{"id":4294,"date":"2022-09-20T12:15:22","date_gmt":"2022-09-20T10:15:22","guid":{"rendered":"https:\/\/www.polifonico.org\/guido-darezzo-international-polyphonic-competition"},"modified":"2022-09-23T10:20:23","modified_gmt":"2022-09-23T08:20:23","slug":"guido-darezzo-international-polyphonic-competition","status":"publish","type":"page","link":"https:\/\/www.polifonico.org\/en\/guido-darezzo-international-polyphonic-competition","title":{"rendered":"Guido d’Arezzo International Polyphonic Competition"},"content":{"rendered":"

[vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” background_image=”3782″ background_animation=”none” padding_top=”170″ padding_bottom=”170″ css_animation=””][vc_column][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” background_animation=”none” css_animation=””][vc_column][vc_empty_space height=”90px”][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner][vc_column_text]<\/p>\n

International Polyphonic Competition “Guido d’Arezzo”<\/h1>\n

[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]Beginning in 1952, the Arezzo Friends of Music Association initiated the International Polyphonic Competition. It provides the most important stage for choral expressions from around the world: an incomparable range of repertoires, styles, and composers. Since 1983 the Competition has been organized by the Guido d’Arezzo Foundation.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”80px”][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” background_animation=”none” css_animation=””][vc_column width=”1\/4″][vc_separator type=”normal” border_style=”” thickness=”5″ color=”#c88f86″][\/vc_column][vc_column width=”1\/4″][\/vc_column][vc_column width=”1\/4″][\/vc_column][vc_column width=”1\/4″][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” background_animation=”none” css_animation=””][vc_column width=”4\/5″][vc_empty_space height=”15px”][vc_column_text]<\/p>\n

Announcements and News<\/h2>\n

[\/vc_column_text][vc_empty_space height=”50px”][\/vc_column][vc_column width=”1\/5″][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” background_animation=”none” css_animation=””][vc_column][vc_raw_html]W3NtYXJ0X3Bvc3Rfc2hvdyBpZD0iMzY5NiJd[\/vc_raw_html][vc_empty_space height=”80px”][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” background_animation=”none” css_animation=””][vc_column width=”1\/4″][vc_separator type=”normal” border_style=”” thickness=”5″ color=”#c88f86″][\/vc_column][vc_column width=”1\/4″][\/vc_column][vc_column width=”1\/4″][\/vc_column][vc_column width=”1\/4″][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” background_animation=”none” css_animation=””][vc_column][vc_empty_space height=”15px”][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”4\/5″][vc_column_text]<\/p>\n

