Dubina intimnog doživljaja svakog posetioca u prepunoj sali Muzičke škole (gde je zaposednuta svaka postojeća stolica) i emotivno snažna, gotovo opipljiva komunikacija s pijanistom, u procesu nadahnutog tumačenja i primanja muzike Frederika Šopena, na drugom klavirskom resitalu ovogodišnjih 27. Dana muzike u Herceg Novom, u celini posvećenom poljskom „pesniku“ klavira, bile su uzbuđujuće komponente koncerta hercegnovskog „pesnika“ ovog instrumenta, Borisa Kraljevića, kojem su njegovi sugrađani, kao i brojni posetioci sa strane, dugo i s poštovanjem aplaudirali. Festivalski program umetnika međunarodne izvođačke karijere i traženog pedagoga, rođenog Novljanina, koji uglavnom samo leti nastupa u gradu gde je počeo da uči klavir kod profesorke Milene Lučić (a studije i magisterijum završio na Konzervatorijumu „Čajkovski“ u Moskvi), započet je Uspavankom, opus 57. Smirena poetičnost i celokupni, girlandama ukrasa vođen muzički tok, delovali su još spokojnije u odnosu na gustim pozdravnim pljeskom uvedeno, pažljivo i u svakom detalju cizelirano i osmišljeno muziciranje. Ovako pripremljena, poput prave muzike noći, izsanjana su zatim i dva nokturna, najpre Nokturno u cis-molu, zloslutno potcrtavanih basova, i do kraja naglašene, bolne dramatičnosti, pa onda i ređe izvođen Nokturno opus 62 u E-duru, mirno usporene, skoro rečitativne naracije u punktiranoj „altovskoj“ melodiji, i upravo somotski ozvučenoj, meditativnoj atmosferi. Slušajući više puta Borisa Kraljevića, bilo u celovečernim resitalima Mocartovih i Bramsovih kompozicija, bilo kao posvećenog izvođača u različitim kamernim sastavima, najzad i kao solistu s orkestrom, doživeli smo uvek da „njegov“ klavir muzikalno „peva“ u zaobljenim kantilenama, a tumačenja slede prirodni tok. Celovit, sonoran i zavisno od zahteva dela, kompaktan, poput orkestarskog, moćan zvuk, krasio je i ovog puta umetnikove tople, romantičarski raspevane i u svakom segmentu veoma izražajne interpretacije. Sve navedeno odnosi se i na naš doživljaj četiri Šopenove balade (inspirisane poemama poljskog nacionalnog pesnika Adama Mickijeviča), u kojima Kraljević magično dočarava poetsku atmosferu i nestvarnu prirodu legendarnog sveta. One su po njegovoj interpretativnoj koncepciji na izvestan način srodne, i to ne samo zbog principa povezivanja tematski različitih delova jedinstvenim “pripovedačkim“ tonom i razvitkom, već i zahvaljujući snažno ostvarenim dinamičkim kontrastima (forte –piano). Zajednički su im i veliki koloristički spektar tonskih boja, a nadasve i emotivno „čitanje“ notnog teksta i stvaranje tonskih slika širokog zamaha i iskrene dramatičnosti. Već Prva balada u ge-molu, predstavljena je u velikim kontrastima, gde proboji bola i strastvene osećajnosti idu do krika, a potresna koda sve elemente ujedinjuje u vulkanskoj bujnosti i žestini. Meko osenčena nostalgičnost, a zatim „kaskadni“ skokovi i uzbudljiva tremoliranja izneli su tragične akcente Druge balade u Ef-duru, a delikatna Treća u As-duru, raskošno, ali postupno gradirana, ponovo potencirala lepotu zvonkog klavirskog tona i kontraste između nežne jednostavnosti i burnih akceleracija. I onda, u besprekornoj tišini auditorijuma, uzbudljivo je odjeknula Četvrta balada u ef-molu, u suprotnostima beskrajne senzibilnosti i orkanske snage, zanoseći svojim upravo fantastičnim, omamljujućim raspoloženjima. Bilo je to veče snažnih emocija i neobične lepote i upečatljivosti, ali i romantične setnosti, koje oplemenjuje i davaoca i primaoce. Ovi drugi su kao poklon dobili još dva Šopenova bisa – Šesti prelid iz opusa 28 i Revolucionarnu etidu, a onda, u postupnom, a nezadrživom narastanju, kao ishodište svih velikih postignuća u potonjoj muzičkoj istoriji, Bahov Preludijum u Ce-duru iz Prve sveske dobro temperovanog klavira. A umetnik je zaslužio i dobio stojeće ovacije kakve se dugo nisu čule u Herceg Novom.

