• Kathimerini, Athens: review of Oroveso 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.”

 

• Online Merker: review of Oroveso 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.”

 

• OperaWire, Palermo: review of Ferrando in Teatro Massimo in Palermo (20-Jul-2021): "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”

 

• Süddeutsche Zeitung, Munich: review of King Henry VIII 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)”Süddeutsche Zeitung
  ENG: “After all, this symbol of power symbolically kills, because Henry VIII (a large, young bass with a magnificent natural voice: Sava Vemić)”

 

• Abendzeitung München, Munich: review of King Henry VIII 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.”

 

• OnlineMerker, Munich: review of Gremin 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.”.

 

• Abendzeitung München, Munich: review of Gremin 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.
  ”.

 

• Kultur in München, Munich: review of Sarastro 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.”.

 

• Web Theater, Paris: review of Don Carlo in Paris Opera (26-Oct-2019): "We savor the cavernous power of Sava Vemić as the monk, whose claims come from the depth of the Earth.”/“On goûte la puissance caverneuse de Sava Vemić en moine, dont les invectives semblent venir des profondeurs de la terre.”.

 

• On line Marker, Paris: review of Don Carlo in Paris Opera (26-Oct-2019): "...den René Pape überzeugend darstellte : wunderbar seine Mezzavoce in „Ella giammai m’amo“ bevor er seine mächtigen Bass in den Saal schleuderte. 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...”
  “René Pape convincing: marvelously his mezzavoce in " Ella giammai m'amo " before hurling his mighty bass into the hall. 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...”

 

• Ontomo, Tokyo: review of The Magic flute in NNT Tokyo (03-Oct-2018): "Sava Vemic, from Serbia, exquisitely delivered a role of impeccable, super good-looking Sarastro./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".

 

• New York Times: review of La Sonnambula (10-Feb-2016): “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.”

 

• elCorreo, Seville: review of Der Keiser von Atlantis (01-Dec-2018): “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…"

 

• Pia news, Tokyo: review of The Magic flute in NNT Tokyo (03-Oct-2018): "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./ 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".

 

• EL MUNDO, Seville: review of Der Keiser von Atlantis (01-Dec-2018): “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"

 

• ASAHI, Tokyo: review of The Magic flute in NNT Tokyo (03-Oct-2018): "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./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。
  ".

 

• Spice, Tokyo: review of The Magic flute in NNT Tokyo (03-Oct-2018): "It was Sava Vemic, as Sarastro, who was especially outstanding with striking voice./ 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.".

 

• New York Times: review of Parisina d'Este (06-May-2016): "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..."

 

• Olyryx: review of Sparafucile in Verbier festival (05-Aug-2018): "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".

 

• Opera World, Seville: review of Der Keiser von Atlantis (05-Dec-2018): “...against the personification of Death in the masterful and deep voice of the bass Sava Vemic..."

 

• Concert Classic: review of Ariadne auf Naxsos in Aix en Provence festival (05-July-2018): "on est séduit aussi par le Laquais de la magnifique jeune basse serbe Sava Vemić (un nom à retenir!)"

 

• Opera News: review of La Sonnambula (09-Feb-2016): “…[Mr. Vemic]’s fine, raven-toned voice commands a magnificent resonance that makes one take notice”.

 

• NY Theatre Guide: review of Haydn's Mass in Carnegie Hall (06-Feb-2017): "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".

 

• Musical America (chosen as Artist of the Month April 2015): "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".

 

• Observer: review of Roberto Devereux (10-June-2014): “…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.”

 

• Allegri con Fuoco: review of Roberto Devereux (08-June-2014): “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.”