Brief history of the Polyphonic Competition<\/h2>\n

[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]<\/p>\n

by Claudio Santori<\/h4>\n

[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]When the Polyphonic Competition named after Guido d’Arezzo began, there was no polyphonic tradition in Italy: the treasures of Marenzio, Gesualdo, Palestrina, and Monteverdi lay neglected or worse misrepresented (a madrigal could be performed by ensembles of as many as forty or more voices, there ‘was no interpretive tradition, there was a lack of masters). It was the ‘year 1952 and around the corner still rumbled the ghosts of the twenty-year period and the war. Piles of rubble were making a fine show in various strategic places in the city (the “Mancini” stadium is worth mentioning) and Arezzo was preparing for the transition from an agricultural economy (and mentality) to an industrial one: a passage as lightning-fast as it was massive that Piero Magi summarized in a phrase that has remained famous: the Aretine peasant, entering his house in the evening, leaned his hoe against the doorframe and left the next morning in his lambretta to go to work in the factory.
\n[\/vc_column_text][vc_empty_space height=”10px”][\/vc_column_inner][vc_column_inner width=”1\/5″][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” background_animation=”none” css_animation=””][vc_column width=”4\/5″][vc_accordion active_tab=”“false“” collapsible=”yes” style=”boxed_accordion”][vc_accordion_tab title=”`{` continue reading `}`” title_tag=”h5″ background_color=”#ffffff” title_color=”#000000″][vc_column_text]The newly formed “Friends of Music” Association (it had just been founded under the auspices of the “Petrarch” Academy: the statute bears the date of January 14, 1950) succeeded in organizing the competition, which was prudently kept for that year at the national level (it was held in September, specifically on the 7th, 8th and 9th). The success, more than flattering, stimulated the imagination of the founders (a select patrol of professionals chaired by a young magistrate with a passion for music: Dr. Mario Bucciolotti, with honorary members of the caliber of M\u00b0 Arturo Benedetti Michelangeli, Prof. Francesco Severi and the recently deceased Father Vigilio Guidi). Artistic director of the event was one of the most distinguished musicians and musical organizers of those years, Luigi Colacicchi, who was assisted by Augusto Cartoni and a group of talented musicians from Arezzo including Bruto Tignani, a violinist of the German school and director of the Scuola di Musica del Praticino, so that already the second edition (1953) was international, with the presence in Arezzo of as many as 6 nations. The days dedicated to the competition increased from three to five, with a shift from September to June (from the 25th to the 29th). “Poca favilla gran fiamma seconda,” Dante warned: the 1954 edition made the internationality of the competition definitive, although there were only three participating nations (Switzerland, Austria and Yugoslavia). However, the month of August was experimented with, which was, moreover, considered optimal, so much so that it remained definitive until 2010 and was reinstated for the next 2012 edition, after a brief September interlude that proved inadequate for several reasons.<\/p>\n

 <\/p>\n

The Polyphonic has made its mark on culture and custom in Arezzo with grace and harmony.<\/p>\n

The Berlin Wall was torn down as early as the early 1970s with East and West German choirs singing with fraternal enthusiasm, heedless of ideological barriers. Even a president of the Republic, under whose high patronage the Competition stands, came to Arezzo for its tenth anniversary in 1962: Antonio Segni, the only head of state who ever attended the Arezzo event. The Polyphonic years marked the slow, but important and substantial improvements of Italian polyphony, which ended up winning prizes as well: in 1967 the Coradini Chorale (freshly founded, dating back to the beginning of that year!) won the men’s choir competition under the direction of maestro Fosco Corti destined to become one of the unforgettable characters of the choral kermesse and leaving with his untimely death an unbridgeable void. The organizers requested the high patronage of the President of the Republic Giovanni Gronchi, and obtained it without any difficulty: proof of the prestige now achieved by the event. A prestige reaffirmed and definitively sanctioned at the European level by the following year’s 1955 edition, the fourth since its founding and the third of the international competition. There were seven participating nations: Austria, West Germany, Spain, Switzerland, Yugoslavia, France and, of course, Italy. The ‘organization was excellent in every respect, and the jury lined up some of the finest names in European choral music (Hans Haug, Hans Gillesberger [1]) and Italian choral music, from Alfredo Bonaccorsi to Celestino Eccher; from Lino Liviabella to Achille Schinelli (a name that in choral music for Italian schools corresponds to that of Sapegno for Dante!); from Bonaventura Somma to Luigi Toffolo, to a musician like Mario Peragallo. Other legendary names were those of Nino Antonellini, who replaced Colacicchi as director of the competition, and Franco Abbiati. Finally, of particular interest is the presence from the early days of the competition of W.S. Gwynn Williams, artistic director of the Llangollen Choral Festival, a sign that people were already looking to Europe and the world. And finally the political world and the big media realized the value that the Arezzo event could have, for the growth of the country’s cultural life tout court.<\/p>\n