Marija Adamov

Hercegnovski Dani muzike koji su se još u svojoj nekadašnjoj istoriji ubrajali u eminentne umetničke manifestacije bivše Jugoslavije, obeležavaju u obnovljenom, sada međunarodnom izdanju, svoj šesti rođendan. Opravdavajući u svim bitnim odrednicama, počev od organizacione i programske, do interpretativne, svoju ambiciozno zamišljenu fizionomiju, festival je i ovog jula koncipiran kao mesto gde generacije domaćih muzičara potvrđuju svoje sposobnosti i domete, a u kreativnim susretima sa umetnicima iz inostranstva, razmenjuju lična iskustva i ideje, upoznajući raznovrsne škole, pravce i stilove. I u ovom „sazivu“ takođe težeći raznolikosti i specifičnosti, organizatori hercegnovskih svečanosti muzike okupili su elitna imena koja dolaze iz Španije, Italije, Nemačke, Velike Britanije, Hong Konga, Srbije, Češke Republike i Crne Gore, potvrđujući tako njihov međunarodni karakter, ali i oblik koji se zasniva na kamernoj koncepciji.

S akcentom, dakle, na kamernoj muzici, ponuđeni program, složen u sedam koncerata, obuhvata tri dua (dva vokalno-instrumentalna i jedan instrumentalni), jedan gudački trio, jedan resital i dva klavirska kvinteta, u kojima će osnovu, kao rezidencijalni kvartet, činiti Gudački kvartet Virtuozi di Praga, koji je, kao deo orkestra istog imena i namene, i prošle godine učestvovao u ostvarivanju značajnog segmenta odabranog repertoara.
Do sada ostvarene festivalske večeri, mogu se pohvaliti visokim interpretativnim nivoom i u tehničkom i u umetničkom pogledu, što se odnosi na kreacije svih izvođača koji su realizovali tri prva koncerta. Da su oni održani u „atmosferi inspiracije, kvaliteta i stilske senzibilnosti“, kako je nagovestio gradonačelnik Dejan Mandić, otvarajući manifestaciju, pokazao je već prvi program održan na prepunom Trgu Miće Pavlovića (autentičnom prostoru ispred Crkve svetog Jeronima), na kojem je Gudački trio Bo art priredio veče prijatnog, nenametljivog i u svakom pogledu prefinjenog kamernog muziciranja. I kako je pre nastupa ovog internacionalnog sastava (španski violinista Hoakin Palomares, italijanski violista Dučio Belufi i belgijski violončelista Hervig Korin) istakao umetnički direktor festivala, Boris Kraljević, da će nam ovi, kao i svi odabrani muzičari prirediti puno umetničkih iznenađenja, Trio Bo art je, osim smirenog i ničim ometanog raspoloženja (uprkos izvođenju na otvorenom) doneo i susret s visokim profesionalizmom i zrelošću, predavanje koje bez posebnih spoljašnjih znakova, ponire u odabrana dela Šuberta i Betovena. Opredelivši se za „muziku za otvorene prostore“, kojoj pripadaju i oba gudačka trija Franca Šuberta i prava „noćna muzika“, Serenada u De-duru, opus 8 Ludviga van Betovena, ovi zanimljivi umetnici plemenitog gudačkog zvuka dosledno su se pridržavali notnog teksta i stilskih oznaka, a malim izmeštanjem iz striktno zadatih okvira i finim tonskim uklapanjem (u kojem je ulogu plemenitog amalgama izvanredno igrao topli violski ton Belufijevog izvanrednog instrumenta), pokazali i kako izgleda vrhunski zanat povezan s predelima čiste umetnosti, ali i u najboljem smislu pisana laka, društvena muzika.

