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“MACBETH”, CNT Rijeka (Croatia), 22. II 2008.

NOVI LIST, 24. II 2008.

Bosiljka Peric-Kempf: Branislav Jatic in the role of Banco was excellent. He demonstrated authentic verdianic belcanto in his singing.

Giuseppe Verdi, NABUCCO – Serbian National Theatre (October 2007)

JUTARNJI DNEVNIK, October 20th October 2007.

Borislav Hložan: A powerful counterweight to the interpreters of the roles of Nabucco and Abigail was represented in the appearance of the High Priest Zaccaria, interpreted by Branislav Jatic in a perfectly convincing manner, both as a singer and actor, who made his performance a real focus of the Opera.

G. Verdi: DON CARLOS, Croatian National Theatre Zagreb, March 26th 2004.

JUTARNJI LIST, March 29th 2004.

Branimir Pofuk: Thanks to Burchuladze, as well as to the powerful bass Branislav Jatic from Novi Sad, the jewel of this opera, scene between Philippe II and Great Inquisitor, have succeeded.

VJESNIK, March 29th 2004.

Bosiljka Petric Kempf:
Branislav Jatic as Great Inquisitor has impressed the audience more than Burchuladze.
VJESNIK, March 29th 2004.

Davor Schopf: The arrival of Serbian bass Branislav Jatic in impressively obtained role of Grate Inquisitor in fifth scene has finally got the show started. Clash between two powerful scenic characters in duet of Philippe and Inquisitor was the sharp point of the show. /…/ Burchuladze reacts good only in case of emergence of an inspiring partner, in this case in character of great Inquisitor.
VECERNJI LIST: Chances for new performances

Maja Stanetti: Surely impressive, although burdened by though Russian vocals, was the character of Philip II, solidly interpreted by Paate Burchuladze, which was excellently supplemented by exquisite, ominous Inquisitor by Branislav Jatic.
SLOBODNA DALMACIJA: At he level of European standards

Miljenko Jelaca: Paata Burchuladze, as Philip II, conquered the audience with suggestive interpretation, but he was /…/ excelled by the beauty of "verdic" bass of Branislav Jatic.
RADIO 101: Don Carlos by Jean Louise Grinda

Trpimir Matasovic: All guest performing singers showed their highly professional routine, mainly without more engaged deepening of Verdi’s musical drama, with the only exception of fabulous Great Inquisitor by Branislav Jatic.

Bettina Schröm: “…There is indestructible Branislav Jatic with his full bass, as very cold-blooded and reliable Ferrando.”

REMS-ZEITUNG, July 7th 2003.

Peter Skobowsky: “We remember the bass of Branislav Jatic (Ferrando), who left the best impression the year before (Monterone); this artist is dramatically brilliant in solo parts of the role, as well as in ensembles.”


Manfred F. Kubiak: “Branislav Jatic (Ferrando) opened the night as powerful basso profondo and during the show stayed shoulder to shoulder with four other protagonists.”

VECERNJI LIST, May 31st 2003.

Blagoje Bersa: “The Flame” (“Der EISENHAMMER”), HNK Zagreb, opening night: May 24th 2003.
“Bass from Novi Sad Branislav Jatic, as Pastor, was the true vagnerian voice among the part bearers. Able to surf the waves of even the most powerful blezers, he musically and dramatically obtained the whole creation of his character.”


“Branislav Jatic as Monterone with fatal hurl leaves a powerful impression and gives the seal to the entire show.”

“The moving force of this drama is Monterone’s curse: behind the curtain, as a giant shadow, his threatening bass curses the Duke and the Fool for abducting his daughter…”

“Besides other protagonists we wish to point out Branislav Jatic as the dark Monterone.”

“Branislav Jatic as Monterone brings a sovereign character with all needed authority. At the end of the story his curse becomes true.”

NOMUS - DNEVNIK, April 18th, 2002 -
Marija Adamov

Marija Adamov: "This year's NOMUS has been enriched by three evenings of chamber music and their interesting instrumental combinations, as well as by evening that presented the most notable of all instruments, human voice. This voice, deepest and powerfull one, of beautiful colour and great volume, attracted the admirers of well-known bass from Novi Sad Branislav Jatic (from this season Master of Belgrade Opera). His performance in City Hall, in combination with some solo turns of "TAJJ" fiddling quartet that presented itself as a successful back up as well as an integral part of vocal interpretations, once again showed an interpretative force that can be counted on.

This popular singer, primarily favoured as opera artist /.../ started the evening with two arias of baroque authors, Antonio Caldara and Alessandro Scarlatti, bringing them in long breath and finely guided expressive melodic line. On the other hand, he demonstrated all of his powerfull resonance and drama intensity in deep register of aria (Largo) from Hendl's popular opera 'Xerxes'. While certain distance from specified spirituality characterised the two of his Ave Maria's (the one from Mozart and the one from List), painful dept in Russian soul in Mikhail Glinka's song 'The suspicion' was brought in full melodic wideness and beauty, followed by expressive violin solo (Aleksandra Krcmar) and harmonic piano support of Maja Grujic. Masne's 'Elegy' also followed by Timea Kalmar's cello, echoed with the same powerfull expression, while songs of Georgij Sviridov, With Brankica Djukic on piccolo flute and Vladimir Puskas on oboe, showed a great sense of characterisation and humour. 'Song of the drunkards' of Tihon Hrenjikov, followed by united accompaniment of all the guests, closed this successful vocal-instrumental evening, only of that genre on this year's NOMUS.

