Vocalist - Baritone
MACBETH - The Metropolitan Opera

"As Macbeth on Wednesday evening, Lucic at his best produced the kind of authentic Verdian sound... His voice is dark, burnished, and resonant..."

George Loomis, Musical America
MACBETH - The Metropolitan Opera

"Mr. Lucic has the advantage of being a true baritone. On Wednesday, as always, his singing was warm, mellow and full-bodied without being forced. He brought melting legato phrasing to lyrical passages... especially in Macbeth’s brooding moments, he sang with grave beauty and affecting emotional vulnerability."

Anthony Tommasini, New York Times
La Traviata - Lyric Opera of Chicago

"When baritone Zeljko Lucic took the stage as Germont, Alfredo’s overbearing father... [he] conveyed his character’s menace through the darkness of his vocal colors and the imperiousness of his body language. So it was not difficult to believe that this domineering man could coax Violetta into giving up Alfredo against her will. When Lucic sang 'Pura siccome un angelo,' there was no missing the irony of such beautiful sound masking such an evil act. And Lucic made practically a lullaby of 'Di Provenza il mar.'"

Howard Reich, Chicago Tribune
Tosca - The Metropolitan Opera

"As he demonstrated recently in Puccini’s 'La Fanciulla del West,' baritone Lucic as Scarpia is an expert at portraying snarling villains. His 'Te Deum' scene in the church was powerful, and he was particularly insidious as he verbally tormented Tosca in the second act."

Barry Bassis, The Epoch Times
A Sumptuous 'Tosca' at the Met

"The Serbian baritone Zeljko Lucic plays [Scarpia] brilliantly, like a mountain that is about to erupt on Tosca while he sings about how he prefers 'violent conquest' to 'soft surrender.' He seems to draw erotic voltage from knowing that the painter is being tortured by his minions in a back room."

Kyle Smith, National Review
Nabucco - Deutsche Oper Berlin

"Looking more mendicant than monarch, the Serbian baritone brought musical intelligence, powerful projection and impressive vocal finesse to a part where heightened histrionics often substitute for inferior singing skills. Verdi places innumerable demands on what was a new kind of 'high baritone' and Lučić had the cantabile of Piero Cappuccilli with the gravitas of Tito Gobbi. There was fury aplenty on the high F natural on 'Dal capo mio la prendi!' and in the opening of the polyphonic canonic 'S’appressan gl’istanti' quintet with chorus Lučić had not only commanding stage presence but the precise 'sottovoce e cupo' quality Verdi specified. The explosive E flat on 'non son più re, son Dio!!' with crashing cymbals and cascading strings had Caligula-like craziness but kept the correct intonation....'Dio di Giuda!,' with a plethora of high F natural fermate and the following 'O prodi miei, seguitemi' cabaletta were the musical high points of the performance."

Jonathan Sutherland, OperaWire
Deutsche Oper Berlin - Rigoletto

"The Deutsche Oper Berlin had a problem for its final presentation of 'Rigoletto'...The baritone Markus Bruck was forced to cancel around noon that day from his scheduled appearance in the title role. Fortunately, the company had a tremendous solution at hand. The Serbian baritone Zeljko Lucic was available...And it was Lucic who saved the day and breathed life into this production of 'Rigoletto.'...His Rigoletto is one that creates a great sense of empathy to all witnessing it. This was seen best in his Act two, 'Cortigiani,' in which the jester asks for the return of his daughter. The abductors are clad in black and stand behind the rows of seats as they make fun of the old man. Lucic’s mournful plea forces them to turn their backs to him once they realize the true effect of their prank and the pain that he is suffering. It highlights how exposed Rigoletto truly is."

Santosh Venkataraman, Operawire
Macbeth, Royal Opera House, London

"Lucic, alternating between bravado and craven terror, makes a subtle foil [to Netrebko]; in his desperate final aria his singing has a weary nobility."

