Press
Barcelona, La Vanguardia: review of Daland (Der fliegende Holländer) with Opera Catalunya in Palau de la Musica (1-December-2025):
ESP: “La sorpresa vocal vino de la mano del bajo Sava Vemić (Belgrado, 1987), un Daland de instrumento wagneriano ortodoxo y potente, quien escanció un hermoso timbre oscuro paladeado con la frescura de una juventud que le augura un gran futuro.”
ENG: “The vocal surprise came from the bass Sava Vemić (Belgrade, 1987), a Daland with an orthodox and powerful Wagnerian instrument, who poured out a beautiful dark timbre savored with the freshness of a youth that bodes well for his future.”
Barcelona, Bachtrack: review of Daland (Der fliegende Holländer) with Opera Catalunya in Palau de la Musica (1-December-2025)
ESP: “Sava Vemic encarnó a Daland con eficacia, proyectando carácter y garra escénica; su fraseo mostró variedad expresiva e incluso un matiz humorístico en ciertos momentos del segundo acto, lo que aportó contraste y viveza.”
ENG: “Sava Vemić portrayed Daland effectively, projecting character and stage vigor; his phrasing showed expressive variety and even a humorous touch at certain moments in the second act, which added contrast and liveliness.”
Barcelona, Opera Actual: review of Daland (Der fliegende Holländer) with Opera Catalunya in Palau de la Musica (1-December-2025)
ESP: “Brilló a su lado el bajo serbio Sava Vemić con un Daland vocalmente portentoso, de emisión natural y generosa presencia.”
ENG: “Alongside him shone the Serbian bass Sava Vemić with a vocally prodigious Daland, with natural emission and generous presence.”
Sabadell, Lohengrin.cat: review of Daland (Der fliegende Holländer) with Opera Catalunya (29-November-2025):
ENG: “Sava Vemić as Daland was another Galactic singer, of the quality of Bayreuth itself. His voice was most certainly the best of the whole night. He is an unforgettable Daland due to the dark and imposing color of his voice and his technique. Both he and the entire cast had the diction of the wagnerian German with a score of 10…”
Barcelona, Platea Magazine: review of Daland (Der fliegende Holländer) with Opera Catalunya (2-December-2025)
ESP: “Todo lo contrario que el bajo Sava Vemic, cuyo Daland supuso una auténtica y revelación y un acierto indiscutible de cast. La voz muestra contornos líricos, pero la sorprendente amplitud de registro, la belleza del timbre y la solidez de la emisión es muy relevante.”
ENG: “Quite the opposite is true of bass Sava Vemic, whose Daland was a genuine revelation and an undeniable casting success. His voice displays lyrical contours, but the surprising range, the beauty of his timbre, and the solidity of his delivery are highly noteworthy.”
Eutin, IOCO: review of Sarastro (Die Zauberflöte) in Eutiner Festspiele (27-July-2025):
DEU: “Aufhorchen ließ die sonore schwarze Bass-Stimme von Sava Vemic als Sarastro. Darstellerisch eine imposante Erscheinung in seinem langen gelben Mantel, sowohl Autorität ausstrahlend als auch die Gutmütigkeit dieses Charakters würdevoll offenbarend, verströmte er warme Bassfülle und bot gesangstechnisch in allen Lagen eine perfekte Leistung.”
ENG: “The sonorous black bass voice of Sava Vemic as Sarastro made people sit up and take notice. In terms of acting, he was an imposing presence in his long yellow coat, both radiating authority and gracefully revealing the good nature of this character, he exuded warm bass fullness and offered a perfect vocal performance in all registers.“
Eutin, Kieler Nachrichten: review of Sarastro (Die Zauberflöte) in Eutiner Festspiele (19-July-2025):
DEU: “Mit sonorem Bass und großer Grandezza gibt Sava Vemić als Sarastro einen starken und edlen Hüter des Lichts”
ENG: “With his sonorous bass and great grandeur, Sava Vemić presents Sarastro as a powerful and noble guardian of the light.”
