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Radoslava Vorgić (RS)

9.7.2026

EDUCATION

  • (2021) Univerzitet u Novom Sadu, Akademija umetnosti (Doctorate)

  • (2015) Johannes Gutenberg Universität, Mainz, Hochschule für Musik (Claudia Eder, Konzertexamen)

  • (2013) Johannes Gutenberg Universität, Mainz, Hochschule für Musik (Claudia Eder, Master)

  • (2010) Univerzitet u Novom Sadu, Akademija umetnosti (Milica Stojadinovic, Bachelor)

  • (2008) Univerzitet u Novom Sadu, Akademija umetnosti (Music Pedagogy)

 

FOCUS (the most important from the last 4 years)

  • Historically informed performance (HIPP) – Baroque and early music interpreted through research-based vocal technique, ornamentation, and rhetorical expression.

  • Baroque opera and sacred repertoire – Core works by composers such as Georg Friedrich Händel and Johann Sebastian Bach, with an emphasis on dramatic authenticity and text-driven performance.

  • Vocal pedagogy and masterclasses – Teaching classical singing at the Academy of Arts, Novi Sad, and leading masterclasses within Baroque academies and international training programmes.

  • Artistic direction and festival curation – Artistic Director of the Days of Baroque Music, Novi Sad, shaping programming, artist selection, and international collaborations.

  • Contemporary music and new commissions – Collaboration with living composers and the development of new works inspired by historical forms and aesthetics.

 

CONCERTS (10 most important from the last 4 years)

  • (2026) Novi Sad, Museum of Vojvodina

  • (2026) Novi Sad, Muzej Vojvodine

  • (2025) Prizren, Festival Medimus

  • (2026) Novi Sad, Madlenianum Opera and Theatre

  • (2025) Novi Sad, Madlenianum Opera and Theatre

  • (2025) Olomouc, Ars Augusta e.V.

  • (2025) Görlitz, Ars Augusta e.V.

  • (2024) Novi Sad, Vojvođansko Udruženje za Ranu Muziku 

  • (2024) Belgrade, Belgrade Baroque Academy

  • (2023) Belgrade, Belgrade Baroque Academy

 

PROJECTS (the most important from the last 4 years)

  • (2026) Bridge Cantata – Interdisciplinary Project on Reconciliation (Vojvođansko Udruženje za Ranu Muziku)

  • (2026) Between Iberia and the Balkans (Vojvođansko Udruženje za Ranu Muziku

  • (2026) Handel: Giulio Cesare (Madlenianum Opera and Theatre, New Trinity Baroque)

  • (2025) Lux Aeterna  (Festival Medimus Prizren, Dani Barokne Muzike Novi Sad, Belgrade Early Music Festival)

  • (2024-2026) Belgrade Baroque Academy  (Belgrade Early Music Festival)

  • (2024) Novosadska Barokna Akademija  (Vojvođansko Udruženje za Ranu Muziku)

 

RECORDINGS (the most important from the last 4 years)

  • (2025) JMU Radio-televizija Vojvodine

  • (2024) JMU Radio-televizija Vojvodine

  • (2023) JMU Radio-televizija Vojvodine

  • (2022) JMU Radio-televizija Vojvodine

 

ACHIEVEMENTS (the most important from the last 4 years)

  • (2025) Academy of Novi Sad (Rudolf Bruci Chamber Music)

  • (2025) Ars Augusta e.V. (Rediscovering Hammerschmidt)

  • (2024) Univerzitet u Novom Sadu, Akademija umetnosti (Songs of Svetozar Sasa Kovacevic)

  • (2018) Hochschule für Music Düsseldorf (Junger Künstler Bayreuth)

  • (2016) Edition Lilac (Membra Jesu Nostri, New Trinity Baroque)

 

AFFILIATIONS

  • (2025-) Dani barokne muzike Novi Sad (Artistic director)

  • (2023-) Univerzitet u Novom Sadu, Akademija umetnosti (assistant teacher)

  • (2022-) Novosadska barokna akademija (Teacher)

  • (2022-) Belgrade Baroque Academy (Teacher)

  • (2019-) Musica Antiqua Neoplantensis (Co-founder, Member)

  • (2015-) New Trinity Baroque (member)

 

COLLABORATIONS (the most important from the last 4 years)

  • (2026) David Mastikosa, Mina Petrić, Rafael Arjona Ruz, Rosita Ippolito, Belgrade Early Music Festival,

