Sanja Radišić

Sanja Radišić

Serbian mezzo-soprano Sanja Radišić (1980) was born to a prominent artistic family in Belgrade. Among her early studies are classical ballet and piano. While graduating as graphic designer, her vocal talent was suddenly discovered by world renowned mezzo-soprano Biserka Cvejić.

She began her studies at the Music Academy of Belgrade where she received the prestigious “Danica Mastilovic” prize for best student of the year.

In 2007 she also received a scholarship from the Ministry of Culture of Serbia.

She won the First prize in all the main State competitions in Serbia, which include the 2002 “Dr. Vojislav Vuckovic” competition (Belgrade), the 2004 and 2007 “nikola cvejic” competition (Belgrade), the 2005 “Republic” competition (Belgrade), the 2004 “Nikola Cvejic” competition (Belgrade), the 2006 “Obzorija na tisi” competition (Becej) and the 2007 “Lazar Jovanovic” competition (Belgrade).

During her studies she soon joined the Opera Studio at the National Theater Belgrade.

Here she had her debut as the Badessa in Sour Angelica and Principessa in Adriana Lecouvreur as well as her first approach as Carmen among others. In the same years she had the opportunity to give concerts with the Belgrade National Theater Orchestra and the Belgrade Military Orchestra.

In 2009 she was invited to study at the Mannheim University of Music and Performing Arts where she was the recipient of the Wilhelm Müller Foundation Scholarship.

In Italy she participated to the International Competition “Amici della Musica” winning the third prize in 2010 and the special Prize awarded by Joan Sutherland in 2007.

In 2010 she culminated her prizes by being awarded the Gold Medal first prize at the International opera competition “Hariclea Darclee” in Braila (Romania) with Nicolae Herlea as president of the jury.

At her first German Theater audition for the roles of Ulrica and Brangäne, Sanja Radišić not only obtained the two roles, she was offered a permanent contract at the Theater Aachen which has been her home since 2012. Her string of successes include her Carmen which has been described by Opernglas as “absolutely authentic Carmen” and praised by Grenzecho Net for her “gripping depiction of all erotic Nuances, loose art of seduction and unrestrained thirst for freedom with a full-bodied opulent voice, elegant lightness and beautiful legato parts…perfectly casted for this successful production.” The Aachener Zeitung had this comparison: ” as Carmen, Sanja Radišić was impressive with her ravishing drama. Her “L’amour est un oiseau rebelle” reminded of the great Maria Callas. Bravos from the public thanked her.”

Her Eboli in Don Carlos was described by Theater Pur as “formidable with well-proportioned, soaring Mezzo voice – Great!”

Along side roles such as the Third lady in (Die Zauberflöte) also performed in Theater Bonn. Adalgisa (Norma) V.Bellini, Polinesso (Ariodante) Händel, Federica (Luisa Miller) G.Verdi, Jezi baba (Rusalka) A.Dvorak and Hexe in (Hänsel und Gretel) Humperdink, Sanja Radišić has had her debut in the role of Venus (Tannhäuser) Wagner, where she was as well acclaimed from the critics! Opernnetz describes her as a mezzo with an erotic and magical voice: “If the event in Wartburg would have been a female vocal competition, in Aachen one could easily assume that Venus sung by Sanja Radišić would be the favorite.”

2016 marks the crowning of her repertoire with a very successful debut as Lady Macbeth (Verdi).

Among numerous excellent reviews, these excerpts convey probably the most accurate descriptions of the voice of this artist:

“As genuine mezzo-soprano she belongs to the not few low registered sopranos usually preferred to interpret Lady Macbeth, prominent names of the past such as Martha Mödl or Astrid Varnay, as well as to the classified mezzos such as Christa Ludwig, Grace Bumbry and Shirley Verrett all with unquestionable effortless high notes. Not to mention the glorified Maria Callas. Sanja Radišić offers sovereign the dreaded high notes and in most cases avoided, the high D flat. In the cavatina “ Vieni t’affretta…” she places the large tone jumps with such vocal perfection, that no break between high and low notes is audible.

Every note she sings is intense with feelings, the high notes are brilliant and clear in fortissimo and her toying in the low register, with her dusky voice, always pays off.”

(Opera Point and Online Merker).

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