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Olga Bolgari

Sopran, Stimmbildung, Chorleitung

CV

Olga Bolgari absolvierte ihre Gesangspädagogikstudien in Wien an der Universität für Musik und darstellende Kunst, Oper und Operette an der Musik und Kunst Privatuniversität der Stadt Wien und Musikwissenschaft an der Universität Wien.

Schon während ihrer Studienzeit begann sie mit der Auftrittstätigkeit als Orchestersolistin und sang in USA mit Philadelphia Virtuosi Chamber Orchestra, in Argentinien mit Orquestra Bahia Blanca  und in Mexiko mit Orquestra del Estado de Mexico. Sie sang die Uraufführung der Messe von P. Butans in Dom von Riga, Lettland, Mozarts Requiem und Oratorium „Die Jahreszeiten“ in Paris, Benjamin Brittens „Les Illuminations“ in Zypern, Brahms „Ein Deutsches Requiem“ in Portugal, und „Vier Letzte Lieder“ von Richard Strauss in Kairos Staatsoper in Ägypten.

Zahlreiche Konzerte und Stimmworkshops mit eigenen Methoden führten sie nach Italien, Deutschland, Russland, Griechenland und in viele Regionen Österreichs. In den letzten Jahren haben Workshops mit dem Titel „Existenzanalyse und Stimme“ in Zusammenarbeit mit dem Institut GLE OÖ stattgefunden, zuletzt beim Herbstsymposium der GLE Österreich 2021 in Gmunden mit dem Titel „Sprechen mit dem ganzen Körper“.

In den Jahren 2009-2011 war sie als Chormitglied des Ensembles der Bühne Baden tätig und sang in vielen Operetten, Musicals und Opern mit. Anschließend unterrichtete sie einige Jahre am Vienna Konservatorium Gesang, Klassik und Musical. Seit 2012 widmet sie sich intensiver der Chorleitung und leitet einige Chöre in Wien und Oberösterreich. Im Januar 2021 wurde sie Chorleiterin des Kinder- und Jugendchores am Landestheater Linz.

Ольга Болгари


Ольга Болгари родилась в Кишинёве (Молдавия), где она получила своё начальное музыкальное образование в области вокала, фортепиано и дирижирования хором. В 1996 году она переехала в Вену и продолжила своё обучение вокалу в Венской Консерватории: окончила отделение оперетты, а затем – мастерат на оперном отделении. В 2002 г. она получила диплом на отделении музыковедения Венского Университета, а в 2007 г. – вокально-педагогический диплом в Венском Университете Музыки.
Начиная с 1997 г. Ольга Болгари ведёт концертную деятельность как солистка оркестров и камерных ансамблей – произведения Моцарта, Малера, Рихарда Штрауса и Иоганна Штрауса, Брамса, Рахманинова, Бриттена и многих других композиторов были исполнены ею в Австрии, Италии, Франции, Португалии, Мексике, Латвии, Аргентине, Кипре, Египте, Германии и США. В частности, в её исполнении (сопрано) прозвучали „Времена года“ Гайдна в Парижском Зале Плейель, 4-я симфония Малера и „Четыре последние песни“ Рихарда Штрауса в Каирской Опере. Певица выступила в ряде оперных партий, воплотив образы Царицы Ночи („Волшебной флейты“ Моцарта), Розины („Севильский цирюльник“ Россини), Огня и Соловья („Волшебное слово“ Равеля).
С 2003 г. она регулярно выступала с ансамблем Новой Венской Оперы, а также во всех опереттах и мюзиклах Городского театра в Бадене под Веной (2009-2011). С 2012 года она работает в Венской консерватории, преподает вокал для на отделениях оперы и мюзикл. Ольга Болгари является основательницей новой методики „Целостного развития голоса“, в которой она успешно соединяет технику итальянского бельканто с результатами новейших исследований в области постановки голоса и дыхания.
За последние годы области творчества Ольги Болгари расширились: она стала руководить хором, проводить мастерклассы по своей методике в разных регионах Австрии, а также в Больцано (Италия), в Дрездене и в Муррхарде (Германия). Способствуя симбиозу классики с джазом и хип-хоп она разработала интересные программы с саксофонистом Русланом Пашинским и с её знаменитой ученицей Айгюль, выигравшей на австрийском конкурсе „Воис“ 2015 года стипендию и приз. Их совместное выступление с Царицей Ночи в версии а капелла и бит-бокс на фестивале „Войсмэния“ в Вене имело большой успех, вследствие которого они выступили на фестивале в Генте, Бельгия.