  • (2025) Rafael Arjona Ruz, Rosita Ippolito, Ars Augusta e.V., Belgrade Early Music Festival, Creative Europe Programme, Goethe-Institut

  • (2024) Rafael Arjona Ruz, Rachel Brown, Adrian Butterfield, Predrag Gosta, Rosita Ippolito, Sonia Prina, Belgrade Baroque Academy, Belgrade Early Music Festival, New Trinity Baroque

  • (2023) Rachel Brown, Adrian Butterfield, Florian Deuter, Predrag Gosta, Ilija Korell, Andre O’Neil, Simone Pirri, Sonia Prina, Belgrade Baroque Academy, Belgrade Early Music Festival, Dani Barokne Muzike, Festival Novi Sad, New Trinity Baroque

  • (2022) Rachel Brown, Adrian Butterfield, Florian Deuter, Predrag Gosta, Ilija Korell, Andre O’Neil, Simone Pirri, Sonia Prina, Belgrade Baroque Academy, Belgrade Early Music Festival, Dani Barokne Muzike, Festival Novi Sad, New Trinity Baroque

 

REVIEWS

  • We heard two settings of Shakespeare's text “So Work the Honey Bees” from Act I, Scene 2 of Henry V, masterfully performed by Radoslava Vorgić Žuržovan, first with piano accompaniment by Stefan Rakić and then with the pianist Julius Drake. The first, more masculine setting was composed by Ljubomir Nikolić, while the second, in which one can recognise (in the best sense of the term) a distinctly feminine compositional voice, was written by Dorotea Vejnović. In both performances, Radoslava excelled not only with her powerful operatic voice but also through her stage movement (which, naturally, had to be restrained given the platform in the Ceremonial Hall of Matica srpska). She compensated for this with expressive micro-facial gestures, eloquent hand movements (whose symbolism reminded me of the significance of the “sleeve dance” in Peking Opera), and a distinctive interplay with candles (evoking the “Ritual Fire Dance” from Manuel de Falla's ballet Love, the Magician). She also employed a remarkable vocal onomatopoeia to evoke the buzzing of bees (reminiscent of that in Josif Marinković's Potočara), brilliantly mastered sharp dissonances, wide intervallic leaps, and dense piano chordal writing that at times recalls the piano texture of Rhythmic Grimaces by Miloje Milojević. Moreover, she sang the text entirely from memory—naturally, in Shakespeare's own English. (Gordana Krajačić, Večernje novosti, 17.2.2022)

  • The programme, announced as the “superhits of the Baroque”, revolves around love, much like today's Top Ten charts. Time and again, the Baroque singer Radoslava Vorgić evokes this theme with captivating charm. (Andrea Döring, Die Rheinpfalz, 12.7.2021)

  • The programme Oriental Jazz meets Baroque vividly illustrated how music from different worlds can merge into a richly nuanced sonic universe. Time and again, the five instrumentalists and the soprano combined the musical elements in ever-changing ways. In Amarilli mia bella, Radoslava Vorgić was given ample opportunity to weave delicate acoustic garlands and graceful sighing figures into her radiant voice. (Gabriele Metsker, Leonberder Kreiszeitung, 6.7.2021)

  • Princess Aspasia, desired both by Mitridate and by his two sons, and portrayed with complete assurance by Radoslava Vorgić, emerged as a self-confident young woman torn between conflicting loyalties. Some of the evening's greatest highlights were therefore found in the musical performance itself, notably the exhilarating duet between Aspasia and Sifare and Aspasia's deeply moving emotional expression in the third act. (Annelise Alder, Bieler Tagblatt, 23.4.2018)

  • Her youthful soprano possesses impressive vocal volume. (Peter Wäch, Berner Zeitung, 16.4.2018)

  • Radoslava Vorgić's warm, radiant voice vividly brings Aspasia's character to life … her masterful phrasing is truly impressive … and the duet with Radoslava Vorgić at the end of the second act is immensely captivating. (Silvia Rietz, Solothurn Zeitung, 15.4.2018)

  • Judith – performed by the soprano Radoslava Vorgić – succeeds in dispelling the doubts of her Nurse and, together with her, reaches Holofernes' camp in order to kill him and thus bring the siege of Bethulia to an end. There she succeeds, in the truest sense of the word, in using all her charms—both vocal and dramatic—to captivate him, and Holofernes succumbs to her. (Ljerko Orešković Herrmann, Ioco, 13.2.2017)

 

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