REVIEWS

David Bizic, An assured Figaro but with a dark tone, effortlessly taking over as the driving force of the narrative. His earthiness and fluidity of expression bring to life the exuberance of the character.

David Bizic presents an imposing figure: his Serbian frame generates a precise, yet subtle bass-baritone of some depth. His Figaro is not a drawing-board version. He has sung many times the role of the honest manservant with a rebellious streak but who is, after all, is said and done a decent chap.

We find David Bizic center stage, a strong Zurga, notwithstanding his whirling emotions, revealing his poised, noble and resolute voice, with purity of expression and unquestionable dramatic force.

David Bizic is the possessor of a voice as solid as it is resonant, his delivery is outstanding and his diction assured

David Bizic’s most uncompromising Onegin; this voice cast in bronze is one of the standout features of the production.

David Bizic goes from strength to strength. He takes up the challenge with the brio of the unrewarding role of Onegin, for whom Tchaikovski didn’t write the music to flesh out this complex character. It is through his stage presence, charisma, the deftness of touch and authority that the singer brings to life his character in the crowd scenes and duos. The Serb baritone goes from the aloofness of the young aristocrat to a man whose armor cracks into pieces in the passion and craziness of the final scene.

It is the lamb coming face to face with the wolf (from the woman’s point of view) represented by the fever-driven baritone, David Bizic’s Enrico, Lucia’s predatory brother. The masculine physicality speaks domination and the animality a display of impulsiveness. The vocal expression is as hard as bricks tonally, crackling with electricity. For the singer, it is as if the stage is a playing field on which he gives his all.

La caractérisation d’Eugène Onéguine prend tout son sens avec la voix du baryton David Bizic. Le personnage d’abord désabusé s’exprime par des graves épais, qui deviennent râpeux, fermes et tranchants comme la « franchise » avec laquelle il répond à Tatiana. Il lui conseille de « maîtriser ses sentiments » mais à la résolution du troisième acte, David Bizic devient un Eugène Onéguine passionné, faisant fi de toute maîtrise du cœur. Ses graves, toujours puissants, se font alors presque chauds.

l’Onéguine, David Bizic est un baryton confirmé, qui assume le rôle-titre avec brio sur le plan international. La voix est facile, très chaleureuse et sonore, ce qui le démarque un peu de la distribution très homogène par ailleurs. Il sait incarner les diverses facettes, du dandy méprisant, à l'amant passionné, en passant par le rival cynique. Il a de plus une prestance scénique qui complète avantageusement ses qualités vocales

David Bizic prend du galon. David Bizic relève le gant avec brio du rôle ingrat d'Onéguine, pour lequel Tchaikovski n’a pas écrit d'air qui donne chair à ce personnage complexe. C’est par la présence et le charisme, la couleur et l’autorité que l’interprète fait vivre son personnage dans les scènes collectives et les face-à-face. Et le baryton serbe se coule aussi bien dans la morgue et le port du jeune aristocrate qu’il fend l’armure dans la passion et la folie du dernier tableau.

Supporting With Grace & Dignity Where Grigolo sang with explosive passion, David Bizic showed elegance and polish as Albert. Massenet’s music for the character flies but never quite soars in that we appreciate its beauty without ever really being floored by it. Bizic, understanding this contrast, delivered some beautiful singing and an overall positive energy that allowed the viewer to empathize with Albert without truly loving him. Bizic’s awkward exchange with Leonard’s Charlotte allowed the viewer to better identify with Werther and Charlotte’s freedom around him, but at the same time, we respected Bizic’s cavalier way of treating the fallen Werther, a smile always perched on his face. Seeing himself betrayed, Bizic’s characterization took a massive turn in the third act, his stern and short behavior toward Charlotte shedding light on their problematic marriage, further highlighting how big of a failure Charlotte has become in her duty to her mother.

l’Onéguine plus brutal de David Bizic, dont le bronze vocal constitue un des grands atouts de cette production.

Albert, Charlotte’s fiance, is not especially sympathetic in this version of the story, but David Bizic found the humanity of the character, lending a gruff sadness to the husband whose love is never returned.

David Bizic impersonated Charlotte’s stolid husband Albert with dignity;

Alain Altinoglu conducts a taut performance, in which the baritone David Bizic is a cultivated Albert.

Serbian baritone David Bižić is physically and vocally imposing as Charlotte’s husband Albert, whose steadily increasing antipathy to the exotically unstable stranger clearly besotted with his wife precipitates the final tragedy.

