Ana Vidovic stands as a luminary in the contemporary classical guitar scene. Hailing from Croatia, she has captivated audiences worldwide with her breathtaking technical prowess, profound musicality, and compelling stage presence. For enthusiasts and aspiring guitarists alike, Ana Vidovic represents the pinnacle of dedication and artistry, proving that the classical guitar continues to offer boundless expressive possibilities in the hands of a true master. Her journey, marked by early recognition and relentless pursuit of musical excellence, offers a fascinating insight into the life of a globally acclaimed performer.
Vidovic’s connection with the guitar began at the tender age of five, ignited by the inspiring sounds of her older brother, Viktor, also a guitarist. This early exposure blossomed into a dedicated passion. By eight, she was already performing publicly, a testament to her prodigious talent and unwavering commitment. Her competitive spirit and exceptional skill led to her first international competition victory at just 13 years old, foreshadowing a career marked by accolades. Six more international competition wins followed, solidifying her reputation as a rising star. At the age of 20, a pivotal moment arrived when she was invited to study with the esteemed Manuel Barrueco at the Peabody Institute in Baltimore, Maryland. This mentorship further honed her skills and broadened her musical horizons. Since graduating with her artist diploma and embarking on her professional career in 2005, Ana Vidovic has graced stages across North and South America, Europe, and Asia, captivating ever-growing audiences. Her discography includes six recordings and two live DVDs, and her performances on YouTube have garnered over 35 million views, demonstrating her global reach and appeal in the digital age.
Early Roots and Musical Awakening in Croatia
Growing up in Croatia during the backdrop of the Croatian War of Independence (1991-1995) deeply influenced Ana Vidovic’s formative years. While the conflict brought hardship and uncertainty, music became a sanctuary for her family. “There was a lot of pain and suffering at that time, and for my family, music was the best medicine,” Vidovic reflects. Her parents, recognizing the solace and inspiration music provided, wholeheartedly supported Ana and her brothers’ musical pursuits. Despite the turbulent environment, they ensured that education and practice remained a priority. While their hometown faced attacks, and they were aware of the broader suffering, Vidovic’s immediate family remained physically safe, allowing them to find refuge and focus in their artistic endeavors.
Her older brothers, Silvije, a pianist, and Viktor, the guitarist who initially inspired her, played crucial roles in her early musical development. Viktor’s beautiful playing sparked Ana’s initial interest in the guitar, and he became her first teacher. Silvije contributed by teaching her music theory and reading, providing a well-rounded musical foundation from the outset. Viktor’s own musical education was rooted in the strong Croatian classical guitar tradition. Karlovac, their hometown, boasted a reputable music school, and classical guitar enjoyed significant popularity. Viktor later pursued advanced studies at the National Musical Academy in Zagreb under István Römer. It was Viktor who recommended Ana to Römer, leading to a decade of formative instruction under this influential teacher.
Mentorship Under István Römer and Manuel Barrueco
István Römer proved to be a pivotal figure in Ana Vidovic’s early guitar education. She studied with him for an impressive 10 to 11 years, starting from a young age until she was 18. Vidovic credits Römer with providing her “a strong foundation in technique and musicality.” His teaching went beyond simply imparting notes; he instilled in her a deep understanding of how the hands interact with the instrument. “When I teach now I remember the things he told me,” Vidovic shares, highlighting the lasting impact of Römer’s methods. He emphasized essential techniques such as right-hand planting, scale practice, and various technical exercises designed to build dexterity and control. Crucially, Römer stressed the importance of relaxation and playing without tension, ensuring secure hand positions and efficient movement. He guided her through the rigorous studies of Abel Carlevaro, which she still recommends to her own students, emphasizing the need for a patient teacher who can make demanding work engaging. Vidovic fondly remembers her lessons with Römer, noting his ability to be demanding yet supportive, fostering a positive learning environment.
After graduating from the Academy in Zagreb at 18, Vidovic contemplated her next steps, driven by a long-held fascination with the United States and its culture. Fueled by her dream to study abroad, she sent audition tapes to several institutions in the US. A life-changing call came directly from Manuel Barrueco, who had personally received and reviewed her tape. This invitation to study with Barrueco at the Peabody Institute marked a significant turning point in her musical journey.
Her four years under Barrueco’s tutelage were transformative. While Römer laid the technical groundwork, Barrueco focused on refining her artistry and performance skills. Though Römer often guided her repertoire choices as a child, Barrueco adopted a different approach, allowing Vidovic greater autonomy in selecting pieces she wished to study. However, it was Römer who initially suggested she learn Walton’s Five Bagatelles, a piece that became significant in her repertoire. Vidovic highlights tone production and dynamics as key areas of focus in her work with Barrueco. He emphasized the importance of nuanced dynamic control and a rich, expressive tone. Beyond technique, Barrueco imparted invaluable lessons on memorization strategies, urging her to visualize the music deeply. He stressed the necessity of thorough memorization for confident and expressive performances. Furthermore, Barrueco guided her on the art of live performance, offering insights on stage presence and maintaining composure under pressure, shaping her into a complete musician ready for the professional stage.
