Vocalist - Baritone
‘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)
Revisiting ‘Andrea Chénier’ at the Royal Opera House

“The villain Gérard is the most interesting in that he turns out not to be as villainous as you might expect: He is merely, as he says, a son of the Revolution who has become its slave. Self-awareness brings remorse, and the great monologue that steers his change of heart was probably the most compelling aspect of the opening performance, sung by the Serbian baritone Zeljko Lucic with dry but impactive substance.”

Michael White, New York Times
Giordano's Andrea Chenier and Rattle/Hannigan/LSO

“Serbian baritone Zeljko Lucic is impressive as Gerard, the servant turned revolutionary who dominates from the start. His opening aria of hatred for the privileged rich, ‘T’odio, casa dorata’, brought a storm of applause.”

Clare Colvin, The Express (UK)
Andrea Chénier; Inés de Castro

“The other key figure is Gérard, the morally weak servant turned revolutionary, superbly sung and acted by the Serbian baritone Zeljko Lucic.”

Fiona Maddocks, The Guardian (UK)
Andrea Chénier, Royal Opera House

“Carlo Gérard — the impressively sonorous Zeljko Lucic – sings of his disgust and hatred of his masters.”

Edward Seckerson, The Spectator (UK)
Kaufmann's 'Chenier' opera has added relevance after France events

“The man of the night may well have been Lucic [as Gerard]. His gloomy, third-act aria where he sings about his power over people - including Chenier and Maddalena - because of his position as a leading Jacobin was chilling and moving at the same time.”

Michael Roddy, Reuters
Andrea Chénier, Royal Opera House, review: 'powerful'

“The evening’s biggest ovation, however, went to Zeljko Lucic, who gave a … powerful performance as the turncoat Gerard – his impassioned rendition of the Act III monologue hit the bullseye.”

Rupert Christiansen, The Telegraph (UK)
Andrea Chénier - Royal Opera House

“Serbian baritone Zeljko Lucic was a magnificent Gérard, a full, rich voice with masterful dynamic shading.”

Keith Clarke, MusicalAmerica.com
A Big Spectacle with Voices to Match at the Met's "Aida"

“The most potent acting came from baritone Zeljko Lucic as Amonasro. He generated excitement in his fiery duet with Monastyrska in Act III.”

Barry Bassis, Epoch Times
Met star soprano Anna Netrebko lifts Verdi's Macbeth

“No less strong, and the ideal foil to Netrebko [Lady Macbeth], is the Serbian baritone Zeljko Lucic, whose Macbeth, while superbly and lyrically sung, has enough vulnerability to show up essential weaknesses of character.... It’s worth it for Lucic and Netrebko. Make haste and see it while you can.” (HD Broadcast)

Michael Shmith, Sydney Morning Herald
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