Marika Gombitová | |
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| Born | Mária Gombitová (1956-09-12)12 September 1956 (age 69) |
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| Years active | 1975–present |
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Musical artist | |
| Website | marikagombitovaofficial.com |
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Marika Gombitová (Slovak:[ˈmarikaˈɡɔmbitɔʋaː]; born 12 September 1956) is a Slovak singer-songwriter and musician. Once a member ofModus, Gombitová started to gain early acclaim as a former female vocalist of the group. Nevertheless, she gradually developed herpublic image as a solo artist, makingown debut onshort play in 1977. Subsequently, after topping the localmusic charts with "Študentská láska" (1978),[1] her debutset entitledDievča do dažďa (1979) saw its eventual results onOPUS Records.[2] The album'slead "Vyznanie",[3] earned several music awards; most notably at the4th Intervision Song Contest held inPoland (1980).[4][5] In years to come later, thelove anthem was to be celebrated as "The Hit of the Century" (2007) in her country.
Shortly before launching the second LP,Môj malý príbeh (1981),[6] her career was adversely affected by asingle-car crash.[7] She was reliant on a wheelchair, possibly for life, due to the resulting multiple injuries. Following her partial recovery, Gombitová returned to the spotlight scoring new top rankings and even touring again. Her comeback albumSlnečný kalendár (1982),[8] continued with the previously established sound, such as mainlypop rock. Soon after that, she began to explore otherstyles too. While her guitar-baseddouble effortMince na dne fontán (1983),[9] received the Gold Arms award as the best-selling record,[10][11] its successor called№5 (1984)[12] would find her experimenting withelectronic music, giving Gombitová some of her strongestreviews, for a change.
More recently the singer has carried on achieving commercial success through a radio-friendly format. Her consecutively runningsynthpop outputs, such asVoľné miesto v srdci (1986)[13] andAteliér duše (1987),[14] they both enjoyed a series of airplayhits, being accompanied with a sold-out concert tour and avideo album release, respectively. UnlikeKam idú ľudia? (1990),[15] which showcased a more rock-oriented sound and, eventually, it marked the end of the artist's prolific period of time. Gombitová however managed to sustain an indisputable level of popularity also off the scene. Prior to her long-term withdrawal from public life, she delivered on Jumbo RecordsZostaň (1994),[16] her finalstudio collection of pop tunes to date.
Gombitová is regarded in popular culture as a dominant figure[17] whose influence reflect numerousawards and honorific titles to her credit. Besides, her contributions to the genre have made singer one of the most successful solo acts in the history ofSlovak contemporary music,[17] having six out of nine full-length records listed amongThe 100 Greatest Slovak Albums of All Time.[18][19][20] In her homebase, she is often recognized asThe Songstress of the 20th Century (2000),[21][22] and has been quoted as an inspiration by various local artists since. Inducted into theZAI Hall of Fame at the age of barely forty years,[23][24] her work remains covered and a radio favorite in the region.
Marika Gombitová was born on 12 September 1956 in the village ofTurany nad Ondavou, east Slovakia, as the seventh child of Michal (19 December 1913) and Margita (19 August 1921, née Novotňáková). However two of their older daughters – one of whom was already given the name Mária – died due to hypothermia.[25] Since the age of nine, she was takingpiano lessons in the local Ľudová škola umenia (LŠU) inStropkov. Following her failure to study singing at the Music school, she continued with engineering inKošice. While on high school, she sang with an amateur band called Profily. Later she would shortly perform for the orchestras of Juraj Szabadoš and Július Olajoš, respectively.[26]
In 1975, Gombitová made her first recordings ("Karta" and "Nájdem hviezdu") atSlovak Radio Košice. The next year, she received an offer fromJanko Lehotský, frontman of theModus band, to join his professional group. Following theleaving exam she, therefore, moved toBratislava[26] and got an initial exposure inSlovak Television with songs "Lúčenie" and "Túto pieseň spievam vám" (both co-written by Lehotský), performed inChvíľa pre pesničku in 1976.[27] At first, she would release a number of singles with Modus (such as "Veľký sen mora", "Margaréta", "Zažni" – all from 1977) as a backing vocalist. Her solo part came along with the Bratislavská lýra '77 winning composition "Úsmev" that featured also vocal contributions by Lehotský,Miro Žbirka and Miro Jevčák.[28] Subsequently, Gombitová recorded her debut solo single entitled "Boľavé námestie."[29] For the first time, her name appears in the national music pollZlatý slavík, being ranked as the 46th Most Popular Female Singer in Czechoslovakia in 1977 (Modus scored at number #6).[30]
"There's no way to deal with this, and if someone claims such thing, you don't buy it."