Competition Success and the Launch of a Global Career
Ana Vidovic’s early career was significantly shaped by her success in international guitar competitions. Following the advice of István Römer, she entered her first competition, the Albert Augustine International Competition in Bath, England, at the age of 13. Prepared meticulously by Römer, she won first prize, an encouraging start that propelled her to participate in more competitions. In total, Vidovic amassed an impressive seven competition wins, including prestigious events like the Fernando Sor Competition in Rome, and the Francisco Tárrega Competition in Spain.
Vidovic acknowledges the profound benefits of competitive experiences. “You learn a lot even if you don’t win,” she states, emphasizing the invaluable lessons gained beyond mere victory. Competitions provided a platform to hone performance skills under pressure, learn to present oneself effectively on stage, and engage with peers, fostering a sense of community and shared experience. For Vidovic, competitions were instrumental in her development, but she consciously decided to conclude her competition journey at 18. Her competitive achievements instilled in her the drive to continually improve and refine her artistry, transitioning her focus from competition accolades to captivating audiences in concert halls.
The transition from student to professional performer required strategic career planning. Upon graduating from Peabody, Vidovic faced the decision of whether to remain in the United States or return to Croatia. Choosing to stay in the States, she, like many young artists, found herself navigating the initial steps of launching her career independently. Recognizing the need for professional guidance, she sought management. Initially, a close friend stepped in to assist, despite lacking formal management experience. This friend began contacting agencies and festivals, and gradually, performance opportunities started to materialize. This initial partnership proved fruitful for several years, laying the groundwork for further career growth. Later, Vidovic joined forces with Diane Saldick, her current manager, who brought extensive industry experience from Columbia Artists and her own established business. Vidovic has enjoyed a successful 11-year collaboration with Saldick, underscoring the crucial role of effective management in an artist’s career. She emphasizes the importance of a manager who not only secures engagements but also fosters a trusting and personally resonant professional relationship.
Expanding Audiences and Embracing the Digital Age
A key aspect of Ana Vidovic’s career trajectory has been the strategic expansion of her audience reach. Collaborating with Diane Saldick, they identified opportunities to broaden her appeal, particularly by increasing her engagements with orchestras. Saldick’s established network with orchestral organizations, stemming from her work with pianists and cellists, proved invaluable in opening doors for Vidovic in this realm. As Vidovic’s reputation grew through successful performances, invitations to return engagements and new venues followed, steadily expanding her global presence.
Asia has emerged as a particularly significant market for classical guitar, and Vidovic frequently tours there, especially in Japan, where classical guitar enjoys immense popularity. South America, with its passionate music lovers in countries like Brazil, Paraguay, Colombia, and Panama, also holds a special place in her touring schedule. Brazil stands out as one of her favorite performance destinations, appreciating the vibrant musical culture and the high caliber of Brazilian guitarists.
Vidovic also acknowledges the transformative impact of YouTube on her career. Before online video platforms, reaching a global audience was significantly more challenging. YouTube has democratized access to her performances, allowing millions worldwide to discover and appreciate her artistry. While recognizing the invaluable role of digital platforms, Vidovic reiterates that a dedicated and effective manager remains indispensable for navigating the complexities of a professional performing career.
Practice Regimen, Repertoire Development, and Recording Insights
Maintaining peak performance levels requires consistent and strategic practice. While Ana Vidovic aims for daily practice, she acknowledges the need for occasional breaks after decades of dedicated playing. “I should practice every day, but sometimes I won’t play for a few days. I’ve been doing this for about 30 years, so sometimes I need a break. When I come back to it I feel better.” She recognizes that not all practice sessions are equally productive, and on frustrating days, she finds it beneficial to step away and return with a fresh perspective. Through years of experience, she has developed a refined understanding of effective practice techniques and how to address specific musical and technical challenges.
Vidovic structures her practice sessions with weekly plans, often focusing intensely on repertoire for upcoming concerts. When preparing for a performance, she might dedicate an entire day to a single piece, practicing slowly and meticulously, focusing on minute details. She finds that concentrating on a limited number of pieces per day yields more efficient results than superficially covering a wider range. Her practice routine typically commences with 30 minutes to an hour of scales, followed by etudes, often Villa-Lobos etudes, particularly No. 1, which she practices using a specific three-finger technique (p-i and p-m), consciously minimizing the use of the ‘a’ finger whenever possible, recognizing its potential to be less reliable while acknowledging its necessity for melodic playing.
