Bio

Contralto Marijana Mijanovic studied piano at the Belgrade Academy of Music and singing at the Sweelinck Conservatorium, Amsterdam. She is the winner of several international competitions. Her international breakthrough came in 2000 at the Festival d’Aix-en-Provence as Penelope in Monteverdi’s Il ritorno d’Ulisse in Patria under William Christie and Les Arts Florissants. Ever since, Marijana Mijanovic has been a sought-after soloist at the world’s major opera houses and concert halls such as Opernhaus Zürich, Opéra de Paris, Theater an der Wien, Teatro Real, Carnegie Hall, Concertgebouw, as well as festivals such as the Festival d’Aix-en Provence, the Glyndebourne Festival, the Salzburger Festspiele, and the Verbier Festival.

She worked with conductors such as Riccardo Chailly, Nikolaus Harnoncourt, Philippe Herreweghe, René Jacobs, Marc Minkowski, Paul McCreesh, Emmanuelle Haïm, Christophe Rousset and others. She can be heard on various complete recordings of operas, such as Handel’s Orlando under William Christie; Handel’s Giulio Cesare in Egitto under Marc Minkowski; Handel’s Rodelinda and Floridante, Vivaldi’s Motezuma and Conti’s David under Alan Curtis; Vivaldi's Bajazet under Fabio Biondi; and Vivaldi’s Tito Manlio under Ottavio Dantone. Her first solo album “Affetti barocchi”, featuring Handel arias, was issued in 2007 by Sony/BMG.

Marijana Mijanovic is very devoted to teaching. She has worked with the Belgrade Baroque Academy since 2013, and has been invited as a guest teacher at institutions that include the High School of Music in Zurich, the Schola Cantorum Basel, the University of Music & Performing Arts in Vienna, the Belgrade Faculty of Music, and others. As the artistic adviser of the New Belgrade Opera since 2014, she was involved in several very successful productions: Monteverdi's L'Incoronazione di Poppea and L'Orfeo; Handel's Orlando; and, most recently, Handel's Acis and Galatea, in which she also was the stage director.

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