The second solo single by Gombitová, "Študentská láska," was issued in 1978. The song won two awards at the Bratislavská lýra '78 festival, being classified as the most sellingSP in July in Slovakia.[32] She also recorded four tracks on the Motion Picture Soundtrack ofSmoliari (issued in 1979), and her position in annualZlatý slavík skyrocketed to number #4 this time (Next year she scored at #3, while at #2 in 1980).[33] Following her contribution to theCollegium Musicum'sfull length project entitledOn a Ona, Gombitová along with Modus was headed in February 1979 to the recording studio to work on theirself-titled debut album. In addition, she would also release her own debut setDievča do dažďa. With its pilot single "Vyznanie," Gombitová entered the4th Intervision Song Festival held inSopot,Poland on 20–23 August 1980. As a result, she received the first prize in the competition representing record companies, shared with Nikolai Gnatiuk from Russia (for the song "Dance on a Drum").[4]
![[icon]](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aWiki_letter_w_cropped.svg) | This sectionneeds expansion with: 1980s to present. You can help byadding to it.(June 2012) |
Withambitus registered atF♯2, Gombitová possesses an overtwo-octavevocal range and has the ability to reach notes beyond H2, when usinghead register.[35] In the early phase of her solo career, she underwentvocal training withcoach František Tugendlieb,[36][37] whose supervision included a broad range of her peers recording artists. Tugendlieb had become proverbial for dividing offhead register fromchest voice, allowing production ofnasal tones, which resulted in a greasy-voiced sound distinctive forovertone singing, or rather children.[37] As such it was popularized byBee Gees.[38] Unlike her later imitators (e.g.Darina Rolincová as the most notorious in the 1980s[39]), Gombitová's vocal style was not similar to other pop stars of that period and she soon introduced her own modus, establishing herself asThe Songstress of the Century in the 20th century.[21][22]
Reactions to the "childlike quality"[40] of her vocals changed with the release of her solo debut albumDievča do dažďa (1979). Peter Lipták praised Gombitová for "[her] beautifully metallic, a bit heavily-sounding voice",[2][41] while František Horáček fromPopulár went in his superlative review even further when compared "[her] original, metallic-sharp timbre" to "thetonal compression oforgan pipes". He would also emphasize her "absolutely extraordinary way to split a melody" and "phrasing that brings an outstanding tension – the bigger the slower is [her] composition".[42][43] Other critics, such as one of the Czech most intransigent Jan Rejžek, he described Gombitová's voice as "circularly laserlike",[44] and even later looked up to artist as a "self-sufficient and sovereign rival ofZlatý slavík-winning singers" who is aware when "to set toxic heights to make your flesh so longly-for creep – making it a party, instead public holiday".[45] In response to her second setMôj malý príbeh (1980), record producer Július Kinček stated that writing about "[her] original vocal, excellent technique, sound sense for rock genre, flawless phrasing and great musicianship... [it] has already become by now bringing the wood to the forest". He also attributed much of her success to Gombitová's "admirable way to seize emotional tension of compositions on the first place".[46] Nevertheless, Marián Jaslovský as the only criticized most of the singer's vocal outputs from the soundtrackNeberte nám princeznú (1980), and reportedly for her "traditionally artificial exhibition", which he saw unsupportive toward fluidity ofUrsiny's songs.[47]
"InVyznanie I have one part in awful heights. That can't be managed just technically, I must put into it with all my body. As I [am to] sit, my strain is twice as big. Those tones hang above me before each concert."
