composer and director
& artist director of Moving Music theatre Bitola Macedonia
composer and director
& artist director of Moving Music theatre Bitola Macedonia
Born in 1976 in Bitola, Republic of Macedonia
His interest in music starts in the earliest childhood when he attends elementary and secondary music school (contrabass and solo singing) at the same time composing versatile pieces. He graduates from the Department of film and theater composition of the Faculty of Applied Arts ESRA Paris - Skopje - New York.
Since 1996 he works at the National Theater in Bitola as a composer. In 2013 he is appointed an associate at the Faculty of Dramatic Arts in Skopje, at the postgraduate study programs for drama actors for “Interpretation of a song”.
He creates theater music, opera, ballet, musical, film music, television, different kinds of performances, virtual exhibitions and museum exhibitions etc. He finds himself inspired by the folklore of Macedonia and the Balkans, which he slowly infiltrates in his work, thus creating a synthesis with the electronic music. Following different music genres, refusing to relate only to one, he creates different projects by his musical versatility.
Large part of his work has been presented on the most important festivals in Macedonia, former Yugoslavia, the Balkans and 30 festivals worldwide.
Ever since 2013 he started directing.
Starting from January 1, 2015, Marjan Necak is represented by: Wild Cherry Agency – Composer Agency | www.wildcherryconsult.be
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From 1996 onward he continuously composes theater music and he has created music for more than 150 plays and 30 children’s plays so far. He has worked for all theaters in Macedonia and other theaters in Serbia, Kosovo, Croatia, Monte Negro, Slovenia, Bulgaria, Romania, Russia, Italy and Portugal.
A window, YCC, Skopje, 2002;
Dance macabre, CNT Zagreb, 2008;
The Song of Songs, CE-DE-CE Lisbon and CNT Rijeka, Penelope, 2008, Vojchek, SNT, Maribor, 2009;
Before Dream, CE-DE-CE, Lisbon, 2010;
Discrete charm of the bourgeoisie, CNT Rijeka, 2011;
Mileva Einstein, SNT Novi Sad, 2012;
Bluebeard, CNT Zagreb,2015;
Week of Modern Dance, Zagreb, Advanced dance lessons, Zagreb, 2016.
La Dame aux Camélias, CNT Rijeka, 2008
The Glembays, CNT Rijeka, 2007;
Galileo in chains, Labaratorio Nove Firenca and CNT Rijeka, 2009;
Saloma, Kotoart, Еurokaz Zagreb and Museum of Contemporary Arts, Zagreb, 2010.
Mono-opera Diary of a Madman, 2015 - Moving Music Theatre
Pečalbari, Bitola National Theater, 2000;
Каmov, Smrtopis / Moulen Rouge, ZKM, Zagreb,2003;
Тito – Bones in the stone, Eurokaz, Zagreb, Labaratorio Nove Firenca and Kampnagel Hamburg, 2007;
Crna se čuma zadade, Bitola National Theater, 2008;
A plain story, Bitola National Theater, 2011; and Notara Theatre, Bucharest 2016;
Аntitza, Prilep National Theater, 2011;
Makedonska krvava svadba, Drama Theater, Skopje, 2013;
The Merchant of Venice, CNT Split, 2016.
Timon of Athens, Labaratorio Nove Firenca, Turkish Drama, Skopje and National Theater, Bitola, 2005;
In agony, Theater TD Zagreb, 2008;
Bosnian Chronicle, Bitola National Theater, 2012;
Lazarevoto pismo, Theatre Stip Macedonia, 2016;
Merlin or The Barre Land, by Tankred Dorst, SNG Ljubljana, 2016;
Grobnica za Boris Davidovic, SNP - Novi sad 2017.
Kosova Desperate Search, A Lara Entertainment - Germany, 2005.
A Drunken Alley - documentary film / 29" / Filmaktiv 2017.
Etida, Commissioned by de Nederlandsche Bank - Nederland, 2008;
Sarah the Mythe, KT FILM & MEDIJA VOUS - Macedonia, 2011;
The dinner, Belgium, 2015;
The pain remains - Macedonian production, 2016;
Once Upon a Time, Belgium, 2016.
Red poet, Sektor film, Macedonia, 2017.
Game Over, Motion Universe - Macedonia, 2012.
Bojan and Jana in the happyland, Macedonia, 2007.
Crystals, Silvio Vuičič, Zagreb, 2008;
Gorgons, The Museum of Contemporary Art Zagreb, 2014.
