David Bizic

Baritone

Biography

David Bizic was born in Belgrade, Serbia and studied at the International Vocal Arts Institute and the New Israeli Opera Young Artist Studio and won second prize at the prestigious 2007 Plácido Domingo Operalia Competition.

This season David adds new roles to his repertoire with his return to Toulon as Belcore (L’Elisir d’amore) and he sings Escamillo (Carmen) in Dijon as well as making his Italian debut in the same role at the Macareta Festival. He also returns again to the Metropolitan Opera as Marcello (La Bohème).

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During the 2017-2018 season, he returned to the Metropolitan Opera where he debuted Sharpless, Madama Butterfly. He sang Eugene Onegin in Metz and Reims, Enrico, Lucia di Lammermoor in Toulon, Lescaut, Manon Lescaut at the Liceo in Barcelona and Escamillo, Carmen in Tel-Aviv.

As a member of the Paris Opera Studio, he took part in productions of Manon, Pelléas et Mélisande, Saint François d’Assise, Il Trovatore, Tristan und Isolde and From the House of the Dead. He was invited back as a guest to sing Masetto in Michael Haneke’s staging of Don Giovanni and later several times as Leporello in the same production. Further invitations in Paris also include Schaunard, La Bohème , Mathieu, Andrea Chénier and Guglielmo, Cosí fan tutte .

Praised for his interpretation of Mozartien characters, he has sung Figaro, Le Nozze di Figaro (Angers, Nantes, Strasbourg, Toulon, Monte-Carlo, Bordeaux, Geneva, Gent), Publio, La Clemenza di Tito (Avignon, Strasbourg, Montpellier), Masetto (Paris, Aix-en-Provence Festival, Madrid), Leporello (Toulouse, Rennes, Montpellier, Moscow, Berlin, Valencia, Paris Opera, Los Angeles, Chicago, Vienna State Opera), Don Giovanni (Maribor, Rouen) and Il Conte Almaviva, Le Nozze di Figaro (Saint-Etienne).

On other stages, he has sung Albert, Werther and Schaunard, La Bohème (Covent Garden), Evgeny Onegin (Limoges), Belcore, L’Elisir d’Amore, Escamillo, Carmen (Belgrade, Stockholm), The High Priest, Samson et Dalila, Créon from Oedipus Rex and The Chambellan, The Nightingale both by Stravinsky (Strasbourg), Marcello, La Bohème and Zurga, Les Pêcheurs de Perles (Bordeaux).

He made his debut in 2014 at the Metropolitan Opera in New York singing Albert in Werther alongside Jonas Kaufmann and Sophie Koch and came back to reprise the role the following season as well as to sing Marcello (La Bohème).

His concert appearances include Fauré’s Requiem, Schubert’s A-flat Mass and Haydn’s Nelson Mass with the Jerusalem Symphony Orchestra, La Vida Breve in a concert version with the Orchestre de Paris conducted by Rafael Frübeck de Burgos, Beethoven’s 9th Symphony with the Orchestre de Montpellier and the Orchestre de Bordeaux, Fauré’s Requiem with the Ensemble Orchestral de Paris / Accentus Choir for the Saint Denis Festival conducted by Laurence Equilbey and Brahms’ Deutsches Requiem with the Serbian Radio TV Symphony Orchestra.

Reviews

“Quant au Christ, le vainqueur de la soirée, il a la voix de David Bižić, dont les couleurs rappellent ici les meilleurs barytons d’école française. On retrouvera tous ces atouts dans l’enregistrement discographique à paraître prochainement chez Fuga Libera…”

“As for Christ, the winner of the evening, he has the voice of David Bižić, whose colors recall here the best baritones of the French school. We will find all these assets in the recording to be released soon by Fuga Libera…”

Laurent Bury

Première Loge

“Christ formidable de David Bizic, diction splendide et expressivité constante”

“David Bizic’s formidable Christ, splendid diction and constant expressiveness”

Nicolas Blanmont

La Libre

“The casting of David Bizic as Sharpless was brilliant in many ways. His earthy baritone hues closely in color to Jagde’s darker tenor, which aligns them from a character perspective. But he took on a more reserved quality in his singing, giving his character more grounding as opposed to Jagde’s correspondingly high-flying approach. There was an elegance in his softer lines and he allowed himself more room to build his voice for outbursts of frustration in Act two or when he chides Pinkerton in the final Act.”

David Salazar

Opera Wire