This writer has seen countless "Boheme" performances over the years and can assertively state that David Bizic is easily one of the best Marcello's at the Met in recent time. His baritone is weighty, massive and full of elegance. Every single phrase was sung with confidence, poise, and expression. His acting was also a huge factor. Often times "Boheme" revivals feel routine, mainly because the supporting cast feels like it is going through the motions. In the case of Bizic, every moment on stage was full of reality. His groping Benoit in the first act was a comic touch that few other baritones have attempted. His snappy repartee with Rodolfo and their suspicious glances at the start of the fourth act really brought the relationship to life.

Figaro entre, la stature de David Bizic est imposante : cette carrure serbe nous fait entendre une voix de baryton-basse profonde, juste et timbrée. Ce Figaro-là, n’en est pas à son coup d’essai, ayant déjà chanté à plusieurs reprises ce valet de chambre honnête, rebelle et foncièrement vertueux. C’est dans la cavatine de la scène 2 et dans l’air Non Più Andrai de la fin de l’acte I que David Bizic dévoile toute la malice du texte imbriqué dans la musique de Mozart.

David Bizic as Marcello started off with a good-natured, character-baritone approach but showed a more robust sound that made him a convincing and sympathetic force in his argument with Rodolfo in Act III.

David Bizic est exceptionnel dans le rôle de Zurga. Au baryton de fournir la violence du drame, grâce à sa voix riche et belle dans tout l’ambitus. Sa puissance léonine est un délice féroce dans les moments dramatiques, très agile aussi, puis suave et sensuelle lorsque nécessaire.

Tout autre est Zurga que trop de barytons ont tendance à tailler dans un marbre autoritaire d'une gouge étrangère à tout sentiment. David Bizic possède les qualités requises pour ne pas déroger à la règle : une voix solide et longue, une projection superlative, une diction affirmée... Sa proposition ne se satisfait cependant pas de ces seules qualités mais explore au troisième acte, d'un chant nuancé, des zones plus sensibles qui donnent à percevoir le cœur de l'homme sous le manteau du chef.

Au centre de la trame, David Bizic, solide Zurga malgré ses émois amoureux, démontre un chant vaillant empreint de noblesse et de maintien, une émission nette et un dramatisme indéniable.

As Albert, the Serbian baritone David Bizic gives an impressive Met debut performance,

With his deep, sturdy bass and imposing presence, David Bizic, also in his Met debut, provides an effective contrast to Werther as the soldier Albert, who becomes Charlotte’s husband.

Another debuting artist, baritone David Bizic, made a strong impression in the thankless role of Charlotte’s husband, Albert, his voice crisp and colorful.

David Bizic, Figaro au timbre noir et plein d’aplomb, s’impose sans peine comme l’élément moteur de l’intrigue. Il possède le grain rustique et la mobilité expressive qui suggèrent la vitalité instinctive du personnage.

The company of bohemians — the Serbian David Bizic as Marcello, a painter; the American Ryan Speedo Green as Colline, a philosopher; and the Russian Rodion Pogossov as Schaunard, a musician — were particularly satisfying in the individuality of their characterizations as well as in their work as an ensemble. Mr. Bizic had excellent moments trying to stem Rodolfo’s despondency over Mimi, whether because of her supposed flirtatiousness or her illness while coping with his own frustrations at the hands of the genuinely flirtatious Musetta.

Baritone David Bizic was rich-sounding as American consul Sharpless

The supporting cast looms large in Butterfly, and two comprimarii gave performances that accounted for much of the evening’s color. David Bizic has excelled in friend-of-the-tenor roles in his young Met career and in Thursday’s performance a lovely woolen baritone as Sharpless, playing the American consul with touching kindness.

Sharpless as Moral Center As to the other performers, again, the Met summoned a repertoire revival with top-notch standards. Of special mention is Davis Bizic’s Sharpless. The singing had a heft and emotion that made Sharpless’s key part pivotal, especially in this production. During his first moments with Pinkerton, singing toasts to America (more about that later), to his sad, conflicted scene where he really struggles to have Butterfly hear the fateful words Pinkerton wrote, he becomes the moral center of this painful yet beautiful story. And his rich baritone is something I will look forward to in future Met performances.

Il est l’agneau face au loup (pour la femme) qu’est l’Enrico du fiévreux baryton David Bizic, frère prédateur de Lucia. Le physique est mâle (la domination), animal (l’impulsivité). Le vocal est de brique (le timbre), électrique (l’énergie). La scène semble être pour le chanteur un terrain de jeu, qu’il investit de toute sa personne.