Eutin, Eutiner Festspiele: review of Sarastro (Die Zauberflöte) in Eutiner Festspiele (20-July-2025):
DEU: “Sava Vemic war als Sarastro großartig. Sein voller Bass erfüllte das Freilichttheater. Er transportierte die Idee von Weisheit und Vergebung mit jedem Blick und jeder Geste. “
ENG: “Sava Vemic was great as Sarastro. His full bass filled the open-air theater. He conveyed the idea of wisdom and forgiveness with every look and gesture.“
Munich, Résonances Lyriques: review of High-Priest Eliakim (Judita) in Prinzregententheter with Munich Radio Symphony Orchester(1-December-2024):
FRA: “Particulièrement remarquée est l’interprétation du grand-prêtre Eliakim par la basse Sava Vemić qui impressionne par la beauté de son timbre porté par une voix puissante et parfaitement projetée.”
ENG: “Particularly notable is the interpretation of the High Priest Eliakim by bass Sava Vemić, who impresses with the beauty of his timbre supported by a powerful and perfectly projected voice”
Sydney, Stage Whispers: review of Peasant (Gurre-Lieder) in Sydney Opera House with Sydney Symphony Orchestra (18-March-2024):
ENG: “Sava Vemic brings realistic drama and wit to the amazed Peasant”
Paris, Olyrix: review of Prince Bouillon (Adriana Lecouvreur) in Paris Opera, Paris (29-January-2024):
FRA: “Le duo formé par Sava Vemić et Leonardo Cortellazzi, respectivement Prince de Bouillon et Abbé de Chazeuil fonctionne agréablement. La complicité qui se dégage de leurs interactions fait mouche, le premier en grand aristocrate à la voix caverneuse, sonore et bien ancrée, doté d’une prestance séant très bien au rôle…“
ENG: “The duo formed by Sava Vemić and Leonardo Cortellazzi, respectively Prince of Bouillon and Abbé de Chazeuil, works pleasantly. The camaraderie that emerges from their interactions hits the mark, with the former playing the role of a grand aristocrat with a deep, resonant, and well-grounded voice, his commanding presence perfectly suited to the role (…)”
Paris, Bachtrack: review of Prince Bouillon (Adriana Lecouvreur) in Paris Opera, Paris (18-January-2024):
FRA: “Le tableau serait incomplet si l’on ne citait pas le malheureux Prince de Bouillon, qui a fière allure sous les atours de la jeune basse serbe Sava Vemić.”
ENG: “The picture would be incomplete without mentioning the unfortunate Prince of Bouillon, who carries himself with great dignity in the guise of the young Serbian bass Sava Vemić.”
Paris, ConcertoNet: review of Prince Bouillon (Adriana Lecouvreur) in Paris Opera, Paris (16-January-2024):
ENG: “Serbian bass Sava Vemic was another high point of the evening, an absolute delight, in the vocally undemanding role of the shameless intriguer Prince de Bouillon, who discovers via Adriana’s Act III confrontation that his wife is unfaithful and enamoured with Maurizio.”
Novi Sad, Dnevnik.rs: Interview about Mephistopheles in Gounod’s Faust (2-March-2024):
ENG: “INTERVIEW: BAS SAVA VEMIĆ, Mephisto in the SNP opera “FAUST” The head tells the voice what it should do”
SRB: “INTERVJU: BAS SAVA VEMIĆ, Mefisto u operi „FAUST” SNP-a Glava govori glasu šta treba da radi”
Toronto, OperaCanada: Interview: 30 Qs for Sava Vemic, Toronto (18-October-2023):
What’s something most people don’t know about opera life?
The level of discipline and the demands that you need to fulfill in order to have a long and balanced opera life.
What is one surprising thing that you have learned in becoming an opera singer?
The importance of being present in the moment.