Cello Quartet, 2008;
Strings Quintet, 2009;
Symphony No. 1, 2001;
Macedonium- work for Symphonic Orchestra, 2011;
Symphony No. 2, Big Bang, 2012;
Elegy for Symphonic Orchestra, 2013;
Arrhythmic Requiem, 2013;
Symphony No. 2 2014.
The music of the exhibition of the Museum of Macedonian Struggle, 2011;
The music of the exhibition of the Museum of Archeology – Skopje, 2014.
Eight best music rewards on the Vojdan Cernodrinski Festival, Prilep, Macedonia.
2016 – Best music reward Small Scene Festival, Rijeka, Croatia.
Kamov, Smrtopis / Moulen Rouge, a musical, ZKM, Zagreb
His music is characterized by moderate but not at all restrained emotion and art of playing with different musical styles and genres.
Branko Brezovac, Kamov, program leaflet, 2003.
The Glembays, contemporary opera, CNT Rijeka
The music of Marjan Necak is a segment equal to the text, written with vivid
imagination, in the manner of modern operas of the contemporary world written for serous literary works. It is not easy to perform his music, very frequently built on a chromatic melody which requires highly concentrated singing capacities. It seems as if he firmly starts the development of the story which rapidly (but only seemingly) forgets and moves into musical thinking which brings him to higher
control of the atmosphere and spreads the directorial view of the things, using the original phrase … and every return to the topic is only an occasion for new
development in the series of parallel worlds… After all, this fantasy is a ground value of the composer work of Marjan Necak.
Svjetlana Hribar, Novi list, Rijeka, March, 2007.
Galileo in chains, Opera corale, Labaratorio Nove Firenca and CNT Rijeka
The opera work of Necak is imbued by sudden leaps and shifts, versatile modern melody and harmony solutions, but at the same having melodious tunes and
balanced baroque and classical rhythms.
Ramiro Palmic, Kulisa, Zagreb, November, 2009.
Antitza, a musical, National Theater Prilep, Macedonia The music has ritual sense and sets a harmony which materializes the feelings (tragic and happy). The music is strong and emotional, thus leading the action to the position of contemporary musical created from the Macedonian traditional play.
Liljana Mazova, Globus, Skopje, December, 2010.
The rise and fall of the cabaret, a musical, Macedonian National Theater, Skopje
The music - unusual, playful but sustained, strong and lyrical, fierce but poetic - again the excellent composer Marjan Necak.
Goran Cvetkovic, Radio Belgrade 2, July, 2013.
Timon of Athens Labaratorio Nove Firenca, Turkish Drama, Skopje and National Theater, Bitola
Magnificent and beautiful, an epic opera, a saga which tells the story of the endless fight among men.
Tommaso Chimenti, Scanner, Florence, July 2005.
The Diary of a madman created in a production of the Moving Music Theatre with the cooperation of the Center of Culture, Bitola has been awarded the best play in the Balkan region for this season, both by the critics and the audience.
In 2015 he established the Moving Music Theatre in Bitola. Moving Music Theatre (MMT) creates contemporary music theater and dance music, modern forms of operas, musical and technical experimental performances. The purpose of MMT is to become a laboratory for research of ideas and development of innovative performing practices through the prism of the musical theater for all kinds of performers, singers, musicians, directors, choreographers and visual artists. ММТ also functions in the area of movie, visual arts and multimedia as well as educative projects for young authors and performers. Even though it is stationed in Macedonia, the purpose of MMT is to try to pre-sent its productions all over the world. During the travel, MMT is in search of producers inspired by this kind of theater. MMT productions are not based on literary texts and musical scores only, but they will develop in accordance with the specific social climate and local context, thus encouraging cooperation with different authors and performers in different languages. MMT does not treat the foreign languages as a barriers, but as a source of creativity. With its own special melody and rhythm, each language contrib-utes not only to the musical possibilities of the performance, but also to the much deeper perception of the world wound us. The movement through different cultures provides one spiritual and cultural wealth which is necessary for every person. One of the most valuable things for an artist is exchange of experiences with different cultures. The first project of the Moving Music Theatre - Bitola in cooperation with the Center of Culture - Bitola is the Mono-opera Diary of a Madman based on the short story of Nikolaj Vasilevič Gogolj which he directed and created the music and scenography. The premiere of the play was June, 10, 2015 in Bitola where the play has been performed three more times.