Vokalno-instrumentalni koncert održan naredne večeri u izuzetno prikladnom ambijentu hercegnovske Crkve svetog Jeronima, pružio je publici jedno drugo raspoloženje i puno duhovnog smirenja u hramovskom okruženju, ali još više uzburkanih emocija u susretu sa gotovo savršenim duom koji čine sopran Nensi Juen (Hong Kong/Velika Britanija) i pijanista Boris Kraljević (Crna Gora/Singapur). Umetnica kineskog porekla stigla je s aurom sopranistkinje međunarodnog ugleda koja podjednako neguje i operski i koncertni repertoar, a naš, u svetu uspešni pijanista i pedagog, bezrezervno poštovan u svom rodnom Herceg-Novom, dočekan s novim zanimanjem za domete njegovog senzibilnog pijanizma. Već od prvih taktova Mocartove, dramatičnim akcentima obojene pesme „Nesrećna ljubav“, bili smo u pravom smislu opčinjeni čudesnom zvučnom i emotivnom usklađenošću dvoje umetnika koji dišu na „istoj talasnoj dužini“, reafirmišući svakim ujedinjenim damarom ono što se zove visoka osećajnost, neposrednost i sofisticiranost izraza. Zaobljen, zvonak, intonativno besprekorno čist, veoma prijatan i lepo obojen, a pored toga i u svim tonovima vrlo izjednačen lirsko-koloraturni glas Nensi Juen, ne pokazuje ni najmanje nesigurnosti pri promeni registara. Ona ga vodi s instrumentalnom lakoćom, upravo milujući melodijsku liniju, u svakom trenutku usaglašeno sa višedimenzionalno osmišljenom klavirskom deonicom, sa kojom, do kraja programa, ostvaruje uzbudljiv i vrlo ekspresivan dijalog.Usledile su još dve pesme Volfganga Amadeusa Mocarta i dva prekrasna bisera iz vokalne riznice Franca Šuberta, te tri ostvarenja Riharda Štrausa, od kojih je pesma „Sutra“ stvorila trenutak upravo bajkovitog snoviđenja. Izbor „lida“ za ovo jedinstveno veče vokalne lirike, obuhvatio je i delikatni svet „Tužne pesme“ Anrija Diparka i razdragane, duhovito pitoreskne „Galantne svečanosti“ Fransisa Pulanka. Najzad, uvek uz žive i adekvatne komentare klavirske partije, koja se i ovde odlikovala umećem prefinjenog slikanja odgovarajuće atmosfere i trenutnog definisanja traženog karaktera i raspoloženja, Nensi Juen je dočarala i bogatstvo svoje nacionalne baštine, upoznavši nas sa tri kineske pesme visokih koloraturnih zahteva i rečito ostvarene pijanističke deonice.

Posle ovog maestralnog saglasja dvoje muzičara koji se sreću i kao kolege profesori „Nanjang akademije lepih umetnosti“ u Singapuru, treće veče festivala darovalo je još jedan izuzetan doživljaj koji je, ponovo na prepunom Trgu Miće Pavlovića, priredio najmlađi i jedan od najatraktivnijih učesnika ovogodišnjih Dana muzike, 24. godišnji  virtuoz na harmonici, Rus Semjon Šmeljkov. Ponudivši repertoar značajne specifične težine i raznovrsnosti, koji predstavlja s očekivanim atributima vrcavo svežeg temperamenta, ali i visoke muzikalnosti, od početka resitala otmeno, izvanrednim držanjem i stavom, s poštovanjem raskošno „orkestriranih“ partitura (a bez preterane doze moguće estradnosti), mladi umetnik odmah daje na znanje da sjajno poznaje sve kompleksne izražajne mogućnoisti svog instrumenta. Stavljanjem na početak dva savremena i veoma zahtevna, za harmoniku originalno p'isana dela (autora Romana Ledenjova i Olge Čistohine), Šmeljkov potvrđuje da je danas na ovom mediju sve izvodljivo i moguće, a sudeći po oduševljenom prijemu, već u startu osvoja i najveće skeptike. Svirajući tehnički fascinantno i suvereno, on uspostavlja, posebno od trećeg stava za njega komponovane, „Vizantijske sonate“ 26. godišnje Olge Čistohine, onu potpunu komunikaciju s publikom i razmenu kreativne energije, koja kao da od početka i nije bila primarni umetnikov cilj. Posle se sve odvijalo pod pljuskom aplauza i po modelu zadivljujućeg virtuoziteta zaista savršenih prstiju i majstorskog vladanja mehom, koji su slušaoce vodili kroz znalačke obrade kompozicija različitih autora, uglavnom u transkripciji samog Semjona Šmeljkova (Skarlati, Zolotarjov, Ljadov, Moškovski i List). Narasla tenzija i oduševljenje auditorijuma, kulminirali su u briljantnim dodacima programu (Černikov i Zebicki) izvedenim upravo žestokim, ali i strogo kontrolisanim temperamentom, što je takođe primljeno s posebnim respektom.

vakvo muziciranje i izuzetna posećenost festivala, obećavaju da će i ostali koncerti na skupu uglednih umetnika u drugom delu manifestacije, omogućiti svim zainteresovanim Novljanima i pristižućim gostima, da sa njima podele retke momente letnjeg opuštanja, predaha između dve sezone, novih kompakt diskova i angažmana, ali i trenutke vrhunskog umetničkog predavanja.