 <\/p>\n

With the title “Voices from all over the world in Arezzo,” Incom Week devoted to this third edition of the Polifonico a short, but effective and incisive report: it was one of the first times that Arezzo rose to the ‘honor of the national chronicle not for a reason related to politics, art or literature, but for an exquisitely musical reason, moreover related to its most illustrious son in the “branch”: the monk Guido! The film shows the packed audience of the “Petrarca” at the moment of the ‘inauguration of the Competition by Undersecretary Brusasca. The camera then lingers (not so briefly that its artistic and spectacular features cannot be grasped: the shots are professionally impeccable) on five ensembles, including the one from Arezzo that had brought, out of competition, the city’s greetings to the foreign guests: it is the “Guido Monaco” Chorale Translated with www.DeepL.com\/Translator (free version)[\/vc_column_text][\/vc_accordion_tab][\/vc_accordion][\/vc_column][vc_column width=”1\/5″][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_animation=”none” css_animation=””][vc_column][vc_empty_space height=”80px”][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” background_animation=”none” css_animation=””][vc_column width=”1\/4″][vc_separator type=”normal” border_style=”” thickness=”5″ color=”#c88f86″][\/vc_column][vc_column width=”1\/4″][\/vc_column][vc_column width=”1\/4″][\/vc_column][vc_column width=”1\/4″][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” background_animation=”none” css_animation=””][vc_column][vc_empty_space height=”15px”][vc_column_text]<\/p>\n

Roll of Honor<\/h2>\n

[\/vc_column_text][vc_empty_space height=”50px”][vc_accordion active_tab=”false” collapsible=”yes” style=”boxed_accordion”][vc_accordion_tab title=”+ Arezzo City Grand Prix” title_color=”#000000″ background_color=”#ffffff”][vc_column_text]2008 \u2013 Coro El leon de oro (Spagna)<\/p>\n

2009 \u2013 Vokalna Akademija (Slovenia)<\/p>\n

2010 \u2013 Svenska Kammark\u00f6ren (Svezia)<\/p>\n

2011 \u2013 Chamber Choir Vox Gaudiosa (Giappone)<\/p>\n

2012 \u2013 APZ Tone Tom\u0161i\u010d (Slovenia)<\/p>\n

2013 \u2013 New Dublin Voices (Irlanda)<\/p>\n

2014 \u2013 OREYA (Ucraina)<\/p>\n

2015 \u2013 Lautitia Mixed Youth Choir (Ungheria)<\/p>\n

2016 \u2013 Philippine Madrigal Singers (Filippine)<\/p>\n

2017 \u2013 Beijing Philarmonic Choir (Cina)<\/p>\n

2018 \u2013 University of the Philippines Singing Ambassadors (Filippine)<\/p>\n

[\/vc_column_text][vc_empty_space height=”40px”][\/vc_accordion_tab][vc_accordion_tab title=”+ Vocal Groups” title_color=”#000000″ background_color=”#ffffff”][vc_column_text]2009<\/strong><\/p>\n

1. Unassigned
\n2. Rome City Choir (Italy)
\n3. Municipal Choir of the City of Mendoza (Argentina)<\/p>\n

 <\/p>\n

2010<\/strong><\/p>\n

1. Unassigned
\n2. Batavia Madrigal Singers (Indonesia)
\n3. New Dublin Voices (Ireland)<\/p>\n

 <\/p>\n

2011<\/strong><\/p>\n

1. Salt Lake Vocal Artists (USA)
\n2. William Byrd Consort (Latvia)
\n3. Unassigned<\/p>\n

 <\/p>\n

2012<\/strong><\/p>\n

Sec. 3 and 4 unify<\/p>\n

 <\/p>\n

2013<\/strong><\/p>\n

1. New Dublin Voices (Ireland)
\n2. Vocalia Taldea (Spain)
\n3. Collegium Cantorum Yokohama (Japan)<\/p>\n

 <\/p>\n

2014<\/strong><\/p>\n

1. Ingenium Ensemble (Slovenia)
\n2. Gallina Vocal Group (Slovenia)
\n3. Paragita Students choir of Universitas Indonesia (Indonesia)<\/p>\n

