Kristina began her musical career in classical waters as a saxophone player and continued as a jazz vocalist. In 2002, she was awarded a scholarship to study at the renowned Berklee College of Music. In October 2005, she reached the finals of the international competition of jazz vocalists in Brussels (Brussels International Voice Competition). At the Slovenian Song 2006, she received the best performer award; and in 2007, she got her master's degree in jazz singing from the Univesität für darstellende Kunst und Musik in Graz, where she had been studying under globally acclaimed jazz vocalists such as Sheila Jordan, Mark Murphy, Jay Clayton, Laurie Antonioli,…
She has frequently collaborated with the RTV Slovenia Big Band; as a soloist she has worked with Carmina Slovenica on their Adiemus project, assisted in the play »Where Love Flows Into the Blue Sky« by the Permanent Slovenian Theatre in Trieste and, as a member of Sentpolh Sextet, in projects produced by Jani Kovacic. Besides that she frequently plays with musicians such as Peter Mihelich, Renato Chicco, Blaz Jurejevcic, Dejan Pecenko, Drago Gajo, Jure Pukl, Igor Lunder, Primoz Grasic, Zigi Feigel, Karlheinz Miklin, Ewald Oberleitner,…
In Austria, she is the lead vocalist of the international jazz band that mainly plays Brazilian-like music, Yello, Green & More, with whom she has recorded two CDs so far. She has also appeared on Clairaudient by Peter Mihelich and »How About That« by Robert Jukic. On her latest album "Kakor Lep Roman,"she is playing with The Grooveyards (Filip Sijanec, Gregor Fticar, Tomaz Stular), a band she has been collaborating with intensely since 2006.In Kristina Oberzan, vocal and interpretative mastery come together as equals while her powerful and sensuous voice is consistently accompanied by her notable artistic sense of intimacy.
Her involved approach, her maturity in musical exploration and her ability for thoughtful self-expression allow her to enter a wide spectrum of musical genres that she takes up enthusiastically but also with great rhythmic precision.
Kristina's forte is her feeling for right measure and good taste that she employs in the planning of her vocal interventions. Her flexibility and her understanding of musical genres and their standards are so deep that distinctions between style and essence of her personal expression simply disappear. Kristina Ober--an becomes what she sings and what she sings becomes a part of her. This union is nowhere clearer than in her sincerity and proficiency in jazz improvisation, as well as in her delicately distinct utilisation of various jazz styles and contextually supported transitions from one to another (bebop, swing, bossa nova, funk,…).
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