International Festival Days of Music - Herceg Novi, Montenegro  2009 Review of the second part of the Festival by Marija Adamov

In accordance with the slogan that the festivals are our "sight" to the world, and "showcase", as in the assessment of just completed of "Days of Music" in Herceg Novi, said the artistic director of the event, the pianist Boris Kraljevic, then this "window" and this July was wide open to the international scene, but with pride "watching" and the artistic developments of our environment. The set of distinguished musicians from eight countries, whose performance was glorious, under the auspices of the Boka sky, full of intensity, and their seven concert programs combined heritage and contemporary experience with youthful energy and enthusiasm, the interpretation of international forces with local artists, finished on 20th July in distinguish atmosphere in the Hall, "Park". More than 400 visitors ovation greeted the concert string quartet Virtuosi di Praga, with which (after performing string quartet in F Major, Opus 96, known as" American ", Antonín Dvorzak), in the second part of the evening, a common interpretation of the piano ef Quintet in C minor, Op. 34 Johannes Brahms, performed and pianist Boris Kraljevic. Almost making the loudness of the orchestra maestro constructed compositions, which is because of the dominant role of the piano close to piano concert, and the listeners in a full hall were fascinated by the artists. Impressive lecture in which, showing the enormous scale of its construction capabilities, "the lion's share" of the expressed our exceptional artist, astonishing with tensional passion and full of "rage" at first, but right contemplation and delicate opposing protagonists in light movement, due to "geyser" energy and tension in the Scherzo, made this glittering evening of authentic experience just as the symphony concert. With the orchestra of the same name that was last year at the "Days of Music" played the role of the residential ensemble, string quartet "Virtuoso di Praga, "on this year's festival was having the same function, previously  showing on the concert on 16th July as a unique and coordinated "family" set, originated from the same string tradition. Successfully achieved the optimal ratio of shares and a specific "sound of Czech and Czech style", which is especially characterized by performing part of their national authors (Suka, Martinua), showed particularly Meditation Op. 35a, on the old Czech coral "St. Vjenceslav" of Josef Suk, developed expressive variations in music in each of the four instrumental lines, which again, all intertwined together in a thick poly accordance. That same evening, marked the 200th anniversary of the death of Joseph Haydn, a great man whose art is synonymous for "classic style". According to the circumstances and context of performance, and available within specific places in composer’s time and  opus had chamber music, string quartet Virtuoso di Praga,  opted for the Piano Concerto no.3  in F major (in the chamber version) in which the solo party interpreted the Italian pianist Laura Nokiero. The expanded tone sonority "preserve" the end of an acoustic balance of strings and parts of piano, and the most beautiful moments of performance achieved in the Large (movement II), where, first violin and initiated an extremely dynamic tinted piano kantilena, in sound way beautiful harmonized with string melodies, and expressed all the important expressive moments of rare performed and almost unknown Haydn’s works. Pointing earlier, trust to the youngest generation of musicians , "Days of Music" in the past "release" an opportunity for cooperation of fluists Angela Bratic from Nis and pianist Vladimir Domazetovic from Bar. In accordance with  mentioned chamber’s concept of events, first artists are presented  Sonata in G minor  of  Johann Sebastian Bach that it is committed to careful communication and mutual respect of the characteristic determinant by Baroque scores (considering the fact that here both of the instruments are equally treated), and  this composition was the best creation of the evening. Together they performed at the end of fantasy and "Carmen" François Borneo, and independently, and one solo work (Domazetovic  Sonata in D major of Mozart, K. 576, Bratic- Three preludijuam for flute solo of Robert Mucinski), complete performance giving themselves and to  the audience can perceive the future of his artistic career. Another vocal and instrumental concert, penultimate evening of the festival, this time devoted exclusively cheerful tune of german’s lyric master of solo songs  Robert Schumann  (the cycle of "love poet") and Gustav Mahler ( "Songs companion") was seriously with its imaginary repertoire, perhaps something more serious than usual for the summer" conditions ", is also intriguing indicator of what direction would be able to move on "Days of Music" in Herceg Novi, since the choice of the majority of the five previously executed program, also belonged to this very serious sphere. Duo recital Nikola David, tenor and Gabriella Orlando, piano, artists who have performed with full heart, and knowledge of mature performers, we believe that for both  of them, this is a unique experience, perhaps the beginning of a new joint activities. To the audience is offered a multitude of strong and touching emotions, also testifying  that  for every human lecture is needed love, and she  also points on deep experience. It just has been finished 26th "Days of Music", and  in their sixth edition of the restoration, showed that successfully become a serious and respected cultural constant in Herceg Hovi and  in the wider region, and the festival's own identity and appearance, and international standards. Striving for diversity and specificity since its establishment (as in 1972, and again in 2004), showed that reliance on a trusted program concept, mainly of chamber composition and content, in which alternate or acting together musicians of different generations, the undisputed masters, or only rising star, worthy of attention. Exceptional dedication and all that happened this year around "Days of Music" in Herceg Novi, we are convinced that the organizers will provide new impulses and ideas for the next festival. And for us, who  were with him also the last time, it seems that he is, in all relevant elements, ranging from organizational and elements for repertoires to interpretative, fulfilled almost all the organizational and artistic team event conceived, making the task of winning the wider circle of consumers, and finally offered their choice.