 <\/p>\n

2015<\/strong><\/p>\n

1. Unassigned
\n2. Imusicappella (Filippine)
\n3. Cappella Odak (Croatia)<\/p>\n

 <\/p>\n

2016<\/strong><\/p>\n

1. Unassigned
\n2. Ensemble Vocale Libercantus (Italy)
\n3. Unassigned<\/p>\n

 <\/p>\n

2017<\/strong><\/p>\n

1. Genova Vocal Ensemble (Italy)
\n2. Art\u2019N\u2019Voices (Poland)
\n3. Unassigned<\/p>\n

 <\/p>\n

2018<\/strong><\/p>\n

1. Unassigned
\n2. Lumen Vocale Soloists Ensemble (Poland)
\n3. Unassigned<\/p>\n

[\/vc_column_text][vc_empty_space height=”40px”][\/vc_accordion_tab][vc_accordion_tab title=”+ Choirs” title_color=”#000000″ background_color=”#ffffff”][vc_column_text]2009<\/strong>
\n1. Vokalna Akademija Ljubljana (Slovenia)
\n2. Rome City Choir (Italy)
\n3. B\u00f8ler Vokalensemble (Norway)<\/p>\n

 <\/p>\n

2010<\/strong>
\n1. Svenska Kammark\u00f6ren (Sweden)
\n2. Batavia Madrigal Singers (Indonesia)
\n3. New Dublin Voices (Ireland)<\/p>\n

 <\/p>\n

2011<\/strong>
\n1. Ex aequo:
\n\u2013 Salt Lake Vocal Artists (USA)
\n\u2013 Chamber Choir Collegium Musicale (Estonia)<\/p>\n

2. Chamber Choir Vox Gaudiosa (Japan)
\n3. Mannheim Chamber Choir (Germany)<\/p>\n

 <\/p>\n

2012<\/strong>
\n1. APZ Tone Tom\u0161i\u010d University of Ljubljana (Slovenia)
\n2. University of the Philippines Singing Ambassadors (Filippine)
\n3. Szeksz\u00e1rdi Madrig\u00e1lk\u00f3rus (Hungary)<\/p>\n

 <\/p>\n

2013<\/strong>
\n1. Collegium Cantorum Yokohama (Japan)
\n2. Cantatrix (Netherlands)
\n3. New Dublin Voices (Ireland)<\/p>\n

 <\/p>\n

(in even voices)<\/em>
\n1. unassigned
\n2. Magnificat Youth Choir (Hungary)
\n3. Vocalia Taldea (Spain)<\/p>\n

 <\/p>\n

2014 <\/strong>
\n1. OREYA (Ukraine)
\n2. Paragita Students choir of Universitas Indonesia (Indonesia)
\n3. Schola Cantorum Sopianensis (Hungary)<\/p>\n

 <\/p>\n

(in even voices)<\/em>
\n1. Youth Choir of Tallinn Music High Scholl (Estonia)
\n2. M\u00e9taphores, female choir of the Conservatoire (France)
\n3. Ex aequo:
\n\u2013 Francesco Sandi Women’s Choir (Italy)
\n\u2013 Eos Women’s Choir (Italy)<\/p>\n

 <\/p>\n

2015<\/strong>
\n1. Ex aequo:
\n\u2013 Imusicappella (Filippine)
\n\u2013 Vocal Ensemble EST (Japan)
\n2. Onatiko Ganbara Abesbatza (Spain)
\n3. Cappella Odak (Croatia)<\/p>\n

 <\/p>\n

2016 <\/strong>
\n1. Philippine Madrigal Singers (Filippine)
\n2. Helene Stureborg Kammark\u00f6r (Sweden)
\n3. Melodia Kammerk\u00f3r Askirkju (Iceland)<\/p>\n

 <\/p>\n

(in even voices)<\/em>
\n1. Women\u2019s Chamber Choir \u010carnice (Slovenia)
\n2. Gruppo Vocale Novecento (Italy)
\n3. Oriana Youth Female Choir (Ukraine)<\/p>\n

