A STREETCAR NAMED DESIRE // André Previn
DIRECTOR: Wolfgang Naegele // CONDUCTOR: Anne Hinrichsen
“Dušica Bijelić 's Blanche DuBois is phenomenal. Scarlett O'Hara and Tosca stood sentinel. Her voice and acting immerse the character in the radiant appearance of yesterday and the pale light of today.”
DIE DEUTSCHE BÜHNE
December 8th, 2024 (Michael Kaminkski)
“From her first appearance, Dušica Bijelić portrays the role of Blanche as the character who will dominate future events. Her expressive soprano voice, which masters the parlando, arioso passages and dramatic outbursts with aplomb, is of course also part of her convincing portrayal of the role. At times it is as if you can hear Renée Fleming, for whom Previn has written the role to perfection. Her gestures and facial expressions are great acting skills and captivate the audience from the very beginning.”
DER OPERNFREUND
December 9th, 2024 (Bernhard Stoelzel)
“Bijelic shines as Blanche through the multifaceted interpretation of her role, powerfully and at the same time very differentiated in her expression she realizes the conflict of tirelessness and deep resignation.”
DIE GLOCKE
December 9th, 2024 (Jonathan Rochol)
“Dusica Bijelic again shines with her radiant soprano in an impressive role in which she succeeds in eliciting an impressive emotional depth even from the highest notes.” NEUE WESTFÄLLISCHE – December 9th, 2024 (Marcus Ostermann) “…Dušica Bijelić , who shines in the role of Blanche, coquetting, raging, dreaming and despairing, bringing these emotional states to the point in infinite shades both dramatically and acoustically with her versatile and expressive soprano.”
WESTFALLEN BLATT
December 9th, 2024 (Uta Jostenwerner)
THE CONVERT // Wim Henderickx
DIRECTOR: Nick Westbrock // CONDUCTOR: Anne Hinrichsen
„Sopranistin Dušica Bijelić beeindruckt als vom Leben gezeichnete Vigdis, wenn in ihrer Fast-Verbrennung die mutigen Brüche zwischen Singen und Schreien die Dimensionen ihres schmerzes in allen Extremen spürbar machen."
OPERNWELT
„Die Sängerin Dušica Bijelić stellt all diese Stationen sehr einfühlsam dar. Sie liebt, leidet, altert und wird am Ende eins mit ihrem Alter ego, der „Black Hamoutal“. In der lyrischimpressionistischen Intensität ihres geschmeidig geführten Soprans liegt eine zu Herzen gehende Imaginationskraft, der sich niemand entziehen kann.“
WESTFALLEN-BLATT
„Die Rolle ist eine riesige Herausforderung, die Dušica Bijelić mit Präsenz, Kraft und beeindruckender Ausdrucksstärke meistert, eine höchst anspruchsvolle Partie, die sie Hingabe darbietet.“
NEUE WESTFÄLISCHE
„Dušica Bijelić ist Vigdis Adelaïs. Bijelić facettiert die gesellschaftliche wie religiöse Unbehaustheit ihrer Figur spielerisch und vokal bis ins Erschütternde.“
CONCERTI.DE
„…und auch ein sehr engagiert und toll singendes Ensemble mit Dušica Bijelić als Vigdis in der Hauptrolle, die eine sehr spezielle Stimme hat. Da fühlt man so ein bisschen, da hört man auch ein bisschen die Reibespuren des Lebens. Das ist kein Zwitschersopran sondern eher eine etwas rauere Stimme in der man einfach sehr viel Charakter hört.“
DEUTSCHLANDFUNK
ZAZÁ// Ruggiero Leoncavallo
DIRECTOR: Nadja Loschky // CONDUCTOR: Alexander Kalajdzic
"Dusica Bijelic is a really sublime title heroine, whereby the expressiveness of her Zazà, in addition to her strong acting, is also contributed by the fact that her voice sometimes sounds a bit roughened and tense. It is precisely this not entirely flawless, brittleness that gives her bright, differentiated soprano, which is powerful in the forte, an aura of exaltation and danger that strongly characterizes the Zazà."
DIE DEUTSCHE BÜHNE
"...A consistently convincing vocal and acting ensemble. And Dusica Bijelic. She, in the title role, is the undisputed highlight of the consistently impressive production. Vocally, in manner, and in mean in top form, she shows with the greatest intensity all aspects of hope, ability to love and need, vulnerability and ultimately deep disappointment of the character she embodies. Even in the quiet, thoughtful passages, her luminous soprano never loses its precision."
NEUE WESTFÄLISCHE
"The fact that attention is drawn to the title character in this colorful crowd is due to Dušica Bijelić's exuberant stage presence. As Zazà, she not only makes it clear through her acting and appearance why men's hearts fall to her, but also scores with her seductive, powerful soprano."
