Pho­to: Aaron Caw­ley

In the begin­ning of her career she was a mem­ber of the Junges Ensem­ble in Staat­sthe­ater Mainz and could imme­di­ate­ly per­form a lot of inter­est­ing roles, from the baroque opera like Armi­da in Rinal­do (G. F. Han­del) to XX cen­tu­ry opera such as Lucia in the Rape of Lucre­tia (B. Brit­ten).

She had the oppor­tu­ni­ty to par­tic­i­pate in redis­cov­er­ing baroque operas such as Il pri­mo omi­cidio overo Cain (A. Scar­lat­ti), La Giu­dit­ta (A. Scar­lat­ti), La Gerusalemme lib­er­a­ta (C. Pallavi­ci­no) and became more and more a spe­cial­ist for baroque music. Fur­ther­more she took the oppor­tu­ni­ty to sing Susan­na in Mozart’s Le nozze di Figaro with great suc­cess and Flaminia in Hayd­n’s Il mon­do del­la luna. She has a great stage pres­ence, which allows her to be able to sing come­di­an roles such as Cosco­let­to (Jacques Offen­bach).

Nowa­days she is a sought-after soloist by sev­er­al fes­ti­vals, con­cert orga­ni­za­tions, orches­tras and ensem­bles, such as Deutsche Staat­sphil­har­monie Rhein­land-Pfalz, Jugend Orch­ester ODEON (Munich), Neumey­er Con­sort (Frank­furt), New Trin­i­ty Baroque, Sar­band ensem­ble, etc. She is a mem­ber of a spe­cial­ist pro­gram BAROCK VOKAL in Mainz. She had con­certs in the open­ing and clos­ing of the 13th Bel­grade Baroque Fes­ti­val. Radosla­va Vor­gic has tak­en mas­ter­class­es spe­cial­ized for baroque music with Ton Koop­man, Emma Kirk­by, Anna Boni­tat­i­bus, Andreas and Elis­a­beth Scholl, Wolf­gang Katschn­er, Mar­tin Gester, Mar­i­jana Mijanovic, and on the oth­er hand the mas­ter­class­es by the most famous opera singers such like Felic­i­ty Lott, Cheryl Stud­er, Helen Donath, Jan­ice Alder.

As a reg­u­lar guest at Staat­sthe­ater Wies­baden Radosla­va has been invit­ed for a World’s pre­miere  of opera Schön­er­land by Nils Sören Eich­berg. As Angel­i­ca in Orlan­do (G. F. Haen­del) and as Nin­fa & Pros­er­pina in Orfeo (C. Mon­tever­di) she had the oppor­tu­ni­ty to work with mae­stro Pre­drag Gos­ta in Opera & The­atre Madle­ni­anum, which led to a guest per­for­mance in State Opera Stara Zago­ra in Bul­gar­ia. As Aspa­sia in Mitri­date, re di Pon­to (W. A. Mozart) she had her debut in Switzer­land in Stadtthe­ater Biel/Solothurn. 

For the sixth time she returned to the 69^thYoung Artists Fes­ti­val Bayreuth with recital at Piano Haus Ste­in­grae­ber & Sons in Rokokosaal on Liszt piano with Mar­i­ann Kere­ny. 

She col­lab­o­rat­ed with mae­stro and cem­bal­ist Mar­tin Gester and sang Vespet­ta in Pimpinone (G. P. Tele­mann), with sev­er­al per­for­mances in Ger­many and France. 

Radosla­va won the com­pe­ti­tion Kam­merop­er Schloss Rheins­berg in Ger­many. She is a young Ambas­sador of the Laza Kos­tic Fund and the first woman Knight, as well as a recip­i­ent of many awards at state and inter­na­tion­al com­pe­ti­tions for young oper­at­ic singers, of which the most notable are Haen­del Prize in IBLA Com­pe­ti­tion in Italy and the 1st prize for a young singer and audi­ence prize at the Inter­na­tionales Meis­tersinger­wet­tbe­werb in Neustadt, Ger­many.

Besides opera activ­i­ties Radosla­va Vor­gic is a mem­ber of a women’s ensem­ble Kaliomene with whom she has par­tic­i­pat­ed in a Rhineland-Palati­nate Tour with sev­er­al con­certs through the cities of Ger­many with gre­go­ri­an chant.

Radosla­va fin­ished her stud­ies and received a degree in music ped­a­gogy and voice at the Music Acad­e­my of Novi Sad with Pro­fes­sor Mil­i­ca Sto­jadi­nović in Ser­bia and com­plet­ed her Master’s stud­ies in con­cert and oper­at­ic singing as well as post­grad­u­ate stud­ies with Pro­fes­sor Clau­dia Eder at the Johannes Guten­berg Uni­ver­si­ty in Mainz, Ger­many.

At the begin­ning this year, Radosla­va Vor­gic had the oppor­tu­ni­ty to sing again in won­der­ful city in Ger­many, Wies­baden. Solo Sopra­no in Handel´s Mes­si­ah with Chris­t­ian Pfeifer as a con­duc­tor and a new role in State The­ater Wies­baden in mod­ern opera Anna Nicole, with Albert Horne as a con­duc­tor and Bernd Mot­tl, regie.