Soloist - Tenor
Ivan Turšić
Zitat einfügen oder Element löschenUnlike other children, I never got bored at the opera.
In the Ensemble of the Komische Oper
Berlin since 2015.
ORIGINALLY FROM
Zagreb/Kroatien
STUDIES
Musikakademie in Zagreb, Hochschule für Musik und Darstellende Kunst Stuttgart
Berlin since 2015.
ORIGINALLY FROM
Zagreb/Kroatien
STUDIES
Musikakademie in Zagreb, Hochschule für Musik und Darstellende Kunst Stuttgart
MASTERCLASSES WITH
Júlia Hamari
Richard Miller
Ferdinand Radovan
Konrad Richter
Dunja Vejzović
IMPORTANT CONDUCTORS
Wolfgang Bozic
Semyon Bychkov
Gregor Bühl
Antony Hermus
Karen Kamensek
Stefan Klingele
Ivan Repušić
Jonathan Seers
Stefan Soltesz
IMPORTANT DIRECTORS
André Bücker
Matthias Davids
Michiel Dijkema
Frank Hilbrich
Ingo Kerkhof
Barrie Kosky
Balázs Kovalik
Bernd Mottl
Georg Schmiedleitner
Olivier Tambosi
PREVIOUS POSITION
Staatsoper Hannover
IMPORTANT PARTS AT THE KOMISCHE OPER BERLIN
George Dibdin (Der Vampyr)
Erich (Geschichten aus dem Wiener Wald)
Andrès/Spalanzani/Pitichinaccio (Les Contes d’Hoffmann)
David (Die Meistersinger von Nürnberg), Wildhüter (Rusalka)
Kreon (Medea)
Afanassi Iwanowitsch (Der Jahrmarkt von Sorotschinzi)
Iwan (Die Nase)
Graf Albert (Die tote Stadt)
Truffaldino (Die Liebe zu drei Orangen)
Die Uhr (L’Enfant et les Sortilèges)
Fedja(Anatevka)
Monostatos (Die Zauberflöte)
Teiresias(The Bassarids)
Scharfrichter (Schwanda, der Dudelsackpfeifer)
Dr. Cajus (Falstaff)
Fatty (Aufstieg und Fall der Stadt Mahagonny)
Gastone (La traviata)
Motel Kamzoil (Anatevka)
Hexe von Endor (Saul)
Aristée,Pluton (Orpheus in der Unterwelt)
Basilio (Le nozze di Fogaro)
Amos Hart (Chicago)
Adolfo Pirelli (Sweeney Todd)
IMPORTANT PARTS ELSEWHEREBelmonte und Pedrillo (Die Entführung aus dem Serail)
Lysander (A Midsummer Night’s Dream)
Belfiore (Il viaggio a Reims)
Skuratov (Aus einem Totenhaus)
Rinuccio (Gianni Schicchi)
Števa Buryja (Jenůfa)
Truffaldino (Die Liebe zu den drei Orangen)
Mime (Das Rheingold)
Peppe (Pagliacci)
Freddy Eynsford-Hill (My Fair Lady)
Jaquino (Fidelio) u. a. an der Staatsoper Hannover und in London (BBC Proms)
Stuttgart, Essen, Basel, Bremen, Dessau
Monostatos (Die Zauberflöte, Opéra Comique)
1. Which opera character have you learned the most from (and what)?
I would say that what I learned most at the Komische Oper Berlin was from the opera character Tiresias/Calliope (The Bassarids). That was the point at which I realized how to combine different vocal colors and expressions with acting – and to do so by taking a certain risk. If successful, that risk allows you to explore – or even break through – new avenues of expression. It inspired me to delve deeper into different aspects of vocal technique without losing my own natural voice.
2. What do you sing when no one is listening?
All great romantic tenor arias (by Verdi or Puccini for example).
3. Which profession would you have today if you hadn’t become a singer?
I have a degree in civil engineering, so I would have probably ended up working in that field.
4. Which artistic experience has changed everything for you?
As a teenager, I sang in a church choir. The director was a good friend of mine – an organist who is now a professor at the Academy of Music in Ljubljana. Back then, we were young, and he played organ concerts – mostly for charitable causes – in many churches across Croatia, with a wide variety of programs. I was allowed to pull the stops and turn the pages during these concerts, and I always marveled at how many different sounds could be combined – from the very gentle to the majestic. The venues varied, as did the instruments, and it was always something very special. That drew me even further toward music.
5. What do you do after the performance?
After the performance, I usually rush home to my family. We live outside Berlin, and I have to take a combination of the U-Bahn, S-Bahn, and regional trains. That gives me time to read a good book. Sometimes I stay with colleagues and have a beer.
I would say that what I learned most at the Komische Oper Berlin was from the opera character Tiresias/Calliope (The Bassarids). That was the point at which I realized how to combine different vocal colors and expressions with acting – and to do so by taking a certain risk. If successful, that risk allows you to explore – or even break through – new avenues of expression. It inspired me to delve deeper into different aspects of vocal technique without losing my own natural voice.
2. What do you sing when no one is listening?
All great romantic tenor arias (by Verdi or Puccini for example).
3. Which profession would you have today if you hadn’t become a singer?
I have a degree in civil engineering, so I would have probably ended up working in that field.
4. Which artistic experience has changed everything for you?
As a teenager, I sang in a church choir. The director was a good friend of mine – an organist who is now a professor at the Academy of Music in Ljubljana. Back then, we were young, and he played organ concerts – mostly for charitable causes – in many churches across Croatia, with a wide variety of programs. I was allowed to pull the stops and turn the pages during these concerts, and I always marveled at how many different sounds could be combined – from the very gentle to the majestic. The venues varied, as did the instruments, and it was always something very special. That drew me even further toward music.
5. What do you do after the performance?
After the performance, I usually rush home to my family. We live outside Berlin, and I have to take a combination of the U-Bahn, S-Bahn, and regional trains. That gives me time to read a good book. Sometimes I stay with colleagues and have a beer.