Following the crash, Gombitová lostperception over two-thirds of her bodily function including the lower part of herlungs, a significant area forbreath control. She had to acquire a new vocal technique.[49] Curiously enough, condition of her voice had seemed to be untouched and reviewers continued with being enthusiastic.Populár music columnist Dagmar Kolářová complimented Gombitová on her "singing artistry", no less her attitude for "expressive style" she delivered on her comeback albumSlnečný kalendár (1982).[50] Miloš Skalka ofMladá fronta praised her ensuing live performances onMince na dne fontán Tour (1983) for "[her] excellent vocal dispositions and secureintonation".[51][52]Život magazine, for a change, documented "the sincerity of [her] testimony, persuasiveness of [her] interpretation, which extends to simplicity."[34] Author Vladimír Petr fromRytmus circumscribed her vocalizing in depth, pointing for the singer's voice out "[it] is none of average that would disturb, or attract. The other way around, [and] for which applies only two extreme options as maximum – either you accept it as it comes with its provocative metallic pitches and [her] girlish whisper, or you are not capable of listening to, due to all said attributes."[53]
Over the course of her career, Gombitová's voice grew deeper and fuller as noticed byPopulár in the middle of the 1980s. Ivan Kytka observed on herAdresa ja, adresa ty Tour (1985/87) that her "once thin laser voice gained new positions andkeys", whereas he stressed that singer expanded her brand as a confident composer, too.[54] Her 1990s vocal input forKam idú ľudia? (1990) was seen less favorably by critics, which then blamed her album performances for artificiality, arbitrary phrasing, as well "language-rape" as written in Andrej Turok's review.[55] Although, he did not disclaim Gombitová's constant "flawless intonation", or rather "[her] civilized singing" on down-tempo tracks, on the contrary.[56] Since the 21st century, Gombitová has sung in her medium-ranged voice ("Nespáľme to krásne v nás" and "Tajnosľubná"), with exception of her higher register for the chorus ("Prosba"). Following several abortive efforts to encourage artist to return to the studios, the media began to speculate on a loss of her voice in 2004. CzechPrávo printed a statement, upon which "[she] refuses to return to the spotlight in fear her triumphant comeback could turn into a total fiasco". Those guessings were turned down by her lifetime lyricist Kamil Peteraj, who stated for the press that "[her] problem does not concern [her] voice but psychic." His opinion confirmed ex-opera singer and vocal pedagogue Dagmar Livorová, however, she admitted herself that such injuries as of bottom sections ofabdomen may result in a collapse when vocally performing.[57]Žbirka, with whom Gombitová recorded two of her final recordings to date, finds difficult in essence to inspire artist with a new material.[58]
Prior to the music video-era, which arrived with theMTV broadcast in the early 1980s in the US, Czechoslovak audience had no representativemusic channel focusing predominantly on playing music videos either afterwards. The local artists presented their work through imagery of various TV programs delivered on thestate-owned network.[59] Gombitová received her exposure on the national television on 30 November 1976, performing "Túto pieseň spievam vám" along with "Lúčenie" forChvíľa pre pesničku. Two weeks later, on 11 December, she also appeared on the showbill ofVyberte si pesničku. This time around though, she introduced a song called "Ty vieš, mama",[60] issued asB-side ofher debut single that followed shortly.[29] In 1978, her "Letná pieseň" found a rapport on additional televised charts, such asNašich 9,[61] which she eventually topped with duet "S tou nádejou choď spať" featuring Lehotský.[62] Needless to say, censorship had been a regular subject of intense debate during the red regime in her country[63][64] and thecommunist party maintained to supervise lyrical content of all public recordings by means of then devoted committees.[65][66] Gombitová thus would not gain a full control over her own creative outputs.[63] At least until theperestroika's initial period that allowed more independent actions towards cultural field, including some market-like reforms similar to Western style.[67]