Ohrid Summer Festival, Macedonia, 2015 - 1
Youth Open Theater Festival, Skopje, Macedonia, 2015 - 1
Park - Ribnjak, Zagreb, Croatian scene of alternative theater, October, 2015 - 3
Park - Ribnjak, Zagreb, Croatian scene of alternative theater, December, 2015 - 3
Park - Ribnjak, Zagreb, Croatian scene of alternative theater, honoring the World Day of Theater, March, 27, 2016 - 2
FEN Festival - Opatija, Croatia, 2016 - 1
Park - Ribnjak, Zagreb, Croatian scene of alternative theater, April, 2016 - 3
Small Scene Festival, Rijeka, Croatia, May, 2016 - 1
Monodrama Festival – Bitola, Macedonia, May, 2016 - 1
International festival of monodrama and mime, Zemun - 1
Infant Festival - Novi Sad, Serbia, June, 2016 - 1
PUF Festival - Pula, Croatia, July, 2016 - 1
Split Summer Festival, Split, Croatia, July, 2016 - 1
Ulysses Festival, Brijuni, Croatia, August, 2016 - 2
Purgatorie Festival - Тivat, Monte Negro, August, 2016 - 1
International festival of monodrama and mime, Zemun - 1
The play has been performed 32 times till September, 2017
Small Scene Festival, Rijeka, Croatia
- Best music
- Best actor
- Best performance - awarded by the Mediterranean Magazine, May, 2016
Monodrama Festival - Bitola, Macedonia
The audience award for best play, May, 2016
Infant Festival – Novi Sad, Serbia
Award for experimental and alternative theater – for the unique expressiveness of the line between the theater and other art. June, 2016.
PUF Festival - Pula, Croatia
Award for individual and complete realization, July, 2016
Purgatorie Festival, Tivat, Monte Negro
Grand prix for the best play on the Festival - Purgatorie, August, 2016
Grand prix for the best play
On its final performance, the play was presented on the Purgatorie Festival in Tivat, Monte Negro, where it received the ultimate grand prix of the Festival.
Golden Medal for Best Monodrama, 42nd International festival of monodrama and mime, Zemun 2017;
Golden Medal for Audience Award, 42nd International festival of monodrama and mime, Zemun 2017
The jury of the 11 Festival of Mediterranean Theater Purgatori, 2016 consised of: Mani Gotovac, theatrologist and president of jury, Tanja Boskovic - an actress, Zoran Zivkovic - a producer, after 10 watched plays in the official competition, pronounced the Dairy of a madman, produced by Moving Music Theatre, directed by Marjan Necak and performed by Ozren Grabaric, the best play.
The trio Gogolj, Necak, Grabaric is unusually precize and elloquent in a theatrical way. They search for an inspiration from each other. Its seems as if they are a jazz trio. Each of them contributes to the glow of the entire play. Their words, music, direction and acting show their briliance on much higher emotional and cognitive level.
Such work can only be realized when there is no „I“ within the course of work, when the rehearsal is done without measuring the time, peacefully, slowly, exhaustively, precisely - stands in the explanation of the jury.
Without a doubt we can state that the mono opera Diary of a Madman (...) is a real master-piece of acting, music and video art.
Mono opera performed by Ozren Grabaric is currently the best show in Zagreb this autumn. The ease with which composer and director Marjan Nechak plays with Gogol’s ideas is incredible. (...) In the end, the doubt whether it is Poprishchin the one to lose his mind, or has the world lost its mind, remains unsolved, while the whole madness, in this superb performance, is projected straight into the head of each individual spectator (...) Departing from his usual approach in which he holds a certain cynical distance from his characters, in “Diary” Grabarić is fully immersed in Poprishchin’s madness, an approach which gives shockingly impressive results. The entire multidimensional psychedelic nightmare is further enhanced by the operatic form in which Grabarić swims with ease (...) Minimalistic set design consists of videoprojector, a table and an unusual box acting as a monitor and a loudspeaker. This box shows us parts of human face and represents Poprishchin’s subconscious and his superego, giving it all an aspect of a deranged installation in a museum of contemporary arts. If we add to it that the opera is performed in English and Spanish, with Croatian titles, one could say that Nechak - Grabari - Lukanovi triumvirate has produced a world - class show that can easily be performed on stages across the globe.
To say that Grabaric's performance and his vocal interpretation of extraordinary psychedelic music by Marjan Necak is well-studied to the smallest detail would be an understatement. It is not just mysterious and deep, but it builds up very discreetly up to the culmination. (...) Nećak leads the madman as a perfect colourful character at the brink of madness, and a small step would suffice to cross the line and fall into the abyss from which there is no turning back. This is a rare theatrical plaidoyer, innovative, full-blooded and very suggestive. One of the surprises of this year’s MOT theatre festival in Skopje. (Todor Kuzmanov, Radio Skopje, Macedonia. “Mono-opera, an almost unknown genre in South-Eastern Europe, is a logical continuation of Nećak’s work. This hugely talented composer permanently surprises us with new work, this time venturing into directing a show tailor-made for an extra-ordinary actor. Ozren Grabarich - multi-talented dramatic artist from Zagreb - renown for his perfectionist approach towards build-ing a character, perfectly answered the challenges of staging a musical theatre version of Gogol’s novel “Diary of a Madman”. And he is no stranger to the type of music theatre that Mar-jan Nechak produces. On the contrary, his singing capabilities, deeply embedded in his energy as an actor, seem to have always been aiming towards musical, which in this case is really an opera.”