Michael Church, Independent UK
Royal Opera House Covent Garden - Macbeth

"Gliding along most of the vocal lines with ease, the darkest register of [Lučić's] stentorian baritone is able to switch rapidly between the timid execution of a fearful line and its immediately brazen, counteractive neighbor. With a near-total clarity of notes he’s able to coat many early lines with viscous calculation. Brisk changes from fear-ridden, sprinting loud notes to their hushed and dismal counterparts are executed with a flawless regulation.

Most impressively, Lučić can steer the control of his vibrato at the service of any given vocal expression, allowing it to oscillate between two polar opposites whilst never cutting loose from vocal purity. His cunningly lethal forebodings – such as “Banco, l’eternità apre il suo regno (Banquo, the afterlife is opening its kingdom for you)” – are ejected from a menacing, hubristic king. But by the time he’s ordering the ghost to flee (“Fuggi, regal fantasima” in the third act) – he’s nothing but a trance-engrossed and incapacitated victim of insanity whose notes often have equal textural value to portray the character’s hypnotic state."

Sophia Lambton, Operawire
‘Tosca’ Review: Rome Restored at the Met

“As Scarpia, the evil police chief who lusts after Tosca and arrests, tortures and condemns Cavaradossi, Željko Lučić was an imposing figure with a voice to match...Mr. Lučić’s Scarpia was brutal, but it was his oily confidence, with no doubts about his ultimate success, that conveyed his power. He barely touched Ms. Yoncheva; yet when he did, it was creepy, as was the way he grinned and toyed with her.”

Heidi Waleson, The Wall Street Journal
Yoncheva triumphs in premiere of Met's new and dazzling "Tosca"

“Lučić hit his stride in Act II...His gristly baritone dripped with malice as he presided over Cavaradossi’s torture, but there was no chewing of the scenery: the calm with which he went about his outrages was chilling.”

Eric C. Simpson, New York Classical Review
Met Opera: Yoncheva, Grigolo, Lucic & McVicar Save Puccini’s “Tosca”

“As Baron Scarpia, the police chief who falsely promises Tosca freedom for Cavaradossi if she submits to his sexual demands, Lučić is evil personified. Every note he sings is full of menace, and his duets with Tosca are chilling.”

Wilborn Hampton, The Huffington Post
The Met marks 50th anniversary at Lincoln Center with a marathon of golden singing

"Among an endless slew of other highlights, Željko Lučić gave his deliciously snarling take on Iago’s aria 'Credo in un Dio crudel' from Otello."

Eric C. Simpson, New York Classical Review
Rigoletto - The Metropolitan Opera

"The three principals, all veterans of this production, gave superb, connected performances. Željko Lučić is a terrific singing actor, and his Rigoletto was a nuanced jumble of carefully managed emotions. All his arias were compelling character studies, and he sang throughout with smooth tone that highlighted Rigoletto’s inner goodness, despite his physical deformity and questionable activities as the Duke’s 'fixer.'"

Joanne Sydney Lessner, Opera News
Worthy cast finds fiftul humanity beneath the neon of Met’s 'Rigoletto'

"Željko Lučić gave a convincing portrait in the title role, one with which he is by now quite familiar. He has a lean, gristly baritone, which suited well for his brooding interpretation, a man with little joy in life save his beloved daughter. His most brilliant moment came in Act II’s 'Cortigiana, vil razza dannata,' as he spat fire at his tormentors before breaking down into a heartrending plea for mercy."

Eric C. Simpson, New York Classical Review
A riveting Racette ignites in Met’s 'Salome'

"Željko Lučić was in superb voice as John the Baptist, bringing rich, dark color to the music as he seethed with disdain."

Eric C. Simpson, Classical Review
Dark world created around strong, stand-and-deliver Verdi singing

"Željko Lučić as the dark side of the love-triangle, bloodthirsty Count di Luna – a coarse but effective version of the standard but hard-to-find Verdi baritone."

David Nice, Arts Desk
Il Trovatore - Royal Opera House

"Željko Lučić ... his sturdy timbre and long-breathed phrasing put him in the front rank of Verdi baritones."

