Božidar Smiljanić
Bass-baritone

“Božidar Smiljanić’s charismatic, velvet-voiced Nick Shadow simmered with subtle menace and roared magnificently in defeat.” (Opera Magazine, May 2015)

Contacts

Ian Stones +44 (0)20 3725 9104
Georgina Wheatley +44 (0)20 3725 9185

Biography

Božidar Smiljanić made his professional debut at Glyndebourne Festival Opera as Captain (Eugene Onegin) under Omar Meir Wellber and debuted at Garsington Opera as Haly (L’italiana in Algeri) under David Parry last summer. 

This season, Božidar gives house and role debuts as Masetto (Don Giovanni) for Glyndebourne on Tour and Schaunard (La bohème) for Scottish Opera, alongside debuts with both the Royal Liverpool Philharmonic Orchestra as Brander (La damnation de Faust) under John Nelson and the City of Birmingham Symphony Orchestra in Sullivan’s Yeomen of the Guard under John Wilson.

 

Božidar Smiljanić made his professional debut at Glyndebourne Festival Opera as Captain (Eugene Onegin) under Omer Meir Wellber and debuted at Garsington Opera as Haly (L’italiana in Algeri) under David Parry last summer.

This season, Božidar gives house and role debuts as Masetto (Don Giovanni) for Glyndebourne on Tour and Schaunard (La bohème) for Scottish Opera, alongside debuts with both the Royal Liverpool Philharmonic Orchestra as Brander (La damnation de Faust) under John Nelson and the City of Birmingham Symphony Orchestra in Sullivan’s Yeomen of the Guard under John Wilson.

Božidar graduated from the opera course at the Royal Academy of Music just last summer with student performances including the title role in Le nozze di Figaro and Nick Shadow (The Rake’s Progress) alongside The Mayor in Rimsky-Korsakov’s May Night, Luka in Walton’s The Bear and Betto (Gianni Schicchi).

A regular on the concert platform, he has performed an extensive range of oratorio works and song recitals across the UK and recently collaborated with Masaaki Suzuki on a Bach cantatas project on tour in the UK, USA and Germany. 

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Contacts

Ian Stones +44 (0)20 3725 9104
Georgina Wheatley +44 (0)20 3725 9185

Reviews

“Božidar Smiljanić made a rowdy cameo with his tapster’s tale of oven-baked rat.” (The Guardian, March 2017)

“Božidar Smiljanić (British of Serbian descent) completed the cast as a bolshie Masetto” (Opera Magazine, Hugh Canning, December 2016)

“Božidar Smiljanić [and his Zerlina are] deliciously dysfunctional, both singing beautifully when she manipulates him and he traduces her” (What’s On Stage, October 2016)

“Božidar Smiljanić made a rowdy cameo with his tapster’s tale of oven-baked rat.” (The Guardian, March 2017)

“Božidar Smiljanić (British of Serbian descent) completed the cast as a bolshie Masetto” (Opera Magazine, Hugh Canning, December 2016)

“Božidar Smiljanić [and his Zerlina are] deliciously dysfunctional, both singing beautifully when she manipulates him and he traduces her” (What’s On Stage, October 2016)

“The strongest characters here are Božidar Smiljanić’s jealous Masetto [and his Zerlina]” (Express, October 2016)

“Božidar Smiljanić excels as Masetto” (Anna Picard, Times, October 2016)

“I was happily surprised to find a meatily sung Masetto from Božidar Smiljanić, whose even timbre and natural heft meant that for once the character was not a minor plot point, but actually a centre of attention. His relationship with Zerlina was the only one that had any chemistry” (Bachtrack, October 2016) 

“It won’t be long before Božidar Smiljanić graduates to Leporello from his lovable, fluently sung Masetto” (Music OMH, October 2016)

“Bozidar Smiljanic impressed as Haly, captain of the palace guard.” (Opera Magazine, August 2016)

“For more idiomatic sparkle, technical security and expressivity, it’s worth paying attention to the supporting cast [including] Bozidar Smiljanic’s harried Haly” (Anna Picard, The Times, June 2016)

“As the feckless captain of the palace guard, Bozidar Smiljanic complemented Mustafá’s ineffectual blustering with a performance of Haly which combined wit and naïveté” (Seen & Heard, June 2016)

“Completing the male principals was Bozidar Smiljanic as Haly, who served the Bey with judicious deference and genuflection. [He] was far more assured and imposing than we might expect from a singer who is just completing his postgraduate studies at the Royal Academy of Music.” (Opera Today, June 2016)

“Bozidar Smiljanic’s Figaro – exuberant, but not bumptious, and splendidly sung and enunciated – seemed ready for the world’s stages” (Opera Magazine, January 2016)

“At a professional level, a bass or baritone will have had to work their way up through the ranks before being gifted the role of Figaro…That Bozidar Smiljanic already embodies the barber-turned-manservant, leaping around the stage with relish and singing with both flair and subtlety, is impressive.” (Bachtrack, November 2015)

“As [the] servant Luka, Božidar Smiljanić, a superb Nick Shadow in March, once again grabbed attention with his tonal and verbal immediacy.” (Opera Magazine, July 2015) 

“Božidar Smiljanić’s charismatic, velvet-voiced Nick Shadow simmered with subtle menace beneath his bonhomie and roared magnificently in defeat.” (Opera Magazine, May 2015)

“This time the focus for me was on the Nick Shadow of Božidar Smiljanić. This young man goes from strength to strength with each production he is seen in. We will hear much more from him. [He produced] exemplary communication of the text” (Brian Dickie, March 2015)

“The Nick Shadow of Božidar Smiljanić was far clearer, and his sinister jocularity admirably sustained.” (The Spectator, March 2015)

“the singer that stood out the most was Božidar Smiljanić, the English Serbian bass-baritone in the role of Nick Shadow. Here is a singer ready to be on a professional stage. His vocalisation and general performance was very strong and one never got the feeling the role was challenging him. His death scene was very powerful in what is often a fiendishly difficult sing at that point in the opera.” (Bachtrack, March 2015)

“a fine, British born Serbian bass-baritone of striking vocal quality.” (Brian Dickie, February 2014)

“among incidental roles, the imposing bass-baritone of Božidar Smiljanić (Le Roi) compelled particular attention.” (Opera Magazine, February 2014)