Mezzo-soprano Katarina Bradić has established herself as one of the most requested singers of her genre. From Baroque repertoire to contemporary music, the mezzo-soprano is performing for prestigious opera houses and festivals such as the Bayerische Staatsoper Munich, Staatsoper Berlin, Deutsche Oper Berlin, Staatsoper Hamburg, Opernhaus Zurich, Theater Basel, Theater an der Wien, Teatro Real Madrid, Dutch National Opera Amsterdam, La Monnaie de Munt Brussels, Opéra du Rhin Strasbourg, Bolshoi Theatre Moscow, the BBC Proms and the Aix-en-Provence Festival.

In the 2024/25 season, Katarina performs the title role of a new production of Handel’s Orlando at the Théâtre du Châtelet in Paris, returns to the Staatsoper Unter den Linden in Berlin to reprise the title part of Foccroulle’s Cassandra and to the Komische Oper Berlin in a staged version of Handel’s Messiah. On the concert platform, she sings songs by Edward Elgar at the Kolarac Hall in Belgrade.

Recent performances include – all in new productions – the world premiere of Bernard Foccroulle’s Cassandra (title role) at La Monnaie in Brussels, Lady Macbeth in Pascal Dusapin’s Macbeth Underworld at Opéra Comique in Paris, Driver in the world premiere of Hèctor Parra’s Justice at the Grand Théâtre in Genève, her acclaimed house and role debuts as Dalila in Samson et Dalila at the Opéra du Rhin in Strasbourg and as Eduige in Rodelinda at the Dutch National Opera of Amsterdam.

Recently she has also sung Bradamante in a new staging of Alcina at the Theater an der Wien, Shirin in the world premiere of Negar at the Deutsche Oper Berlin, Carmen in Cottbus, Rigoletto in Rouen, Penelope and L’umana fragilità in a new staging of Monteverdi’s Il ritorno d’Ulisse in patria at the Theater Basel, Ottavia in a new staging of L’incoronazione di Poppea at Opéra du Rhin, Dardano in concert performances of Handel’s Amadigi di Gaula in Barcelona and Madrid, Amastre in Serse at the Deutsche Oper am Rhein in Düsseldorf as well as La Sphinge in Enescu’s Œdipe and Ino of Semele at the Komische Oper Berlin, both in new productions. On the concert platform, she sang her first Messiah (Handel) at the Musikverein Wien.

Other career highlights include the title role of The Rape of Lucretia for Deutsche Oper Berlin, the title role of Carmen at the Den Norske Opera of Oslo, Juno in Semele at the Opernhaus Zurich, Lavinia in Amor vien dal destino at the Staatsoper Unter den Linden, Ursule in Béatrice et Bénédict at Glyndebourne, Penelope in Il ritorno d’Ulisse in patria at La Monnaie de Munt, Concertgebouw Amsterdam and the Theater an der Wien as well as Bradamante in Alcina at the Staatsoper Hamburg, the Aix-en-Provence Festival, the Bolshoi Theatre of Moscow and the Theater Basel.

Katarina Bradić was born in Serbia and studied singing at the Vienna Conservatory. She first came to international attention in the 2009/2010 season as a member of the ensemble of the Vlaamse Opera, where her roles included Olga in Evgenij Onegin, Suzuki in Madama Butterfly and Medea in Cavalli’s Giasone. Subsequently she joined the ensemble of the Deutsche Oper Berlin.

Ms Bradić has collaborated with such conductors and stage directors as René Jacobs, Semyon Bychkov, Sylvain Cambreling, Donald Runnicles, Andrea Marcon; Barry Koskie, Laurent Pelly, Guy Joosten, Stefan Herheim, Christoph Marthaler, Calixto Bieito, Katie Mitchell, Fiona Shaw, Sebastian Baumgarten, and Mariame Clément.

Her discography includes CD and DVD/Blu-Ray recordings of Alcina (Aix-en-Provence), Béatrice et Bénédict (Glyndebourne), Die Liebe der Danae and Mahlermania (Deutsche Oper Berlin) as well as Giasone (Vlaamse Opera).

August 2024