“It is an operatic performance that leaves no one indifferent. It carries joy and satisfaction of a theatre that reaches to all the senses of spectator/listener who is drawn into this well thought of, innovative interpretative satisfaction. This mono - opera is a completely new experience in the Balkans, clearly well thought piece full of art, knowledge and with a precise goal. Gogol’s “Diary of a Madman” is impressively cut by maestro Marjan Nechak, with deeply expressive performance by Ozren Grabarich (talks and sings in English and Spanish) whose precise movement and symbolic use of scarce props tell Poprishchin's story about all the ills and malfunctions of modern society.” (Ljiljana Mazova, Globus, Macedonia) “Croatian actor Ozren Grabarich fascinated the audience with his incredibly energetic performance.” (vest.mk) With a new matureness and Ozren Grabarich portraits the character of Gogol’s rebel, so disjointed from the world that he belongs only to his inner theatre, using various magnifying glasses to emphasise the fragmented mindset of the protagonist (...) It’s been a long time since we last saw a monodrama of such depth, originality and lucidity spiked with black humour such as Grabarić’s operatic “Madman”.
Grabarich is a great master of scenic gradation and culmination, only to subdue his expression to lower, calmer spheres, and again, and again. In doing so he follows Nećak’s musical and spatial ideas perfectly, while videos by Lukanović coincide with both, thus forming a unique rhythm. (...) The way in which Ozren Grabarich presents it is simply impossible to describe with words. One needs to see and hear it, feel it and burst into tears over every discarded, hunted, humiliated and tortured human being, from the beginning of time until the end of the world. (Darko Gašparovich, kazaliste.hr) Marjan Nechak made a chamber multimedia spectacle ranging between music-hall, musical mon-odrama, drama and opera. Throughout the wondrous and multifarious show, versatile actor Ozren Grabarich is moving with great mastery, at times sounding like an entire orchestra or choir. The show is visually enriched with video by Marin Lukanovich, whose ideas follow the chaos in the protagonist’s head. (Kim Cuculich, Fenomentator, Croatia) An extremely brave act of musical theatre... Total theatre in which literature is transformed into music... The saddest Poprishchin I have ever seen. Bravo!
“Each element of this drama - music - stage - video format emanates - excellence, key prerequisite for artistic creation. Accuracy, premeditation, precision all fit into the passion carried by remarkable Ozren Grabarich. The performance thrilled me with simplicity, dedication and belief that all - or - nothing is the only approach that gives meaning to the existence of artists in these superficial times.” (Vitomira Lonchar, producer, Croatia)
Moving Music Theatre (MMT) realized its new coproduction this year with the ballet proejct: Advanced dance lessons for adutls by the Polish author Vaclav Havel, directed by Stasa Zurovac, in a coproduction with Zagreb Dance Center, Modern Dance Festival, Macedonian National Theater, Skopje and Budva Festival, Monte Negro. The premiere was performed on June, 2, at the Modern Dance Festival in Zagreb, Croatia.
Let me mention that I own a music studio where I compose and produce my music. I cooperate with many musicians from the Macedonian Opera and Ballet, Macedonian philharmony, and many other instrumental and vocal artists from Macedonia and from other countries as well who are engaged in the process of creating by performing solo-segments and solo-instrumental music.
Mac Pro mid 2012
Software OS X 10.8.4, Processor 2 x 2,4 GHz 6-Core Intel Xeon,
Memory 32 GB 1333 MHz DDR3
Pro Tools 11
Logic Pro X
VST - Instrument - East West Hollywood Strings, Brass, Woodwinds, Contact Instrument, 8 Dio Instrument, VSL Instrument, Project Sam Instrument and others.