 <\/p>\n

2017<\/strong>
\n(in even voices)<\/em>
\n1. Unassigned
\n2. Girls Choir Spigo (Latvia)
\n3. Unassigned<\/p>\n

 <\/p>\n

(in even voices)<\/em>
\n1. Uranienborg Vokalensemble (Norway)
\n2. Mornington Singers (Ireland)
\n3. Unassigned<\/p>\n

 <\/p>\n

2018<\/strong>
\n(in even voices)<\/em>
\n1. Marymount Secondary School Choir (China)
\n2. Coral San Justo (Argentina)
\n3. Eos Women’s Choir (Italy)<\/p>\n

 <\/p>\n

(mixed voices)<\/em>
\n1. University of the Philippines Singing Ambassadors (Filippine)
\n2. Akademski Pevski Zbor Maribor (Slovenia)
\n3. Unassigned<\/p>\n

[\/vc_column_text][vc_empty_space height=”40px”][\/vc_accordion_tab][vc_accordion_tab title=”+ Polyphony Prize Review” title_color=”#000000″ background_color=”#ffffff”][vc_column_text]2005<\/strong>
\nSections B\/C unified: Coro Musicanova (Italy)
\nSection D: Hor Kulturno Umetni\u010dkog Dru\u0161tva Svetozar Markovi\u0107 (Serbian Republic)
\nSection E: Vocalia Taldea (Spain)<\/p>\n

 <\/p>\n

2006<\/strong>
\nSections B\/C unified: Schola Cantorum Coralina (Cuba)
\nSection D: Ateneo de Manila College Glee Club (Filippine)
\nSection E: Schola Cantorum Coralina (Cuba)<\/p>\n

 <\/p>\n

2007<\/strong>
\nSection B: Choir (United Kingdom)
\nSection D: Choeur National Des Jeunes a C\u0153ur Joie (France)
\nSection E: Ex aequo:
\nCoro (United Kingdom)
\nChoeur National Des Jeunes a Coeur Joie (France)<\/p>\n

 <\/p>\n

2008<\/strong>
\nSection B: Victoria Chamber Choir (Hungary)
\nSection C: Gasshodan Mai (Japan)
\nSection D: Coro El Leon De Oro (Spain)
\nSection E: Coro El Leon De Oro (Spain)<\/p>\n

 <\/p>\n

2009<\/strong>
\nSection B: unassigned
\nSection C: unassigned
\nSection D: Vokalna Akademija Ljubljana (Slovenia)
\nSection E: Vokalna Akademija Ljubljana (Slovenia)<\/p>\n

 <\/p>\n

2010<\/strong>
\nSection B: New Dublin Voices (Ireland)
\nSection C: unassigned
\nSection D: Svenska Kammark\u00f6ren (Sweden)
\nSection E: Svenska Kammark\u00f6ren (Sweden)<\/p>\n

 <\/p>\n

2011<\/strong>
\nSection B: Chamber Choir Vox Gaudiosa (Japan)
\nSection C: William Byrd Consort (Latvia)
\nSection D: Ex aequo:
\n\u2013 Salt Lake Vocal Artists (USA)
\n\u2013 Chamber Choir Vox Gaudiosa (Japan)
\nSection E: Ex aequo:
\n\u2013 Salt Lake Vocal Artists (USA)
\n\u2013 Chamber Choir Vox Gaudiosa (Japan)<\/p>\n

 <\/p>\n

2012<\/strong>
\nSection A: Ex aequo:
\n\u2013 Coro Musicanova (Italy)
\n\u2013 Los Peques del Le\u00f3n de Oro (Spain)
\nSection B: unassigned
\nSection C: University of the Philippines Singing Ambassadors (Filippine)
\nSection D: APZ Tone Tom\u0161i\u010d (Slovenia)<\/p>\n

 <\/p>\n

2013<\/strong>
\nSection A: Vocalia Taldea (Spain)
\nSection B: unassigned
\nSection C: unassigned
\nSection D: Ex aequo:
\n\u2013 Collegium Cantorum Collegium Cantorum Yokohama (Japan)
\n\u2013 Magnificat Youth Choir (Hungary)<\/p>\n

