Marika Gombitová

Marika Gombitová (; born 12 September 1956) is a Slovak singer-songwriter and musician. Once a member of Modus, Gombitová started to gain early acclaim as a former female vocalist of the group. Nevertheless, she gradually developed her public image as a solo artist, making own debut on short play in 1977. Subsequently, after topping the local music charts with "Študentská láska" (1978), her debut set entitled ''Dievča do dažďa'' (1979) saw its eventual results on OPUS Records. The album's lead "Vyznanie", earned several music awards; most notably at the 4th Intervision Song Contest held in Poland (1980). In years to come later, the love 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), her career was adversely affected by a single-car crash. 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 album '' Slnečný kalendár'' (1982), continued with the previously established sound, such as mainly pop rock. Soon after that, she began to explore other styles too. While her guitar-based double effort '' Mince na dne fontán'' (1983), received the Gold Arms award as the best-selling record, its successor called ''№5'' (1984) would find her experimenting with electronic music, giving Gombitová some of her strongest reviews, for a change.

More recently the singer has carried on achieving commercial success through a radio-friendly format. Her consecutively running synthpop outputs, such as '' Voľné miesto v srdci'' (1986) and '' Ateliér duše'' (1987), they both enjoyed a series of airplay hits, being accompanied with a sold-out concert tour and a video album release, respectively. Unlike '' Kam idú ľudia?'' (1990), 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 Records '' Zostaň'' (1994), her final studio collection of pop tunes to date.

Gombitová is regarded in popular culture as a dominant figure whose influence reflect numerous awards 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 of Slovak contemporary music, having six out of nine full-length records listed among The 100 Greatest Slovak Albums of All Time. In her homebase, she is often recognized as The Songstress of the 20th Century (2000), and has been quoted as an inspiration by various local artists since. Inducted into the ZAI Hall of Fame at the age of barely forty years, her work remains covered and a radio favorite in the region.

Biography

Early life and recordings

Marika Gombitová was born on 12 September 1956 in the village of Turany 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. Since the age of nine, she was taking piano lessons in the local Ľudová škola umenia (LŠU) in Stropkov. Following her failure to study singing at the Music school, she continued with engineering in Košice. 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.

In 1975, Gombitová made her first recordings ("Karta" and "Nájdem hviezdu") at Slovak Radio Košice. The next year, she received an offer from Janko Lehotský, frontman of the Modus band, to join his professional group. Following the leaving exam she, therefore, moved to Bratislava and got an initial exposure in Slovak Television with songs "Lúčenie" and "Túto pieseň spievam vám" (both co-written by Lehotský), performed in ''Chvíľa pre pesničku'' in 1976. 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. Subsequently, Gombitová recorded her debut solo single entitled " Boľavé námestie." For the first time, her name appears in the national music poll Zlatý slavík, being ranked as the 46th Most Popular Female Singer in Czechoslovakia in 1977 (Modus scored at number #6).

"Študentská láska," "Vyznanie," Intervision prize and car crash

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 selling SP in July in Slovakia. She also recorded four tracks on the Motion Picture Soundtrack of '' Smoliari'' (issued in 1979), and her position in annual Zlatý slavík skyrocketed to number #4 this time (Next year she scored at #3, while at #2 in 1980). Following her contribution to the Collegium Musicum's full length project entitled ''On a Ona,'' Gombitová along with Modus was headed in February 1979 to the recording studio to work on their self-titled debut album. In addition, she would also release her own debut set ''Dievča do dažďa.'' With its pilot single "Vyznanie," Gombitová entered the 4th Intervision Song Festival held in Sopot, 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").

Artistry

Voice and timbre

;Prior to crash

With ambitus registered at F₂, Gombitová possesses an over two-octave vocal range and has the ability to reach notes beyond H₂, when using head register.
In the early phase of her solo career, she underwent vocal training with coach František Tugendlieb, whose supervision included a broad range of her peers recording artists. Tugendlieb had become proverbial for dividing off head register from chest voice, allowing production of nasal tones, which resulted in a greasy-voiced sound distinctive for overtone singing, or rather children. As such it was popularized by Bee Gees. Unlike her later imitators (e.g. Darina Rolincová as the most notorious in the 1980s), Gombitová's vocal style was not similar to other pop stars of that period and she soon introduced her own modus, establishing herself as The Songstress of the Century in the 20th century.

Reactions to the "childlike quality" of her vocals changed with the release of her solo debut album ''Dievča do dažďa'' (1979). Peter Lipták praised Gombitová for " erbeautifully metallic, a bit heavily-sounding voice", while František Horáček from ''Populár'' went in his superlative review even further when compared " eroriginal, metallic-sharp timbre" to "the tonal compression of organ 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 ercomposition". Other critics, such as one of the Czech most intransigent Jan Rejžek, he described Gombitová's voice as "circularly laserlike", and even later looked up to artist as a "self-sufficient and sovereign rival of Zlatý 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". In response to her second set '' Môj malý príbeh'' (1980), record producer Július Kinček stated that writing about " eroriginal vocal, excellent technique, sound sense for rock genre, flawless phrasing and great musicianship... thas 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". Nevertheless, Marián Jaslovský as the only criticized most of the singer's vocal outputs from the soundtrack '' Neberte nám princeznú'' (1980), and reportedly for her "traditionally artificial exhibition", which he saw unsupportive toward fluidity of Ursiny's songs.

;After crash

Following the crash, Gombitová lost perception over two-thirds of her bodily function including the lower part of her lungs, a significant area for breath control. She had to acquire a new vocal technique. 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 album '' Slnečný kalendár'' (1982). Miloš Skalka of '' Mladá fronta'' praised her ensuing live performances on '' Mince na dne fontán Tour'' (1983) for " erexcellent vocal dispositions and secure intonation". ''Život'' magazine, for a change, documented "the sincerity of ertestimony, persuasiveness of erinterpretation, which extends to simplicity." Author Vladimír Petr from ''Rytmus'' circumscribed her vocalizing in depth, pointing for the singer's voice out " tis none of average that would disturb, or attract. The other way around, ndfor which applies only two extreme options as maximum – either you accept it as it comes with its provocative metallic pitches and ergirlish whisper, or you are not capable of listening to, due to all said attributes."

Over the course of her career, Gombitová's voice grew deeper and fuller as noticed by ''Populár'' in the middle of the 1980s. Ivan Kytka observed on her '' Adresa ja, adresa ty Tour'' (1985/87) that her "once thin laser voice gained new positions and keys", whereas he stressed that singer expanded her brand as a confident composer, too. Her 1990s vocal input for '' Kam 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. Although, he did not disclaim Gombitová's constant "flawless intonation", or rather " ercivilized singing" on down-tempo tracks, on the contrary. 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. Czech ''Právo

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