Toronto, OperaCanada: review of Don Fernando (Fidelio) in Canadian Opera Company, Toronto (10-October-2023):
ENG: “…the other principle low voice, Serbian bass Sava Vemic, was a distinguished Don Fernando, making the relatively shorter role seem greater than written.“
Toronto, operaramblings: review of Don Fernando (Fidelio) in Canadian Opera Company, Toronto (30-September-2023):
ENG: “Young (and very tall) Serbian bass Sava Vemić really impressed in his brief cameo as Don Fernando. One to watch I think.“
Athens, Kathimerini: review of Oroveso (Norma) in Odeon of Herodes Atticus Theater in Athens (7-September-2023):
GRE: “Τον Οροβέζο ενσάρκωσε εντυπωσιακά ο νέος Σέρβος μπάσος Σάβα Βέμιτς. Ψηλός και σκηνικά επιβλητικός, με βαθιά φωνή μπάσο προφόντο που τόσο λείπει στην εποχή μας και μελλοντικά ιδανικός για τους μεγάλους βερντιανούς ρόλους.”
ENG: “Oroveso was impressively embodied by the young Serbian bassist Sava Vemić. Tall and stage-imposing, with a deep bass profundo voice that is so lacking in our time and in the future ideal for the big Verdian roles.”
Munich, Online Merker: review of Oroveso (Norma) in Odeon of Herodes Atticus Theater in Athens (7-September-2023):
DEU: “Der junge Bass Sava Vemić setzt als Oroveso mit seiner wohlklingenden und sicher geführten Stimme starke Akzente.”
ENG: “The young bass Sava Vemić sets strong accents as Oroveso with his melodious and confident voice.”
Munich, Süddeutsche Zeitung: review of King Henry VIII (Anna Bolena) in Gärtnerplatztheater (25-Nov-2021):
DEU: “Schließlich tötet dieses Zeichen der Macht symbolisch, denn Heinrich VIII. (ein großer, junger Bass mit prächtiger Naturstimme: Sava Vemić).”
ENG: “After all, this symbol of power symbolically kills, because Henry VIII (a large, young bass with a magnificent natural voice: Sava Vemić).”
Munich, Abendzeitung München: review of King Henry VIII (Anna Bolena) in Gärtnerplatztheater (25-Nov-2021):
DEU: “Der Serbe singt den König nicht nur mit einem opulenten, riesigen und trotzdem sehr beweglichen schwarzen Bass, sondern stellt auch einen leicht zu kränkenden, eifersüchtigen Mann so differenziert wie möglich auf die Bühne.” Abendzeitung München
ENG: “The Serb not only sings the king with an opulent, huge and yet very agile black bass, but also puts an easily offended, jealous man on stage as differentiated as possible.”
Palermo, OperaWire: review of Ferrando (Il Trovatore) in Teatro Massimo in Palermo (20-Jul-2021):
ENG: “Ferrando was played by Sava Vemic. He possesses a well-supported, clear toned bass which he used well to characterize the part. In the opening scene he successfully captured the horror of the events which led to the present situation. His crafting of recitatives was secure and the aria “Abbietta zingara, fosca vegliarda” displayed agility.”
Munich, Kultur in München: review of Sarastro (Die Zauberflöte) in Gärtnerplatztheater (13-Nov-2020):
DEU: “Vemić brilliert in Gesang und Ausstrahlung übrigens mit Abstand, wenngleich auch alle anderen Sänger*innen wunderbar überzeugen.”
ENG: “By the way, Vemić excels in singing and charisma by far, even though all the other singers are wonderfully convincing.”
Munich, OnlineMerker: review of Gremin (Eugene Onegin) in Gärtnerplatztheater (9-Oct-2020):
DEU: “Sava Vemic singt und es öffnen sich Urgründe. Mühelos öffnet der junge serbische Bass schwarze tiefste Register, bleibt da völlig unangestrengt und schwingt sich genauso durch alle Lagen – auf diese Qualität hat die Welt gewartet.”
