Léirithe san am a chuaigh thart 2014 — Inné
La vie parisienne (Parisian Life), Offenbach
Madlenianum Opera and TheatreSoloist
Féach ar an bhfoireann agus an fhoireann-
La vie parisienne (Parisian Life), Offenbach
Madlenianum Opera and TheatreLa Baronne de Gondremarck (The Baroness of Gondremarck)
Féach ar an bhfoireann agus an fhoireann-
Parisian Life, Offenbach
Madlenianum Opera and TheatreLa Baronne de Gondremarck (The Baroness of Gondremarck)
Féach ar an bhfoireann agus an fhoireannLa vie parisienne (Parisian Life), Offenbach
Madlenianum Opera and TheatreLa Baronne de Gondremarck (The Baroness of Gondremarck)
Féach ar an bhfoireann agus an fhoireannLe nozze di Figaro (The Marriage of Figaro), Mozart
Opera Nationala Romana TimisoaraLa Contessa di Almaviva (The Countess of Almaviva)
Féach ar an bhfoireann agus an fhoireann-
Die Csárdásfürstin (The Gypsy Princess), Kálmán
HNK OsijekSylva Varescu
Féach ar an bhfoireann agus an fhoireann-
La vie parisienne (Parisian Life), Offenbach
Madlenianum Opera and TheatreLa Baronne de Gondremarck (The Baroness of Gondremarck)
Féach ar an bhfoireann agus an fhoireann-
Parisian Life, Offenbach
Madlenianum Opera and TheatreLa Baronne de Gondremarck (The Baroness of Gondremarck)
Féach ar an bhfoireann agus an fhoireannLa vie parisienne (Parisian Life), Offenbach
Madlenianum Opera and TheatreLa Baronne de Gondremarck (The Baroness of Gondremarck)
Féach ar an bhfoireann agus an fhoireannLe nozze di Figaro (The Marriage of Figaro), Mozart
Opera Nationala Romana TimisoaraLa Contessa di Almaviva (The Countess of Almaviva)
Féach ar an bhfoireann agus an fhoireann-
Die Csárdásfürstin (The Gypsy Princess), Kálmán
HNK OsijekSylva Varescu
Féach ar an bhfoireann agus an fhoireann-
Lakmé Air des clochettes
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