С 2021 года Ольга Болгари является дирижёром детского и юношеского хора Государственного Театра в Линц, столице Верхней Австрии.

Olga Bolgari enjoyed studied Opera and Operetta at the Vienna Conservatory, Musicology at University of Vienna and Vocal Education at the University of Music Vienna. She is coming from Moldavia, where she studied Choir Conducting, Singing, Piano and Musicology.

Mrs. Bolgari was awarded a special prize at the „Ferruccio Taglavini“ Competition and received the Mentor´s prize at the „Heinrich Strecker Operetta Competition“.
Since 1997 she has worked internationally as a concert and opera singer. Mrs. Bolgari performed Oratorios, Concert Arias, German (as well as Viennese) Lieder and baroque Programmes with various ensembles in Italy, Argentina, Mexico, USA, France, Portugal, Cyprus, Germany, Latvia and Austria. She was engaged at the „Neue Oper Wien“ and staged the Queen of the Night (Die Zauberflöte), Arsena (The Gypsy Baron), Fire and Nightingale (L’Enfant et les Sortilèges). Olga Bolgari interpreted the Soprano-Solo in Brahms „German Requiem“ touring Portugal, and the Soprano-Solo of Gustav Mahler´s 4. Symphony in Mexico. She sang „Four Last Songs“ by Richard Strauss at Kairo State Opera and performed Mozart’s „Requiem“ and Haydn’s „The Seasons“ in Paris.

During 2009 to 2011 she was an Ensemble member at the Municipal Theatre of Baden. Since 2012-2017 she was lecturing classical and musical stage Students at the Vienna Conservatory and actively developing her holistic voice system. Ar the moment she is chairwoman of „Musik Institut Wien“ (Music Institute of Vienna), leading several choirs in Vienna, Linz and Buchkirchen as well as teaching Singers at JAMLAB Conservatory in Vienna.

 

musik-institut-wien.com

www.jamconservatory.com

 

Modern Vocal technique and Singing Interpretation
with Olga Bolgari , Soprano and Vocal Coach

CONTENTS of the Masterclasses for professional singers or Students:

– Training voice-technique and body-work for singers in all music styles
– Tuition with focus on determined issues: voice projection
– Fine tuning and finding right vibrato
– Supporting: best exercises, based on your own nature
– Dynamics, Arpeggios
– Diction in German, English, French, Italian and Russian
– Musicality, phrasing and Interpretation; Special: Viennese Music
– Final concert with Diploma

 

Content of Voice Workshop for People, who want to develope their voice:

THREE DIMENSIONAL VOICE UNFOLDING

by Olga Bolgari

Like many other things in our life the human voice connects various contrasting factors. There is, for example, warmth and volume but also precision and sharpness.

Another factor is the high and deep register of our voice. Through a homogeneous voice sound we can bring together these two distant areas. So that at its best they sound as if they were on the same level.

The third factor is, for example, breathing out. While singing we keep the posture of breathing in. Otherwise we would lose our supporting and the high position of the voice.

As you all know, we not only sing with our voice lips, but with our whole body. The whole body is our instrument. In order to extend our limits, we have to stretch and strengthen our muscles through special movements during the phonation.

In our body everything is ready for perfect singing, but we are not always aware of it. The functions of our voice go through all the dimensions of our soul and body. Let’s look at one after the other.

In the first dimension we deal with the vertical pillar which means our connections with the earth and the sky. For your voice this means strength through support of your abdominal muscles and brilliance through the use of the resonating cavities of your head.

The first exercise is: watch, what you feel, when pronouncing the fricatives like, ffff, sssss, shshshsh…

What happens with your abdominal muscles?

Can you feel the tension moving downwards?

Through these fricatives we learn how to let our breath flow continuously and evenly, also in long phrases.

The better your supporting technique works, the bigger your voice range will get.

You will also be able to sing with a higher formant because good supporting helps to open the resonating cavities in your head.

Additionally we can achieve more brilliance through special movements. For example, put up your hands, look at the sky and feel what happens behind you nose region.

To extend your vertical pillar towards the earth please crouch down and feel your pelvic floor opening while breathing in. With this exercise we activate the growth of our roots. The interesting moment begins while singing: the roots grow with

every tone. Please try it first with our best friend, the fricatives! Shshshshshs…

ffffff, wwwwww….