 <\/p>\n

2014<\/strong>
\nSection A: Ingenium Ensemble (Slovenia)
\nSection B: unassigned
\nSection C: OREYA (Ukraine)
\nSection D: OREYA (Ukraine)<\/p>\n

 <\/p>\n

2015<\/strong>
\nSection A: Non assegnato
\nSection C: Vocal Ensemble Est (Japan)
\nSection D: Vocal Ensemble Est (Japan)<\/p>\n

[\/vc_column_text][vc_empty_space height=”40px”][\/vc_accordion_tab][vc_accordion_tab title=”+ Monograph Program” title_color=”#000000″ background_color=”#ffffff”][vc_column_text]2017<\/strong>
\n1. Ex aequo:
\n\u2013 Vokalensemble Vocappella Innsbruck (Austria)
\n\u2013 Genova Vocal Ensemble (Italy)
\n2. Ex aequo:
\n\u2013 Art\u2019N\u2019Voices (Poland)
\n\u2013 Beijing Philarmonic Choir (China)
\n3. Rezonans (Turkey)<\/p>\n

 <\/p>\n

2018<\/strong>
\n1. University of the Philippines Singing Ambassadors (Filippine)
\n2. Akademski Pevski Zbor Maribor (Slovenia)
\n3. Marymount Secondary School Choir (China)<\/p>\n

 <\/p>\n

[\/vc_column_text][vc_empty_space height=”40px”][\/vc_accordion_tab][vc_accordion_tab title=”+ White Voices” title_color=”#000000″ background_color=”#ffffff”][vc_column_text]2008<\/strong>
\n1. Rostov-on-Don Conservatory Children’s Voice Choir (Russia)
\n2. White Voices of the Comprehensive Institute (Italy)
\n3. Children\u2019s Choir Gloria (Ukraine)<\/p>\n

 <\/p>\n

2009<\/strong>
\n1. Ex aequo:
\n\u2013 Cantemus Children\u2019s Choir (Hungary)
\n\u2013 Leioa Kantika Korala (Spain)
\n2. Unassigned
\n3. Unassigned<\/p>\n

 <\/p>\n

2010<\/strong>
\n1. Prague Philharmonic Children\u2019s Choir (Czech Rep.)
\n2. Vdokhnovenie (Russia)
\n3. Unassigned<\/p>\n

 <\/p>\n

2011<\/strong>
\n1. Unassigned
\n2. Children\u2019s Choir Gloria (Ukraine)
\n3. Unassigned<\/p>\n

 <\/p>\n

2012<\/strong>
\n\u2013 Section deleted<\/p>\n

 <\/p>\n

2013<\/strong>
\n\u2013 Section deleted<\/p>\n

 <\/p>\n

2014<\/strong>
\n1. Unassigned
\n2. Ex aequo:
\n\u2013 Children\u2019s Choir GLORIA (Ukraine)
\n\u2013 Children\u2019s Choir of Musamari Choral School (Estonia)<\/p>\n

 <\/p>\n

2015<\/strong>
\n\u2013 Section deleted<\/p>\n

 <\/p>\n

2016<\/strong>
\n1. Unassigned
\n2. Unassigned
\n3. Gloria Children\u2019s Choir (Ukraine)<\/p>\n

 <\/p>\n

2017<\/strong>
\n1. Unassigned
\n2. Beijing Philarmonic Choir (China)
\n3. Unassigned<\/p>\n

 <\/p>\n

2018<\/strong>
\n1. The Little Singers of Barcelona (Italy)
\n2. Garda Trentino White Voices Choir (Italy)<\/p>\n

[\/vc_column_text][vc_empty_space height=”40px”][\/vc_accordion_tab][vc_accordion_tab title=”+ Contemporary Music” title_color=”#000000″ background_color=”#ffffff”][vc_column_text]2004<\/strong> \u2013 Victoria Kamarak\u00f3rus (Ungheria)<\/p>\n

