Soloist (MEZZO - SOPRANO)
Status: Principal Singer (resident)
Roles in current Repertoire of the National Theatre:
• Amneris (Aida)
• Azucena (The Troubadour)
• Ulrica (Un ballo in maschera)
• Princess of Bouillon (Adrienne Lecouvreur)
In parallel with her literature studies, the mezzo-soprano Jelena Vlahović began studying singing with Mrs. Djurdjevka Čakarević, the lead mezzo-soprano of the Belgrade Opera and the Turin Royal Theatre, who had performed in many distinguished venues around the world and worked with students in opera studios throughout Germany, Italy and the former Yugoslavia.
Jelena Vlahović rehearsed accompanied on the piano by maestro Dragan Radivojević, who was the first pianist at musical rehearsals in the Belgrade Opera House.
Jelena Vlahović made her debut with the Belgrade Opera in 1987, taking the role of Maddalena in Verdi's Rigoletto, which immediately earned her positive reviews that praised her as a talent with an extraordinary, dark-coloured voice and appealing appearance, who had all the qualities for a remarkable artistic career. Soon after her debut, she joined the Opera Company of the National Theatre in 1988.
As her singing technique rapidly improved, by insisting on expanding her vocal capacity and fostering smooth transitional tones, she was in a situation to interpret the most prestigious and most demanding roles in her domain.
Eventually, from a velvety alto, she has grown into a genuine theatrical mezzo-soprano characterised by sonorous depths, dramatic punch and radiant, almost soprano-like heights.
The captivating exuberance of her voice and her appealing stage appearance have made her the crowd's favourite, as well as an appreciated artist in the critics’ eyes.
However, Jelena Vlahović has not restricted her engagements only to opera singing.
She often performs solo songs by Dvorak, Schubert, Mussorgsky and other composers of this music genre, as well as works composed by her countrymen, some of which have dedicated their works to her.
Since the onset of her artistic career, spiritual music has constantly permeated her work, which altogether comprises the frame of this remarkable and eminent artist's portrait.
Jelena has toured the former Yugoslavia, as well as Greece, Cyprus, Norway, Romania, Russia, Israel and France.
G. Verdi – Aida, Amneris
G. Verdi – The Troubadour, Azucena
G. Verdi – A Masked Ball, Ulrica
G. Verdi – Don Carlos, Eboli
G. Bizet – Carmen, Carmen
A. Borodin – Prince Igor, Konchakovna
G. C. Menotti – The Consul, Mother
B. Galuppi – Magnetism of Hearts, Bella Rosa
J. Strauss – Salome, Herodias
M. Mussorgsky – Boris Godunov, Marina
M. Mussorgsky – Khovanshchina, Marfa
F. Cilea – Adriana Lecouvreur, Princess de Bouillon
R. Ward – The Crucible, Elizabeth Proctor
C. Saint-Saens – Samson and Delilah, Delilah
P. Maskagni – Cavalleria rusticanna, Santuzza
Rossini – Stabat Mater
Vivaldi – Gloria
Mozart – Requiem
Mahler – Second Symphony
Verdi – Requiem
• “... Jelena Vlahović was enchanting with her peaceful, rational technique and, by all means, exquisite voice, by reaching optimal sound and musical results. Her Azucena was a formidable creation, not only regarding the impression – which can only be a notion – but regarding the comprehensive and overall creation of the character.” (The Novosti, 1990)
• “... Jelena Vlahović, a true gem in the rich treasury of voices in the Opera House. With the colour of her voice, her natural volume and energy, she can measure up to international stars in the domain. We had to wait for her to get the role of Princess de Bouillon in order to see all her qualities to their full potential.”
(The Novosti, 1997, Adriana Lecouvreur)
• “... In addition, Jelena Vlahović (in the role of his wife Elisabeth) has also superbly interpreted not only difficult parts of her vocal-recital and parlando role, but also has reached the highest expression heights.”
(The Politika, 1998, The Crucible)
• “...Jelena Vlahović delivered the point to the whole show“.(The Novosti, 1998, The Crucible)• “... Brilliant Jelena Vlahović as Gypsy Azucena has marked the performance, with her wonderfully darkly coloured and voluminous voice of exquisite expression. “(The Blic, 2001)