Planning a new concert program is an annual undertaking, typically beginning during the lighter summer months. Vidovic carefully selects new pieces, always including a new work by Bach, her favorite composer. She often retains audience favorites from previous programs while ensuring a substantial portion of each program features fresh repertoire. Introducing new pieces is a gradual process, requiring months of preparation before a piece is concert-ready. She values feedback from trusted musician friends, performing for them to gauge audience reception before debuting a new piece in public. The initial performances of a new piece are particularly exciting, and once mastered, a piece becomes a permanent part of her repertoire, ready to be revisited and programmed in future seasons, allowing her to continually build and evolve her concert programs.
Regarding recordings, Vidovic is currently working on a new album dedicated entirely to Bach, reflecting her deep affinity for the composer. The album will feature transcriptions of works originally written for other instruments, including a cello suite, a violin sonata, a flute sonata, and the Prelude, Fugue and Allegro. While she acknowledges the importance of documenting her repertoire through recordings, she expresses a preference for live performance. She feels that live recordings often capture a more authentic representation of her playing, valuing the energy and spontaneity of a concert setting over the controlled environment of a studio. For Vidovic, the imperfections inherent in live performance contribute to its realism and emotional impact. She also mentioned a potential future project focusing on South American music, inspired by her travels and appreciation for the region’s rich guitar traditions.
Musical Philosophy, Advice for Aspiring Guitarists, and Instrumentarium
Ana Vidovic’s musical philosophy centers on a deep connection with the traditional classical guitar repertoire. “I can’t play something that I don’t like or believe in,” she asserts, emphasizing the importance of personal conviction in her musical choices. She carefully considers audience preferences, seeking to balance her artistic inclinations with pieces that resonate with concertgoers. While her heart lies in the mainstream repertoire, she expresses admiration for certain modern works, such as Britten’s Nocturnal, acknowledging its complexity and appeal, and considering it for future performance.
Observing the contemporary classical guitar scene during her travels, Vidovic notes the exceptionally high technical level of many young players, particularly from Asia. While acknowledging this technical prowess, she encourages young musicians to prioritize developing their individual musical voices, focusing on sound production, interpretation, and exploring new expressive avenues. She believes that the guitar continues to evolve, building upon the legacy of past masters, and that each generation of players should strive to contribute something unique to the instrument’s ongoing development. For Vidovic, developing a distinct personal sound is paramount, transcending mere technical facility or equipment choices. It encompasses tone, repertoire selection, and individual interpretation, all contributing to a unique artistic identity.
When asked about the best advice she has received, Vidovic recounts being told not to take herself too seriously and to enjoy the musical journey. This advice has resonated deeply, helping her to approach performance with greater ease and enjoyment. Her advice to young guitarists emphasizes accepting the inherent differences between practice and performance. “Someone told me that you will probably never perform the same way onstage as you do when you practice. Just make peace with it.” She encourages diligent preparation, thorough learning of the music, and then letting go of perfectionism in performance, focusing on relaxed and expressive playing.
Ana Vidovic’s overarching career goal is to elevate the status of the classical guitar. “To me, the instrument comes first; I’m not important,” she states, prioritizing the instrument’s recognition on par with other classical instruments. She views the quality of her performances as her contribution to representing and promoting the classical guitar. For Vidovic, performing is an honor, and the audience’s appreciation is deeply rewarding, motivating her to continue her artistic journey.
Ana Vidovic’s Instruments and Gear
Ana Vidovic’s instruments of choice are handcrafted guitars by Australian luthier Jim Redgate. She primarily plays a 2010 Redgate guitar and also owns a 2006 Redgate as a backup. She acquired both instruments through Chris Kamen at Classic Guitars International in Santa Barbara, California. Her main guitar, built in 2010, features a cedar top with lattice bracing, and Brazilian pardo rosewood back and sides (a non-Dalbergia rosewood not subject to CITES restrictions). It has a 650mm scale length, a 52mm nut width, and Graf tuners. She strings her guitars with normal-tension D’Addario J46 strings, changing the bass strings before each concert (except for consecutive night performances) and replacing the treble strings less frequently due to their longer lifespan. Vidovic describes her connection with Redgate guitars as immediate and profound. “About 12 years ago, I tried a Redgate that was owned by a friend, and felt an immediate connection to Jim’s guitars,” she recalls. She praises her 2010 Redgate for its “very warm sound” combined with “power and projection.” She notes that the instrument continues to evolve, revealing new sonic nuances over time, describing it as “a very special instrument that you could explore for many years.”
Ana Vidovic Is Sensational in SF Concert