ENG: “Sava Vemic sings and primeval grounds open up. The young Serbian bass effortlessly opens the black lowest registers, remains there completely effortlessly and swings through all registers – the world has been waiting for this quality.”
Munich, Abendzeitung München: review of Gremin (Eugene Onegin) in Gärtnerplatztheater (9-Oct-2020):
DEU: “Die größte Überraschung ereignet sich nach der Pause: Der frisch engagierte Sava Vemić erweist sich mit einem flexiblen, schwarzen Bass als absolut erstklassiger Fürst Gremin.”
ENG: “The biggest surprise comes after the break: the freshly engaged Sava Vemić proves to be an absolutely first-class Prince Gremin with a flexible, black bass.”
Paris, Web Theater: review of Il Frate (Don Carlo) in Paris Opera (26-Oct-2019):
FRA: “On goûte la puissance caverneuse de Sava Vemić en moine, dont les invectives semblent venir des profondeurs de la terre.”
ENG: “We savor the cavernous power of Sava Vemić as the monk, whose claims come from the depth of the Earth.”
Paris, Online Marker: review of Il Frate (Don Carlo) in Paris Opera (26-Oct-2019):
DEU: “…den René Pape überzeugend darstellte…Ihm absolut ebenbürtig als Stimme war Sava Vemić in der wichtigen Rolle des Frate (Geist von Karl dem V.), den wir zum ersten Mal hier in einer größeren Rolle hörten…”
ENG: “René Pape convincing…Equally equal to him as a voice was Sava Vemić in the important role of the Frate (Spirit of Charles V), whom we heard here for the first time in a larger role…”
Seville, Opera World: review of Der Tot (Der Keiser von Atlantis) (05-Dec-2018):
SPA: “frente a la personificación de la Muerte en la magistral y profunda voz del bajo Sava Vemic”
ENG: “…against the personification of Death in the masterful and deep voice of the bass Sava Vemic…”
Seville, elCorreo: review of Der Tot (Der Keiser von Atlantis) (01-Dec-2018):
SPA: “El bajo serbio Sava Vemic prestó su imponente físico y atronadora voz a una muerte de imborrable recuerdo, ratificando el acierto de casting de este doble programa..”
ENG: “The Serbian bass Sava Vemic lent his imposing physical and thunderous voice to a Death of unforgettable memory, ratifying the success of casting of this double program…”
Seville, EL MUNDO: review of Der Tot (Der Keiser von Atlantis) (01-Dec-2018):
SPA: “Así mismo fue verdaderamente ejemplar la intervención del bajo serbio Sava Vemic, personificando la figura de la muerte, entre el plantel de cantantes elegidos para esta representación.”
ENG: “Likewise, the intervention of the Serbian bass Sava Vemic, personifying the figure of death, was truly exemplary among the group of singers chosen for this performance.”
Tokyo, Pia news: review of Sarastro (The Magic flute) in NNT Tokyo (03-Oct-2018):
ENG: “Especially noteworthy amongst singers was a young bass Sava Vemic in the role of Sarastro. His voice was truly breathtaking, and what was impressive was his low tone that was echoing throughout the theater as if he was the only one using a microphone.
JAP: “歌手陣で特筆すべきは、ザラストロ役の若いバス、サヴァ・ヴェミッチだ。とにかく声がすごくて、ひとりだけマイクをつけているのかと思うぐらい響き渡る低音が印象に残った.”
Tokyo, Ontomo: review of Sarastro (The Magic flute) in NNT Tokyo (03-Oct-2018):
ENG: “Sava Vemic, from Serbia, exquisitely delivered a role of impeccable, super good-looking Sarastro.
JAP: “セルビア出身のサヴァ・ヴェミッチは、一点の曇りもない超絶イケメンのザラストロを見事に演じている.”
Tokyo, ASAHI: review of Sarastro (The Magic flute) in NNT Tokyo (03-Oct-2018):
ENG: “What I’ve found the most impressive are the stable singing of Sava Vemic as Sarastro, focused performance of Yoko Yasui and glossy voice of Masako Hayashi as Pamina.
