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KATARINA                      
RADOVANOVIĆ   
   soprano

About

Katarina Radovanović is a rising Serbian soprano recognized for her powerful voice and dynamic stage presence. She completed her postgraduate studies in Opera and Musical Theater at the prestigious Mozarteum University in Salzburg, under the mentorship of Gernot Sahler. She previously completed her Master's and Bachelor's degrees in classical singing at the Faculty of Music in Belgrade, under the mentorship of Nikola Mijailović. Her early music education included studies in voice at the Music School Davorin Jenko and violin at the Music School Vatroslav Lisinski in Belgrade.

 

She has portrayed a range of roles, including Fiordiligi in Mozart’s Così fan tutte, Lady Billows in Britn’s Albert Herring, Fata Morgana in Prokofiev’s Die Liebe zu den drei Orangen, Mimì/Musetta in Puccini’s La Bohème, Micaela in Bizet’s Carmen and Donna Anna/Donna Elvira in Mozart’s Don Giovanni.

 

Katarina has been recognized in international competitions, winning the ASLICO Competition in 2024 and the Lazar Jovanović Competition in 2019. She was a finalist at the Vincerò Competition in 2023 and the Ghena Dimitrova Competition in 2019, where she was also awarded a special prize. Her performances have taken her to major venues across Europe, including appearances in Germany, Austria, Italy, and Bulgaria. In Serbia she has performed at renowned venues such as the Kolarac Endowment, National Theater, Madlenianum Theater, National Museum and Guarnerius Concert Hall.

 

In addition to her singing career, Katarina founded the NGO Bell'Opera, dedicated to organizing opera productions and concerts with the aim of bringing the opera world closer to a wider audience. She continues to engage in diverse musical projects and participates in masterclasses with internationally acclaimed artists and conductors.

Katarina Radovanovic tackles Fiordiligi's fearsome role with a confident and brilliant vocality. The instrument, wide and well projected, performs with good flexibility in the most virtuosic passages as well as in the more elegant ones. The delicacy of the phrasing is then accompanied by the graceful charm of the stage presence.

Marco Faverzani | Giorgio Panigati, OperaLibera

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