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Katija Dragojevic

Katija Dragojevic

Katija Dragojevic is a Swedish operatic mezzo-soprano who is active at international opera houses such as La Scala, Royal Opera House Covent Garden and La Monnaie. Dragojevic starred in the film Juan based on Mozart's Don Giovanni.



Berlioz: Romeo et Juliette
Berlioz: Romeo et Juliette
A tour de force performance brimming with colour from Robin Ticciati and the SRSO. 

CKD 521  

Katija Dragojevic - mezzo-soprano

The Swedish mezzo-soprano Katija Dragojevic studied at the Royal University College of Music in Stockholm and at the Guildhall School of Music and Drama in London. She made her debut in the autumn of 2000, as Krista in Janácek’s Makropulos Case at La Monnaie, Brussels.

In 2015 Dragojevic sang the title roles in Handel’s Serse and Bizet’s Carmen at the Royal Swedish Opera in Stockholm. Earlier appearances have included Idamante in Idomeneo at the Drottningholm Court Theatre, Zerlina in Don Giovanni at Baden-Baden under Thomas Hengelbrock (in an all-star cast including Anna Netrebko as Donna Anna), Sesto in La clemenza di Tito at Drottningholm, and Dorabella in concerts at the Theater an der Wien under Nikolaus Harnoncourt as well as at La Scala Milan with Daniel Barenboim.

Dragojevic has sung Cherubino in Le nozze di Figaro at the Salzburg Festival, La Scala, the Norwegian Opera in Oslo and the Royal Swedish Opera in Stockholm. She has also appeared as Angelina in La Cenerentola at the Finnish National Opera in Helsinki, Lucretia in The Rape of Lucretia at the Norwegian Opera, and Messagera/Musica/Speranza in L’Orfeo and Melanto in Il ritorno d’Ulisse in patria in the Theater an der Wien’s Monteverdi cycle. She created the role of Zerlina in Kasper Holten’s feature film Juan, which is based on Mozart’s Don Giovanni. Earlier in her career Dragojevic sang Siebel in Faust at Covent Garden, Zweite Dame in Die Zauberflöte at the Bastille Opera, Varvara in Kát’a Kabanová at the Göteborg Opera, Meg Page in Falstaff at the Royal Swedish Opera and Lichas in Handel’s Hercules with Les Arts Florissants and William Christie in New York and London.

On the concert platform Dragojevic has appeared with numerous orchestras, including the Swedish Radio Symphony, Orchestre de Paris, Malmö Symphony, Gulbenkian in Lisbon, NDR Symphony in Hamburg and Bavarian Radio Symphony in Munich, in such works as Bach’s Magnificat, Mozart’s C minor Mass and Mahler’s Des Knaben Wunderhorn. Among the conductors she has worked with are Daniel Barenboim, Ivor Bolton, Daniel Harding, Thomas Hengelbrock, Manfred Honeck, Paavo Järvi, Louis Langrée, Andris Nelsons, Christophe Rousset and Robin Ticciati. She has recorded Michael Haydn’s Missa Sancti Hieronymi and Timete Dominum for BIS.

Hi-Fi News
4½ Stars
'...the Linn has more dramatic light and shade, and a natural concert hall balance.'
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The Absolute Sound
'Robin Ticciati is among the most promising conductors of his generation, and he leads the sprawling work with dramatic purpose.'
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American Record Guide
'Ticciati...shows here again that he is a young conductor to watch.'
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ConcertoNet.com
'Sa direction puissante et lyrique, engagée mais sans jamais sombrer dans les effets, fait magnifiquement respirer cette musique.'
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L'Avant Scène Opéra
«Ticciati a quelque chose à nous dire.»
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Limelight
4½ Stars
'Robin Ticciati has proven himself heir to Colin Davis with his Berlioz series on Linn and this last instalment is, if anything, even finer.'
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InfoDad
4 Stars
'Ticciati, who has shown himself an excellent interpreter of Berlioz, once again proves adept at managing his forces and exploring the intricacies and the emotional impact of the music.'
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Audio Video Club of Atlanta
'These scenes capture the essence of the love story and its tragic ending, and are all well-rendered in the present recording.'
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Pizzicato
4 Stars
„Unter der Leitung von Robin Ticciati gelingt auch hier eine technisch ausgefeilte und musikalisch tragende Interpretation...Die Gesangssolisten bereichern die Aufnahme.“
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Crescendo
4½ Stars
« De fait, il parvient, grâce à une baguette souple et expressive, à construire des climats si justes que l'oreille vit la tragédie de l'intérieur. Pour chaque épisode, le soin porté aux et dans les pupitres de l'orchestre ainsi que le choix des dynamiques et des couleurs permettent à Ticciati de développer un travail sonore et d'architecture conséquent. Le chœur présente lui aussi de belles caractéristiques : texte intelligible, intonation qui ne fait jamais défaut, homogénéité, couleurs... »
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MusicWeb International
'Robin Ticciati has a genuine feel for the music of Berlioz and there's freshness and vitality in his conducting. This is a distinguished addition to Robin Ticciati's Berlioz series. More please.'
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Classica
'On entend rarement la Grande fête chez Capulet jouée de manière aussi chorégraphique, avec la légèreté et le sens du mouvement propres au ballet.'
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MusicWeb International
Recording of the Month: 'This is a marvellous set, the finest Roméo et Juliette to appear for several years, and worthy, in very different ways, to stand alongside illustrious competition from the likes of Sir Colin Davis and Sir John Eliot Gardiner.'
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Audiophile Audition
4 Stars
'The musical conception and the performance certainly deserve your consideration: there's youthful brio in the introductory Combats - Tumulte, outstanding for me is Swedish mezzo Katija Dragojevic, whose very first utterances shape the bittersweet narrative that she unfolds and bass Alastair Miles bringing all of the command, mingled with deep regret, that should inform the role of Friar Laurence.'
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BBC Music Magazine
5 Stars
'Robin Ticciati has proved to be a special Berlioz interpreter, and offers an individual, youthful reading driven by crisp detail and translucent textures and Berlioz's vital rhythmic spring.'
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Classic FM
'What makes this issue competitive is Robin Ticciati...It sounds really well.'
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BBC Radio 3 'Record Review'
'You've probably guessed by now, this is the one of these three newcomers [compared with Gergiev and Andrew Davis's recordings] that I've enjoyed the most for its freshness and vivacity; the way Berlioz's extraordinary orchestra colours spring to life and the intimacy and detail of the Linn recording.'
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Gramophone
'Ticciati from the first, explosive bars finds tauter drama than either [Gergiev or Davis]...'
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The Observer
4 Stars
'...orchestrally superb...Katija Dragojevic is a gorgeously warm mezzo.'
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The Sunday Times
Album of the Week: '...virtuosic and intense string-playing...'