2005<\/strong> \u2013 Cantatrix (Olanda)<\/p>\n

2006<\/strong> \u2013 2008 Competition cancelled<\/p>\n

2009<\/strong> \u2013 Vokalna Akademija Ljubljana (Slovenia)<\/p>\n

2010<\/strong> \u2013 Unassigned<\/p>\n

2011<\/strong> \u2013 Chamber Choir Collegium Musicale (Estonia)<\/p>\n

2012<\/strong> \u2013 section deleted<\/p>\n

 <\/p>\n

Arezzo Colors Prize Festival<\/strong><\/p>\n

2013<\/strong> \u2013 Vocal Ensemble Gregorianum (Polonia)<\/p>\n

2014<\/strong> \u2013 OREYA (Ucraina)<\/p>\n

2017<\/strong> \u2013 Beijing Philarmonic Choir (Cina)[\/vc_column_text][vc_empty_space height=”40px”][\/vc_accordion_tab][vc_accordion_tab title=”+ Folk song choral festival” title_color=”#000000″ background_color=”#ffffff”][vc_column_text](Special prize awarded by the audience)<\/em><\/p>\n

 <\/p>\n

2004<\/strong> \u2013 Rodnik (Russia)<\/p>\n

 <\/p>\n

2005<\/strong> \u2013 Musicanova Choir (Italy)<\/p>\n

 <\/p>\n

2006<\/strong>
\nAudience Award: Ateneo de Manila College Glee Club (Filippine)
\nHearing Commission Award: Schola Cantorum Coralina (Cuba)<\/p>\n

 <\/p>\n

2007<\/strong>
\nAudience Award: Coro Femminile Eos (Italy)
\nHearing Commission Award ex aequo:
\n\u2013 Pearls of Odessa (Ukraine)
\n\u2013 Musicanti Kinderkoor (Netherlands)<\/p>\n

 <\/p>\n

2008<\/strong>
\nAudience Award: El Leon de Oro (Spain)
\nHearing Commission Award: El Leon de Oro (Spain)<\/p>\n

 <\/p>\n

2009<\/strong>
\nAudience Award: KHP Coro Techniuv, (Filippine)
\nHearing Commission Award ex aequo:
\n\u2013 B\u00f8ler Vokalensamble (Norway)
\n\u2013 Cantores Maruli (Croatia)<\/p>\n

 <\/p>\n

2010<\/strong>
\nAudience Award: Madrigal de Brasilia (Brazil)
\nHearing Commission Award: Madrigal de Brasilia (Brazil)<\/p>\n

 <\/p>\n

2011<\/strong>
\nAudience Award: Institute Teknologi Bandung Choir (Indonesia)
\nHearing Commission Award: Coro Tonos Humanos (Colombia)<\/p>\n

 <\/p>\n

2012<\/strong>
\n1. University of the Philippines Singing Ambassadors (Filippine)
\n2. Los Peques del Le\u00f3n de Oro (Spain)
\n3. Szeksz\u00e1rdi Madrig\u00e1lk\u00f3rus (Hungary)<\/p>\n

 <\/p>\n

2013<\/strong>
\nAudience Award: Magnificat Youth Choir (Hungary)<\/p>\n

 <\/p>\n

2014<\/strong> \u2013 OREYA (Ukraine)<\/p>\n

 <\/p>\n

2015<\/strong> \u2013 Imusicappella (Filippine)<\/p>\n

 <\/p>\n

2016<\/strong>
\nAudience Award: Oriana Youth Female (Ukraine)
\nHearing Commission Award: Philippine Madrigal Singers (Filippine)<\/p>\n

 <\/p>\n

2017<\/strong> \u2013 Aurum (Spain)<\/p>\n

 <\/p>\n

2018<\/strong> \u2013 Coral San Justo (Argentina)<\/p>\n

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