Zeljko Lucic

Baritone

Biography

Serbian baritone, Zeljko Lucic, continues to gain recognition for his performances of the dramatic repertoire in the world’s leading opera houses, including the Metropolitan Opera, Royal Opera House, San Francisco Opera, l’Opéra National de Paris, Teatro alla Scala and the Wiener Staatsoper. For his appearance in La forza del destino with San Francisco Opera, the Financial Times declared, “with this Don Carlo, Zeljko Lucic served notice that he is one of today’s pre-eminent Verdi baritones.”

His many engagements in the 2007-08 season included the Metropolitan Opera, singing the title role in a new production of Verdi’s Macbeth (conducted by James Levine); the Wiener Staatsoper as Germont in La traviata; Staatsoper Dresden for the title role in Rigoletto; and Oper Frankfurt to reprise the title roles of Simon Boccanegra and Macbeth, as Iago in concert performances of Otello, and Michele in Il tabarro and the title role of Gianni Schicchi in Puccini’s Il trittico.

In subsequent seasons, he sang Iago in a new production of Otello at the Deutsche Oper Berlin, La Traviata at the Royal Opera House Covent Garden and Forza del Destino at the Wiener Staatsoper as well as Ballo in Maschera at Teatro alla Scala and Macbeth conducted by Muti at the Salzburg Festival.  He also performed in new productions of Rigoletto at the Metropolitan Opera and Simone Boccanegra at the Bayerische Staatsoper.

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Reviews

“Baritone Zeljko Lucic […] sang with a power and elegance revealing the innate nobility of Verdi’s score.”

James Jorden

New York Post

“[…] Željko Lučić as Gérard – a beautifully sung, handsomely acted portrait of a revolutionary politician facing the moral consequences of the private motivations that tarnish his integrity”

Tim Ashley

The Guardian

More Reviews

“Zeljko Lucic supera brillantemente las dificultades de su papel y demuestra ser un muy buen Boccanegra. Técnica y vocalmente está a muy alto nivel: el timbre es muy grato, los armónicos ricos, la emisión limpia y bien focalizada, no se advierte ningún punto débil en todo su registro, el fiato es muy generoso. En el plano interpretativo Lucic resulta impecable y, sobre todo, convence por saber conjugar las diversas facetas estilísticas de su papel: domina tanto el belcanto lírico como el dramatismo contundente del Verdi tardío y pasa de un lenguaje al otro logrando transiciones naturales, sin fisuras ni sobresaltos. Su musicalidad, que sirve de medio para expresar una rica gama de hondos sentimienos, está fuera de toda discusión.
[Zeljko Lucic brilliantly overcomes his role’s difficulties and turns out to be a great Boccanegra. His technical and vocal level is very high: his timbre is very pleasant, his harmonies rich, his delivery clean and precise, one notices no weakness in any of the registers and the fiato is very generous. As to his performance, Lucic is impeccable and, above all, very convincing in his ability to combine his role’s differing stylistic aspects: he dominates the lyrical belcanto and Verdi’s last work’s powerful drama equally and switches from one language to another with natural transitions, without halts or shocks. His musicality, which serves as a means to express a full range of deep feelings is unquestionable.]

J.G. Messerschmidt, Mundo Clásico 

“Serbian baritone, Zeljko Lucic, really gets beneath the skin of Rigoletto and shows us the breadth of this character in all his flawed humanity. He uses a range of tone colour to give us insights into this fascinating and multi-faceted character while deploying some highly expressive and nuanced phrasing […] In the final aria, ‘Si Vendetta, tremenda vendetta,’ Lucic showed his full range giving us some very powerful and impassioned singing.”

Robert Beattie, Seen and Heard International 

“Broad-shouldered Serbian baritone Zeljko Lucic […] was magnificent in the title role of the misshapen jester and tragically overprotective father.”

Mark Swed, Los Angeles Times 

“His fine sense of stage work combined with a true Verdi baritone, a superb legato, and an impressive dynamic range, all combine to great effect.”

Moore Parker, The Opera Critic 

“Sa vaillance vocale qui n’exclue pas la souplesse, son excellente projection, sa large palette de nuances, son sens du phrasé et du rythme, sa musicalité, son timbre d’airain et son total investissement dans son personnage le placent haut dans la hiérarchie des tenants internationaux du rôle.
[His vocal courage that does not prevent flexibility, his excellent delivery, his large palette of nuances, his phrasing and rhythm abilities, his musicality, his powerful timbre and his complete investment in his character make him one of he best international performers of this role.]

Elisabeth Bouillon, Forum Opéra