Monitor Speakers - Genelec
Mic - RODE NT2-A, Nady SCM980
Music notation - Software Sibelius 7
email@example.com | firstname.lastname@example.org
Contact address: Kliment Ohridski 22/6 - 7000 Bitola, Macedonia
Tel. 00 389 71 222 076
Fadern National theater Vraca Bugarija - 21.01.2015
The Divine Comedy National theater - Bitola - 28.02.2015
Home alone Tvornica Lutaka - Zagreb - 07.03.2015
Genocide 21 National theater - Bitola -14.03.2015
Hotel between two worlds Theater Shtip - 27.03.2015
Date | Place | Year
Split summer festival and Ulysses Theatre
Miroslav Krleža: THE FUNERAL IN THERESIENBURG
Director and Choreographer: STAŠA ZUROVAC
Composer: MARJAN NECHAK
Set and Costume Designer: BJANKA ADŽIĆ URSULOV
Adaptation, Dramaturge adaptation: STAŠA ZUROVAC
Light Designer: SRÐAN BARBARIĆ
Sound Designer: PETAR IVANIŠEVIĆ
Waltz and tango consultant: VANA BAKALIĆ
German language consultant: MAJA BARAC
The funeral in Theresienburg is a prose from the cycle MESSRS. GLEMBAY that Miroslav Krleza gradually published from 1926 to 1930. The cycle consist of 14 texts (3 dramatic plays and 11 proses), regarded as fragments by the author. The funeral in Theresienburg was first published in Savremenik in 1929.
Date | Place | Year
Ramong Gejza: DRAŽEN ČUČEK
Colonel Mihajlo von Warronigg: OZREN GRABARIĆ
Olga Warronigg: VANDA WINTER
Kállay Bandi, Ramong’s friend, violinist, music commentator: ALEXANDER BALANESCU
Ramong’s father: DMITRIJ RODIKOV
Count Fudschi - Hasegava: SHUNSUKE AMMA
Admiral Vatanaba: YASSAUI MERGALIYEV
General Pei Lin - tsi: YUKI NAKASHIMA
In full splendour of their beauty:
IEVA KARPILOVSKA, REMUS DIMACHE / LEONA SIVOŠ, RAZVAN CACOVEANU / MATEA MILAS, ROMULUS DIMACHE / YULIA PIVOTSKAYA, ARTEM ZHUSOV / ALBINA RAHMATULLINA, SILVIU TANASE
Soldiers of the 17th Regiment:
CNT Split Soloists and Ballet Ensemble
KORANA BILAN, MARIO BULIČIĆ, SIMONA CAPUTO, NONNA ČIČININA, NIKŠA DE MARCHI, REMUS DIMACHE, ROMULUS DIMACHE, IGOR GLUSHKOV, DANIEL JAGAR, NIKOL MARČIĆ, MATEA MILAS, ELENA NIKOLAEVA, ALBINA RAHMATULLINA, DMITRIJ RODIKOV, LEV ŠAPOŠNIKOV, ASHATBEK YUSUPUHANOV, ARTEM ZHUSOV, YULIA PIVOTSKAYA, IEVA KARPILOVSKA, YUKI NAKASHIMA, SOPHIE RANCE, ALEXANDRA BERTEA, BOJANA LIPOVŠĆAK, SILVIU TANASE, RAZVAN CACOVEANU, SHUNSUKE AMMA, YASSAUI MARGALIYEV, MIHAI MEZEI, LEJLA BAJRAMOVIĆ, TINA HATLAK, LEONA SIVOŠ, ANTOINE PROS.
Krleža’s relationship towards Austro - Hungarian traditions has been very
characteristically manifested in this very prose. Grotesque - satirical image of
megalomaniacal self-defence of the Empire denying its own death but also a
magnificent exhibition of imagination demonstrating elegance and glamour of that persevering force in a moment when it is reduced to a mere shell of its former historic memory.
The character of Olga connects this utterance of Krleža’s ambiguous literary expression with the world of the Glembaj family from Zagreb representing a broader framework of rise and fall of their vitality and materialistic achievements as well as esthetical luxury of Middle European aristocrats. The story is settled in a garrison of Imperial and Royal Asper – Essling 17th Dragoon Regiment in Hungarian Transdanubian town of Maria Thereresienburg describing the visit of three senior Japanese officers awarded for their meritorious service in the war against Russia. Count Fudschi – Hasegava and his companions are received with high ceremonies while colonel’s wife Olga Warronigg is the first lady of the ceremony hosted by the regiment. Lieutenant Ramong Gejza is in love with Olga and offended with her since she has sent him just a conventional farewell card in the eve of his departure to Sicily. There is a small incident in the presence of Japanese guest during the ball.
punishes Ramong with imprisonment. Ramong asks to be released, Warronigg refuses that and Ramong commits a suicide with a revolver in prison. Warronigg has been compromised due to his wife and giving the eulogy at the funeral he describes the deceased as a person without the sense of honour. Since the father of the deceased is a retired Hussar lieutenant colonel they give him a state funeral.