25th International Festival Days of Music- Herceg Novi, Montenegro Review of the final concert held on 20th July 2008 By Marija Adamov

Virtuoso Orchestra di Praga
Soloists: Marina Tarasova, Cello and Boris Kraljevic, piano

Words of gratitude to the artists for "magic top music performance", for enriching the past ten days, the cultural life of Herceg Novi, as well as to domestic audience and guests from the side who filled the concert area to the last place with curiosity and benevolence. President of the Arts Council Festival Milena Lucic addressed to the visitors of "Days of Music" in Concert Hall "Park", and after her the mayor Dejan Mandic was stressing the importance of good atmosphere and unifying the spiritual energy that encourages the renewal meetings and keeping the tradition of the elite and prominent event. That it became known as a constant of cultural and touristic part of the city and all over the Boka-Kotorska Bay, is also showing an interest over four hundred listeners for grand final night, first of all interested to hear Boris Kraljevic, who was "thanks to its piano and pedagogical skill became a citizen of the world and a real ambassador of culture and art music." Citizen of Herceg Novi, who’s always happy to return to his hometown and to the favorite, but the most critical audience, became the artistic director and one of the restorer of "Days of Music", due to which many participants of the international reputation  come to the festival.  The honor to close it went to the Virtuoso di Praga, whose role as a residential ensemble was successfully  completed as a renowned soloists associates, previously, Serenade No. 2 Bohuslav Martinu, independently making yet another "homage" to Czech music, which folklore’s wealth gives playful and rhythmic melodic and easy on this composition.  This was followed by the credit performance artist of Russia, Marina Tarasova, winner of prestigious international competitions of cellist, as soloist in the Concert for Cello and Orchestra in B major of Bokerini Luidji, and the choice of usually performed part of this great Italian classical musician and master of cellos seductive virtuosity, fit in now increased interest in his music. Unfortunately, the famous artist didn’t bring in Herceg Novi  her equally famous instrument, and her play was greatly limited, because of the modest possibilities of "immovable" school cellos, which was here given to her, especially inflexible when it comes to precise intonation and filigree ornamentation and frolic issue or rhythmic plenteously of the final part. However, the beauty and expressiveness of her tone we recognized in the characteristic slow line paragraph, which was then repeated in its entirety as a supplement. How much the audience of Herceg Novi rejoices every time when they’re renewing with Boris Kraljevic, showed salve with long applause before and especially after the performance of the Grand sextet for piano, string quartet and double bass in E major of Mikhail Glinka, presented in a version for piano and string ensemble. This, in the true sense of a piece of dress, style situated at the crossroads between the late classical and romantic era, proved to be as adequate composition to express all values of Kraljevic as a pianist. His forte is soft, dynamic gradations within the small value of large, rubata set, accentuation of the nucleus and stimulating, not attack. With the greatest easyness of playing on the fastest passages, crystal, light as feather , uncovering rafinman barely touching, but not superficial techniques. Given an adequate range of power and resonance, the artist's subtle sensual, and just as powerful when needed. With so many beauties in the melodies and harmonies, without "strong beating effects", just with Mozart’s freshness and transparences illuminated the first movement, the first energetic, and sensual in response to a call cellos, in another subject. The peak performance reached in light movement (Andante), sang as such beautiful Serenade, with the broad introduction of his solo party, which "virtual dreaming", piano with demanding tasks, like poetry of Sopen, and almost" heavenly "atmosphere supported wrote minute duet with string instruments. Subtle dynamic shading in the final Alegre cheerfully accented with pronounced elements of Russian folklore to complete brilliance of  Kraljevic’s playing , and Virtuoso di Praga , as collaborators, this time remained somewhat obliged to him and to us, who otherwise so generously gave beauty to the three previous concerts. With gratitude to the appropriate realization as the festival orchestra, we enable for them refreshments and creative holiday away in Bijelo Polje and Bar, Herceg Novi cities , with which the festival successfully cooperate, and "Days of Music", as  the mayor also wishes, never to stop.