“Leo Radosavljevic showed off a resonant bass; he and Cannold gave Zuniga, usually strictly a “heavy,” a character arc between the first two acts.”
Woman Around Town, 10/28/22
“Leo Radosavljevic- fine, resonant bass”
Parterre, 10/26/22
“Bass Leo Radosavljevic, burly of voice and frame, made an effective bully of Zuniga”
New York Classical Review, 10/26/22
“Leo Radosavljevic brought sturdy vocal and physical presence to the mostly plot-advancing role of the lieutenant Zuniga.”
Operaville, 2/14/22 (San Jose Opera)
“Let me first compliment bass-baritone Leo Radosavlevic, who brought a saucy humor to the ill-fated officer Zuniga. His drunken appearance at the tavern door, ready for a midnight foray at Carmencita, was hilarious.”
Voix des Arts, 9/13/21
“…Belcore’s Act One cavatina ‘Come Paride vezzoso porse il pomo alla più bella,’ an arduous piece with no opportunity for warmup, with appropriate swagger, Radosavljevic maintaining steely power in the mid-range…Radosavljevic and Kim sang Belcore’s music dashingly.”
Classical Voice America, 8/4/18
“The women especially impressed with luscious sound and easy technique, though Radosavljevic had the most natural-sounding Italian – for a text-driven art form, this is not damning with faint praise.”
Voce di Meche, 7/29/18
“Bass-baritone Leo Radosavljevic, whom we well remember from Juilliard and several vocal competition award recitals, did justice to the role of Orbazzano, making his sound burly in times of anger. He's a man who just can't believe that his intended has other intentions.”
Opera Metro, 7/31/18
“Leo Radosavljevic is a smooth and dark Orbazzano.”
STL Today, 6/20/18
“Highlights of the second half included the amusing “Je suis le plus joli geôlier” from Offenbach’s “La Périchole,” sung by mezzo Michaela Wolz, tenor Matthew Dalen and baritone Evan Bravos, and a comic duel between bass-baritones Phillip Lopez and Leo Radosavljevic in “Un segreto d’importanza” from Rossini’s “La Cenerentola.””
Voce di Meche, 11/9/17
“Bass-baritone Leo Radosavljevic employed perfect French in his performance of "Riez Allez" from Jules Massenet's Don Quichotte. In this aria Sancho Panza is scolding the people who made fun of his master Don Q. We particularly enjoyed the texture of Mr. Radosavljevic's instrument and his expansive delivery...We were very impressed by Mr. Radosavljevic's ability to paint a picture with his voice.”
Brooklyn Discovery, 11/7/17
Next was Leo Radosavljevic, bass baritone in “Fühlt meine Seele” by Hugo Wolf. An impassioned, all out selection in caressing tone, fine diction and many moments of the voice and piano being passionately united in urgency, conviction and harmony.
Vancouver Classical Music, 11/24/15
“Leo Radosavljevic also displayed enviable vocal resources and seemed even more complete dramatically”
New York Times, 11/17/15
“The young singers here — Elizabeth Sutphen, soprano; Kara Sainz, mezzo-soprano; Yujoong Kim, tenor; and Leo Radosavljevic, bass — were excellent.”
Denver Sun, 9/16/14
“Bass Leo Radosavljevic also makes a brief, but powerful impression as the angry Bonze, whose denunciation is Butterfly’s first tragedy.”
Opera News, 11/21/14
“Serviceable contributions came from Anthony Webb (Goro), Leo Radosavljevic (The Bonze) and Jared Guest (Prince Yamadori).”
Voce di Meche, 9/29/14
“Grant winners were also on the program and every single one excelled. Bass-baritone Leo Radosavljevic captured Figaro's outrage with his fine voice and expansive personality as he performed "Aprite un po' quegl'occhi" from Mozart's Nozze di Figaro (which we heard at the Metropolitan Opera and reviewed last night).”
Voce di Meche, 1/14/14
“Baritone Leo Radosavljevic, accompanied by Brent Funderburk, offered Copeland's folksy lullabye "The Little Horses" and was coached to imagine holding a baby. Let it be noted that Mr. R.'s talent for baby-holding needed more coaching than his excellent singing! The audience really enjoyed the spectacle.”
Super Conductor, 2/7/12
Fine comic baritones are the life-blood of Rossini's opera buffa. Leo Radosavljevic played Tobia Mill with fine buffo style.
Opera News, 1/8/12
“The vocal quartet of Vuong, Bielfield, mezzo Rachel Wilson and bass-baritone Leo Radosavljevic was clearly within its comfort zone in selections from James Sellars's 1996 NYFOS commission Kissing Songs, a dance-propelled song cycle that straddles the line between pop and art song. But the most pleasing segment of the evening was a group of five songs from Brahms's Liebeslieder Waltzes, beautifully performed by Radosavljevic, soprano Simone Easthope, mezzo Elizabeth Sutphen and tenor Nathan Haller. It was as if we were finally allowed to witness the singers in their natural garb.”
New York Times, 11/17/2011
“But the moment that got me was a domestic scene, an evening of lieder around the house piano, in which one of the activists, Willi Graf, plays accompaniments in the style of early Schoenberg as others sing. This Willi, Leo Radosavljevic, a bass-baritone, actually played the difficult piano part very well.”