JAP: “ザラストロのサヴァ・ヴェミッチの安定、夜の女王の安井陽子の一本気、パミーナの林正子の艶（つや）が印象に残る.”
Tokyo, Spice: review of Sarastro (The Magic flute) in NNT Tokyo (03-Oct-2018):
ENG: “It was Sava Vemic, as Sarastro, who was especially outstanding with striking voice.
JAP: “声の立派さで際立ったのはザラストロのサヴァ・ヴェミッチ.”
Verbier, Olyryx: review of Sparafucile (Rigoletto) in Verbier festival (05-Aug-2018):
FRA: “La palme de la révélation revient à la voix de basse de Sava Vemic. Son Sparafucile est parfait de justesse et d’autorité, riche de graves profonds et d’une grande maîtrise des nuances. Le chanteur serbe affiche une ligne de chant épatante de maîtrise, doublée d’un charisme qui en impose.”
ENG: “The award for revelation goes to Sava Vemic’s bass voice. His Sparafucile is perfectly pitched and authoritative, rich in deep bass notes and a great mastery of nuances. The Serbian singer displays a stunningly controlled vocal line, coupled with an imposing charisma.”
Aix en Provence, Concert Classic: review of Ein Lakei (Ariadne auf Naxsos) in Aix en Provence festival (05-July-2018):
FRA: “on est séduit aussi par le Laquais de la magnifique jeune basse serbe Sava Vemić (un nom à retenir!)”
ENG: “We are also captivated by the Lackey of the magnificent young Serbian bass Sava Vemić (a name to remember!)”
New York City, NY Theatre Guide: review of Bass solo in Haydn’s Mass in Carnegie Hall (06-Feb-2017):
ENG: “Sava Vemić (Bass) was astounding, commanding the auditorium with his vocal presence. Having seen him recently in the Met Opera’s “Nabucco,” I am a huge fan of his incredible voice”.
New York City, New York Times: review of Ernestro (Parisina d’Este) (06-May-2016):
ENG: “The role of Ernesto, the duke’s minister and foster father to Ugo, was sung by the bass Sava Vemic with a booming, rugged tone that held great charisma…”
New York City, New York Times: review of Count Rodolfo in La Sonnambula (10-Feb-2016):
ENG: “The most confident singing came from the Serbian bass, Sava Vemic, as Rodolfo. Mr. Vemic brought a mellow, full-bodied voice, a feeling for bel canto phrasing and commanding stage presence to his portrayal.”
New York City, Opera News: review of Count Rodolfo in La Sonnambula (09-Feb-2016):
ENG: “…[Mr. Vemic]’s fine, raven-toned voice commands a magnificent resonance that makes one take notice”.
New York City, Musical America: review of Sir Walter Raleigh (Roberto Devereux) in Carnegie Hall (chosen as Artist of the Month April 2015):
ENG: “In Donizetti’s Roberto Devereux, the role of Sir Walter Raleigh is a bass cameo, unlikely to be singled out for review. But when Sava Vemic sang it with Eve Queler and the Opera Orchestra of New York at Carnegie Hall last spring, reviewers sat up and took note”.
New York City, Observer: review of Sir Walter Raleigh in Roberto Devereux (10-June-2014):
ENG: “…the standout was Sava Vemic, whose thundering bass had the audience scrambling for programs and asking, “Who is he?” after his cameo as Sir Walter Raleigh.”
New York City: Allegri con Fuoco: review of Sir Walter Raleigh in Roberto Devereux in Carnegie Hall (08-June-2014):
ENG: “Bass Sava Vemic, as Sir Walter Raleigh, had a very minor role, but was alarmingly powerful, especially for someone so young. He has a lot of promise with the punch he packs. In terms of the sheer girth and weight of his deep bass he dwarfed even the seasoned Devia. Truly surprising and very exciting.”