Concert on the 125th anniversary of the birth of F.I. Saljapin - the "Tchaikovsky" concert hall, Moscow, February 8, 1998

From the rewiev by A. Zurin, "TRUD" December 12, 1998: "Nobody has ever been able to reproduce the style of Chaliapin. The exceptional four bass singers (L. Boldin, N. Giuselev, B. Jatic and V. Pivovarov) have even not tried to do that. Each of them has sounded in his own specific manner. There is a deep symbolism in the fact that none of them has betrayed the Chaliapin's principle of the artistic truth: we have been presented a series of lived-through and deeply inspired interpretations, each of them individually coloured and marked with unique vocal and psychological qualities of each of the singers."


Ana Kotevska: "The most successful parts of the "REQUIEM", such as the effective Dies irae and the meditative quartet of the soloists "Recordare", are completely in accordance with the culmination of the performance. The Quartet consisting of unequalized soloists, where the female side is overpowered by right side of male voices, has in our circumstances, performed an act of the heroic quality. It has achieved harmony with the laws of concert singing and strengthened itself through dialogues with the soloists of the orchestra, included in the score. In addition to Ms. D. Simic, who has showed intonational competence, but whose vocal expression is insufficient, and a very convincing Mr. Branislav Jatic, who, in some parts, has performed an independent bass sololoquy, Ms. Milena Kitic has also shone. A young tenor with a very good voice, has come as a surprise, from the class of Ms. Biserka Cvejic. The conductor, Mr. Tabakov, has held, without the score, the attention of 350 performers."

CH. Gounod: "FAUST" - DNEVNIK April 29 - 30 and May 1 - 2, 1995

Marija Adamov: An Opera Premiere - ROMANTIC LYRICISM "...The main dramatic role, preffered by all international bass singers, has been performed very convincingly by Mr. Branislav Jatic. He has dominated the stage and held the attention of the audience with his strong, nice and rich voice..."

"FAUST" - RADIO NOVI SAD April 21, 1995 - April 24, 1995

Jozef Hadik: IN NOVI SAD, THE OPERA COULD BE CALLED MEPHISTOPHELES "The author named his opera "Faust", although he took only a part from Goethe's "FAUST", the part in which Margarete represents the central character. In order to make difference between the opera and and the work of the famous writer, the Germans named it MARGARETE. However, in Novi Sad, the opera could be performed under the title MEPHISTOPHELES, because Mr. Branislav Jatic, acting his character, governs the stage throughout the performance with his fascinating voice and acting. His interpretation conquers with the strength of an avalanche."

HUDOBNY ZIVOT No.1/94 January 19, 1994

Pavel Unger: "Branislav Jatic (Dulcamara), a new soloist of the ensemble (of the State Opera Banjska Bistrica), a bass singer from Serbia, is an experienced stage artist who self-confidently governs the stage and controls situation. His voice is resonant, pithy and stable, and as such, with its rich volume, predestinated for large spaces."

G. Donizetti: "VIVA LA MAMMA" - DNEVNIK January 7, 1992

THE EXPRESSED TALENT "The performer of the main role, the bass, Branislav Jatic, who is able not only to visualize the action, but also, by means of his narrative performance, to make it closer to the reality, represents a genuine pearl and the very soul of the performance. Having performed the role of mamma Agata, he has added another big achievement to his rich repertoire. He has proved his brilliant talent for the comic in performing a lady, gracefully and easily, in spite of his large stature. He has, in a charming way, acquired the manners of a lady who is ready to do anything for the success of her daughter who is performing for the fist time at an opera house. Mr. Jatic has skillfully added to his buffo role vocal components of the high bass register. It has seemed throughout the performance that the role of "mamma Agata" is as if tailored for him."

G. Verdi: "DON CARLOS" - DNEVNIK February, 11, 1990

M. Adamov: "Mr. Branislav Jatic performed the role of the Spanish king Philip II, employing his vocal and acting capabilities in a stirring manner. In expressing the whole tragedy, anger, grief, helplessness, sorrow, passion and resignation of an unloved king, husband and father, he conquered with his strength, warmth and a specific sonorous quality of his exceptional bass voice. His extraordinary interpretation will be remembered, and especially his great soliloquy from Act III, which, by its emotional warmth and richness, is considered to be one of the most powerfull pages of operatic literature."

G. Verdi: "LA FORZA DEL DESTINO" - DNEVNIK March 2, 1989

E. Gvozdenovic: "GUARDIAN", performed by Mr. Branislav Jatic - rich in voice, gentle in expression.



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