Furthermore, her mobility impairment has led to herself being viewed as aphysically disabled artist since 1981. It has largely impacted such aspects of her subsequent recording career as producing promotional video clips and, especially, her live performances. Nevertheless, singer would substantially contribute to the local music video even later. Her impact on the music video sphere equally document several wins of her songs on varied popular video charts, such as5 x P andTriangel. While the first she entered with "Muž Nula" (1984), its successor served as instrumental to support her continual popularity in the region through additional number-one hits; namely "Zem menom láska" (1985), "Chlapci v pasci" (1986), "Koloseum" (1988) and "Paradiso" (1995)[68] In an attempt to afford more visual liberties and enhance her recorded work with more strikingvideo clips, Gombitová teamed up with director Ladislav Kaboš and Ján Ďuriš (credited ascamera operator) in 1987. The "trio" crafted a video album entitledAteliér duše,[69] recognized as the first video release by any native-born artist. Thevideotape featured seven35 mm films produced byKoliba Film Studios, six of which were to promote compositions from the corresponding studio album of the same title.[70] In addition and before thedissolution ofthe federal state in the 1990s, Gombitová became on 20 June 1990 the first local singer to appear on the Austrian video chartDie Großen Zehn, presenting forORF "Babylónia", the lead single from herKam idú ľudia? set.[71]
| This sectionneeds expansion with: Live performances. You can help byadding to it.(December 2011) |
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| Year | Film | Role | Director(s) | Notes | |
|---|---|---|---|---|---|
| 1978 | Smoliari | Mira(voice role) | Dušan Kodaj |
| [72] |
| 1981 | Neberte nám princeznú | Katka | Martin Hoffmeister | [73] | |
| 1986 | Pa a Pi | (voice role) | Miroslav Sobota and Dalimil Koutek |
| [74] |
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| Totals | ||
| Awards won | 46 | |
| Nominations | 124 | |
"Guess you have realized I am not a racer but singer. I'm naturally glad about each success, but I don't suffer from the "Gold Nightingale" syndrome and [I] have no longing for aviaries."
Marika Gombitová has received numerous awards and accolades in recognition of her success in the music industry. At the turn of the 3rd millennium, she was namedThe Songstress of the Century[21][22] and her achievements in the music genre has made others to call her "The First Lady",[55] or rather "The Queen of Slovak Pop Music",[76][77][78] respectively. As of 2016[update], she has accumulated a total of 124 awards and/or nominations, and her list also includes a number ofmusic recording certifications received for the sales of her studio albums.[68] Her double win at the Bratislavská lýra in 1978 with "Študentská láska" became a significant milestone in her solo career,[1] which led to the award's Silver equivalent in 1979 (for "Vyznanie"),[79] and its Bronze in 1980 (in favor of her duet withLehotský "Tajomstvo hier").[80] Prior to surviving her car crash, she received anIntervision award from the East EuropeanInternational Radio and Television Organisation in response to her live performance of songs "Vyznanie" and "Chcem sa s tebou deliť", accomplished in 1980 inSopot, Poland.[4][5] Besides, her signature song ("Vyznanie") won the countrywide competition run bySlovak public TV network in 2007 as The Hit of the Century.[81][82]
