Now we know that he can also coordinate, authoritatively and impeccably, a team of excellent players, to inspire them with his musical imagination and to guide them with his firm will to a perfect harmony.
Milena Miloradović, NIN, September 2001
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… Starting with the introductory Nocturnal Butterflies, whose airy swish and gusts of wind awaken all kinds of associations and where the piano sound is turned into breeze, while the pianist was touching and opening up the spheres of surrealistic, going to the second and third movements (Doleful Birds, A Boat on the Ocean), culminating in the dualistically conceived Alborada del grazioso. On the one hand a whirl of Spanish rhythms, on the other the blasts of wind from the sea being slowly permeated by soft chanting of a lonely singer – this is what Dejan Sinadinović invoked with his art in which the undreamt-of power of the impressionistic gamut of colors was juxtaposed to the expressionistically charged dissonances, in virtuoso and brilliant pieces, in well vaulted and conceived endings of sections and movements, in the slow dying out of sound, or eruptive surges of whirling force. If we had known him as a pianist of violent temperament and masculine touch, to this we could add, having listened to his Ravel, the perfect balance of diving into the keys right to the vanishing depths, with his supple, completely pliable hand, with his arm, shoulder, the entire body, the entire being… There was a great deal to be learned, how to play Brahms, to start with: to weave the polyphonic web of lines with a complete mastery of numerous and by no means slight technical demands, to constantly “draw out” the melody with the softest possible contact with the keys, and diving into them with full concentration, gently and deeply. This is how we read the pianist’s message. The sentiment is never obscured, but it is not something to dwell on. Brahms’s Variations on a Theme by Paganini Op. 35 (Vol. I) were bursting, yet in a single sweep which led us through diverse and exciting individual pieces (variations), increasingly different from the theme, towards the technical complications of chords, octaves, and all kinds of problems solved conscientiously, and with full respect for every single note. Carried away by lauds from the expert audience of all generations, Dejan Sinadinović played encores which formed a miniature program of its own, including virtuoso, as well as lyrical pieces. First, he played masterly and in amazing tempo Chopin’s Study in C sharp major, Op. 10 No. 4, then slow and meditative Intermezzo (from Viennese Carnival) by Schumann, and at the very end another two pieces by Schumann from Op. 99 (Bunte Blätter) played in a single breath. It was an unusual musical encounter worthy of the First Isidor Bajić Memorial.
Dr. Branka Radović, Bulletin of the First Isidor Bajić Memorial