ONLINE MUSIC MAGAZINE
"In the title role, Dušica Bijelić sings and plays her way into the hearts of the audience. The ease and authenticity with which the soprano fills the most diverse facets of her complex and powerful role demands the greatest admiration. She leads her lyric soprano just as flexibly from one emotional climax to the next. Whether in delicately melting cantilenas, whether seductively wicked, whether in extreme distress or in a rage: vocally, she brings the feelings to a point with differentiated expressiveness."
WESTFALLEN BLATT
"Dusica Bijelic is a really sublime title heroine, whereby the expressiveness of her Zazà, in addition to her strong acting, is also contributed by the fact that her voice sometimes sounds a bit roughened and tense. It is precisely this not entirely flawless, brittleness that gives her bright, differentiated soprano, which is powerful in the forte, an aura of exaltation and danger that strongly characterizes the Zazà."
DIE DEUTSCHE BÜHNE
CARMEN // Georges Bizet
DIRECTOR: Ute M. Engelhardt // CONDUCTOR: Alexander Kalajdzic
„Fokussiert und zugleich samtig tönend ist Dusica
Bijelić als Micaela eine ebenbürtige Gegenspielerin und somit alles andere als ein unscheinbares Mauerblümchen"
WESTFALLEN BLATT
„...versetzte Dusica Bijelic ihre feine Sopranstimme als sorgenvolle Micaela"
DIE GLOCKE
EUGEN ONEGIN // Pjotr I. Tschaikowsky
DIRECTOR: Georg Zlabinger // CONDUCTOR: Gregor Rot
„...Dušica Bijelić singt eine sehr lyrische Tatjana mit zarter Stimme, die aber in den großen Aufschwüngen durchaus trägt und aus der so intensiven wie subtilen seelisch-dramatischen Gestaltung lebt – ihre Briefszene war ein Höhepunkt dieser Premiere."
DIE DEUTSCHE BÜHNE
„Besser als mit Dusica Bijelic als Tatjana und dem neuen Ensemblemitglied Todd Boyce als Eugen Onegin hätte man die Partien nicht besetzen können. Mühelos bewältigt Bijelic ihre anstrengende solistische Rolle und fasziniert durch ihre überzeugende Darstellung Tatjanas in ihrer verzweifelten Zerrissenheit. Ein Hörgenuss ist die bewegende Briefszene im zweiten Akt."
DIE GLOCKE
„Dušica Bijelić (soprano) gave an outstanding performance as
as Tatjana, the playful girl who develops into a wise woman in the opera. Her letter scene was one of the highlights of this premiere"
NEUE WESTFÄLISCHE
„...Da fließen ihr die lyrischen Kantilenen
ebenso geschmeidig aus der Kehle wie die glühende Euphorie. Ganz zu schweigen von den dramatischen Spitzentönen im Finale. Stimmlich und schauspielerisch facettenreich gestaltet die Sängerin ihren Part und versteht es zu berühren."
WESTFALLEN BLATT
RUSALKA // Antonín Dvořák
DIRECTOR: Nick Westbrock // CONDUCTOR: Anne Hinrichsen
DIE GLOCKE
"Was aber machte den besonderen Reiz aus? Die Idealbesetzung in allen Rollen und Dušica Bijelić in der Rolle der Wassernixe Rusalka."
"Bright Young Things // For a singer to peak early may be a misfortune-the wings are full of those who failed to live up to their promise-but one petite young soprano we’d put money on is Dusica Bijelic.
Born in Bosnia, she moved to Serbia, and had string of eminent teachers before being accepted onto Covent Garden’s Jette Parker training scheme. There she has given a masterly Berio recital and distinguished herself in supporting roles: this coming season she appears in Die Frau ohne Schatten and on 2 May she will make her debut as Barberina in Figaro- which is when the world will really clock her."
MIRA ADANJA POLAK: The success of Dušica Bijelić
"Dušica Bijelić has justified the trust because her voice is recognized as special, different, incredible and therefore it is not surprising that she took part in the "Jette Parker" program in Covent Garden for young talents at the Royal Opera House in London.
Dušica Bijelić sang in Spain, America, Germany, Hungary, Italy, Slovenia, Serbia... She participated in many festivals and was noticed everywhere. But singing in Covent Garden is still something special. That's where I met her. I spoke with her mentors, met the director of the opera house, Dušica's colleagues, friends, and waited for her at her parents' house in Belgrade.
Dušica achieved everything... and to get married, and during filming, she also gave birth to a daughter. Everyone I talked to singled out her specific perfect soprano, and I listened to her on the Grand Stage of the Royal Opera House in London. She sang Barbarina in Mozart's "The Marriage of Figaro."
THE NEW YORK TIMES
,,The program opened with “Three Songs of Emily Dickinson”… including “So give me back to Death” expressively sung by Dusica Bijelic"