In a career spanning more or less four decades, Gombitová had sold more than one millionLP records in the vinyl era.[83][84] On 2 March 1996 she became the first female performer, as well as one of the first inductees ever into theHall of Fame by theZAI Academy.[23][24] She also holds the local record as the artist with the most releases listed amongThe 100 Greatest Slovak Albums of All Time.[18][20] Six of her solo studio albums were ranked as some of those best and the overall index features also her vocal contribution to additional nominated releases, such as co-recorded withModus andŽbirka, or delivered forNeberte nám princeznú soundtrack.[18][20] Aside from her critical accomplishments, Gombitová has been frequently voted in national annual music pollZlatý slavík and its subsequent equivalents, Slovenský slávik andSlávik Awards.[85] While eventually winning two editions as Slovenský slávik (1997–1998),[84][86] she topped eight times as the runner-up for the most popular Female Singer in the country; three times at Zlatý slavík (1980, 1982–1983), on five occasions for Slávik (1998, 2000–2002, 2005),[87] despite showing no particular interest in accepting these recognitions.[75] For her other cultural or lifetime achievements, she is also a recipient of the Main Prize by the Culture Ministry of the Czechoslovakia (1986),[88] theFreedom of the City of herbirth municipality (2007),[21][89] as well of thetown of Stropkov (2013)[90][91] and, among others, The Woman of the Year title (2008)[21][92] and theHall of FameOTO Award (2014).[93]
In 2023 she became the laureate of the SpecialCrystal Wing Awards.[94][95]
| Year | Nominated work | Award | Category | |
|---|---|---|---|---|
| 1970s | ||||
| 1977 | "Úsmev" | Bratislavská lýra |
| [96] |
| 1978 | "S tou nádejou choď spať" | Našich 9 | – | [62] |
| "Studentenliebe" | Internationales Schlagerfestival Dresden |
| [97] | |
| 1979 | Herself | Melodie |
| [98] |
| 1980s | ||||
| 1980 | "Vyznanie"/"Chcem sa s tebou deliť" | Intervision |
| [99] |
| 1983 | Herself | POPulár |
| [68] |
| 1984 | "Muž Nula" | 5 x P | – | [10] |
| 1985 | "Zem menom láska" | Zlatý triangel |
| [68] |
| 1986 | "Chlapci v pasci" | |||
| Adresa ja, adresa ty Tour | Ministry of Culture of theCzechoslovakia |
| [100] | |
| Ústí nad Labem National Contest of Musical Programs |
| |||
| Herself | POPulár |
| ||
| 1987 | [68] | |||
| Ateliér duše |
| |||
| 1988 | Mladé rozlety | |||
| Herself | POPulár |
| ||
| Central Committee of the Slovak Women Union |
| [101] | ||
| "Koloseum" | Zlatý triangel |
| [68] | |
| 1990s | ||||
| 1995 | "Paradiso" | Zlatý triangel |
| [68] |
| Herself | Zlatá nota |
| [24] | |
| 1996 | [102] | |||
| ZAI Awards |
| [24] | ||
| 1997 | Slovenský slávik |
| [103] | |
| 1998 | ||||
| 2000s | ||||
| 2000 | Herself | Songstress of the Century | – | [97] |
| 2001 | OTO Awards | [104] | ||
| 2007 | "Vyznanie" | Hit of the Century | – | [81] |
| Herself | Freedom of the City | [21] | ||
| 2008 | Bratislava Leaders |
| ||
| 2010s | ||||
| 2013 | Herself | Miková Festival of the Rusyns Culture | [105] | |
| Freedom of the City | [90] | |||
| 2014 | OTO Awards | [93] | ||
| 2015 | Slovenka Awards |
| [106] | |
| Note: The years are listed in order of the respective calendar years; the annual ceremonies are usually held the next. | ||||
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| Awards and achievements | ||
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| Preceded by | Czechoslovakia in theIntervision Song Contest 1980 | Succeeded by None |
| Preceded by | Winner of the Intervision Song Contest 1980 (tied with  Marion Rung & Mykola Hnatyuk) | Succeeded by |
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| Other albums | |
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| Singles | |
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| Airplay singles | |
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