Forestilling krediteringer
Tidligere forestillinger 2014 – i går
La vie parisienne (Parisian Life), Offenbach
Madlenianum Opera and TheatreSoloist
Se rollebesætning og besætning-
La vie parisienne (Parisian Life), Offenbach
Madlenianum Opera and TheatreLa Baronne de Gondremarck (The Baroness of Gondremarck)
Se rollebesætning og besætning-
Parisian Life, Offenbach
Madlenianum Opera and TheatreLa Baronne de Gondremarck (The Baroness of Gondremarck)
Se rollebesætning og besætningLa vie parisienne (Parisian Life), Offenbach
Madlenianum Opera and TheatreLa Baronne de Gondremarck (The Baroness of Gondremarck)
Se rollebesætning og besætningLe nozze di Figaro (The Marriage of Figaro), Mozart
Opera Nationala Romana TimisoaraLa Contessa di Almaviva (The Countess of Almaviva)
Se rollebesætning og besætning-
Die Csárdásfürstin (The Gypsy Princess), Kálmán
HNK OsijekSylva Varescu
Se rollebesætning og besætning-
Fremhævede tidligere præstationer
La vie parisienne (Parisian Life), Offenbach
Madlenianum Opera and TheatreLa Baronne de Gondremarck (The Baroness of Gondremarck)
Se rollebesætning og besætning-
Parisian Life, Offenbach
Madlenianum Opera and TheatreLa Baronne de Gondremarck (The Baroness of Gondremarck)
Se rollebesætning og besætning
La vie parisienne (Parisian Life), Offenbach
Madlenianum Opera and TheatreLa Baronne de Gondremarck (The Baroness of Gondremarck)
Se rollebesætning og besætning
Le nozze di Figaro (The Marriage of Figaro), Mozart
Opera Nationala Romana TimisoaraLa Contessa di Almaviva (The Countess of Almaviva)
Se rollebesætning og besætning-
Die Csárdásfürstin (The Gypsy Princess), Kálmán
HNK OsijekSylva Varescu
Se rollebesætning og besætning-
Biografi
Ana Cvetkovic is a much-praised lyric-coloratura soprano from Serbia. Whether she per-forms recitals, sings with a chamber ensemble or carries out some of the most significant opera roles, Ana Cvetkovic-Stojnic is vocally, theatrically and visually a first-class. Her first significant opera engagement was at German State Opera House, Coburg (2014-2017) where she had the chance to expand her repertoire in 15 different roles. She made a breakthrough with the part of Konstanze („Die Entführung aus dem Serail“) which brought her sensational reviews – the critics described her Konstanze as a fascinating combination of seemingly effortlessly coloratura-speed and lyrical intensity. Besides her “fragile-tough” interpretation of Mozart’s heroine, the highlight of Ana’s career, so far, are the rol