With the work on the Second Dimension we open up our inner spaces. This field has reciprocal effects on the confidence in ourselves, in others, in God and in life.

With the next exercises we will open up the areas of the abdomen, the lungs and the ribs, and also the throat. The throat stays open automatically, when we work vigorously with our body.

At the beginning please put your hands below your navel. Just feel what is happening, don’t interfere with your breathing. Observe where you are with your breathing. I hope you can feel that by becoming aware of your breathing, it will begin to change. With this kind of attentiveness you will notice that your breathing is flowing more freely, and is geting calmer and deeper.

Second exercise: turn the upper part of your body as much as possible and concentrate on your inner space. Breathe in. With this asana from yoga you can feel your solar plexus very well. Turn back and let go. Now, the same exercise on the other side.

With the next example you will feel how big the space in our lungs can get. Please, breathe in 3 times without breathing out in between. Hold your breath as long as possible, this will strengthen your muscles. Then let go and breathe out.

All these exercises can show you the opening of your inner spaces while breathing in. But we need these spaces when singing. Singing is our active phase, and breathing in is our passive one. This means that our inner spaces will open up passively and expand just like after pronouncing explosives.

Observe your reflexes when pronouncing fricatives in combination with explosives: ffffft, ssssssp …

And feel the active phase of the pronunciation and the passive phase of the breathing in. You have to do this vigorously enough. Please, take your time to feel the opening up of your body while breathing in.

Try to achieve the same feeling with vowels as with fricatives. Take alternatively for example “a” and “sh”. Transfer the feeling of “sh” to “a”.

This is the most important breathing technique of singing: try it with your songs.

The Third Dimension concerns the capability of communicating while singing. We achieve directness and a powerful drive of the voice by making use of the flexibility of the spinal column to turn.

For example an exercise to train this: take a silk scarf and try to throw it as far as possible by starting from behind you.

The second exercise combines the turning capability of the body and the flowing of the voice. Start with a slight step position for a better balance. Then make a rotating movement with your arm starting from down below and moving up alongside your body. Let’s sing for example “A” and imagine your voice flowing with your arm and through your eyes towards the audience.

You can combine various dimensions in your exercises and practice your musical work at the same time.

The aim is that the exterior movements will be memorized by your body. You will become able to feel the inner flow of these movements while singing even though you stand still. The body will store the adequate inner movements in the subconsciousness and will apply them in a free style way, depending on the musical challenges.

Olga BOLGARI

Soprano

Olga Bolgari ha recibido una educación musical diversa en Moldavia y Austria (Vienna). Estudió Ópera y Opereta en el Conservatorio de Viena, Musicología en la Universidad de Viena, y Educación Vocal en la Universidad de Música de Viena. Es Máster en Ópera y Musicología. Ha sido galardonada con el premio especial en el Concurso “Ferruccio Taglavini”, y recibido el premio de honor en el Concurso de Operetta “Heinrich Strecker”.

Desde 1997 desarrolla su carrera internacional como cantante de ópera y concierto, interpretando diveros oratorios, arias de concierto, Lieder alemán (también vienés), y programas dedicados a la música barroca, con diferentes agrupaciones en Italia, Argentina, México, USA, Francia, Portugal Chipre, Alemania, Latvia y Austria. Ha trabajado con la “Neue Oper Wien” (Nueva Ópera de Viena), compañía con la que ha llevado a cabo los roles de “Reina de la Noche” (La flauta mágica, W. A. Mozart), “Arsena” (El barón gitano, J. Strauss), “Fuegoy “un ruiseñor(El Niño y los sortilegios, M. Ravel).

Ha interpretado el Requiém alemán de Brahms en gira por Portugal y la 4ª Sinfonía de Mahler en México. Ha cantado las Cuatro últimas canciones de Richard Strauss en la Ópera Estatal de El Cairo, y el Réquiem de Mozart y Las Estaciones de Haydn en París.

De 2009 a 2011 formó parte del elenco artístico del Teatro de Baden (Austria).

Desde 2012 imparte clases de canto (lírica y musical) en el Conservatorio de Viena, JAMLAB Conservatorio, y desarrolla

activamente su sistema holístico de educación de la voz.

Simultáneamente, recientemente, lleva a cabo la dirección artística del Coro Millcanto de Viena. Es fundadora del Instituto de Música de Viena (Musik Institut Wien, 2018), donde participa en el proyecto “El Universo de la voz”, centrado en la simbiosis entre la musica clásica y la moderna.