Richard Fairman, Financial Times UK
Strong Cast in Covent Garden’s Visually Compelling 'Il trovatore'

"Serbian baritone Željko Lučić appeared and this is the first time I can recall hearing live this fine singer who has impressed me so much in broadcasts from the Met. He perfectly embodied Count di Luna’s droit de seigneur objective, jealousy, lust or vengeful fury.... he remains one of the finest singers of operatic villains we can hear on stage today."

Jim Pritchard, Seen and Heard International
Il Trovatore - Royal Opera House

"Serbian Željko Lučić’s mellifluous baritone triumphs as love rival Count di Luna."

Cara Chanteau, Independent UK
Il Trovatore - Royal Opera House

"Serbian baritone Zeljko Lucic was most eloquent when apostrophising Leonora, but also suitably blustering as the villain of the piece."

Barry Millington, Evening Standard
Love, fire and death on the Eastern Front: Royal Opera's new Il trovatore

"Željko Lučić, as di Luna, showed us impeccable bel canto credentials.... Lučić’s baritone is similarly smooth and it works fine for di Luna to deploy maximum bel canto lyricism in 'Il balen del suo sorriso.'”

David Karlin, BachTrack
We'll Never Have Paris

"The Germont was Željko Lučić.... I was startled by the utter smoothness of his delivery here, which went hand in glove with his humane presentation of the role—this was a Germont who was impossible to hate, his state of mind a complex mixture of paternal concern and bourgeois convention."

Russell Platt, New Yorker
Verdi: Macbeth. Zeljko Lucic, Anna Netrebko, etc. (Metropolitan Opera). Deutsche Grammophon, 2 DVDs

"The same Serbian, baritone Zeljko Lucic, was again cast in the principal role as the gritty but wounded Macbeth and he impresses with his mellow earthy tones."

Geoff Adams, Otago Daily Times (NZ)
An electrifying Serjan ignites Lyric’s “Nabucco”

“Lučić’s portrayal of the king went from strength to strength. He brought touching expression to Nabucco’s despair at his downfall and Abigaille’s usurpation, as well as determination and renewed fervor to the prayer that restores his sanity.”

Lawrence A. Johnson, Chicago Classical Review
Met Season Starts With Verdi’s Tragic Opera ‘Otello’

“As Iago, baritone Zeljko Lucic again evinces his skill at portraying evildoers. His ‘Credo,’ in which he declares his belief in a cruel God, is one of the highlights of the performance.”

Barry Bassis, Epoch Times
Metropolitan Opera’s New ‘Otello,’ Bold and Tentative

“The luxurious baritone Zeljko Lucic may have won the biggest ovation of the night for his Iago. His warm, textured voice is even throughout its range. He sings with unforced power and shapes Verdian phrases with supple legato. Though his singing has innate expressivity, he can sometimes seem low-voltage and dramatically vague. He, too, needs a director to bring out his best. But his natural restraint suits his concept of Iago. Here is Iago the smooth talker, cagey and calmly persuasive; ‘honest Iago,’ as Otello calls him.”

Anthony Tommasini, New York Times
Otello – Metropolitan Opera

“As Iago, the Serbian baritone Željko Lučić relished the villain’s words and often delivered them in a spine-chilling sotto voce while demonstrating ample power in big moments such as the vengeance duet with Otello.”

George Loomis, Musical America
Andrea Chenier, streamed from Royal Opera House to Stephen Joseph Theatre

“The revelation of the evening was Zeljko Lucic as Gerard. From his first appearance as the malcontent servant, secretly in love with Maddelena, to the later stalwart of the Revolution, his powerful baritone and brooding presence dominated the stage.”

Mike Tilling, Scarborough News (UK)
Andrea Chenier, ROH relay, Vue cinema Stroud and other venues

“Baritone Zeljko Lucic immediately lifted the pace with Gerard’s stirring patriotic number ‘Nemico della patria’ to get the crowd going.”

Colin Davison, Gloucestershire Echo (UK)
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