“Easily the strongest and most finished showing came from Slovenian Nika Goric, deliciously crisp, pert and on the note as Suzman’s spunky Susanna.”

The Times on The Marriage of Figaro RAO




Slovenian soprano Nika Gorič studied at the Ballet and Music School in Maribor, Kunstuniversität Graz and the Royal Academy of Music where she completed her studies with Lillian Watson and Jonathan Papp, receiving The Queen’s Commendation for Excellence. In 2016 she joined Salzburg Festival’s Young Singers Project singing Titania in a new production of The Fairy Queen after themes by Purcell. Nominated by the Salzburg Festival to take part in the Stella Maris International Vocal Competition, she went on to win a recital at Vienna’s Musikverein.

Engagements during 2018-19 include a concert tour of China with Salzburger Festspiele and Gilda in Rigoletto with Scottish Opera. Recent engagements include Italienische Sängerin in Garsington’s Capriccio, appearances as soloist with the Australian Chamber and Slovene Philharmonic Orchestras, Brahms’ Ein deutsches Requiem with CBSO in Birmingham and at St. John’s Smith Square, performances at Philharmonic Hall Liverpool, Symphony Hall Birmingham and Usher Hall Edinburgh. Her recent Philharmonia Orchestra debut at the Royal Festival Hall London with Vito Žuraj’s Ubuquité, whose Book of Bodies she created with the Slovene Philharmonic String Chamber Orchestra, shows her interest for contemporary repertoire and regular collaboration with living composers.

Nika’s roles include Norina in Don Pasquale (with Slovene National Opera), Susanna in Le nozze di Figaro and Fortuna and Pallade in L’incoronazione di Poppea, both conducted by Jane Glover, Polly Peachum in Die Dreigroschenoper conducted by Walter SutcliffeEurydice in Orphée aux enfers, Elisetta from Il matrimonio segreto, Barbarina in Le nozze di Figaro and Sandmännchen in Hänsel und Gretel. Whilst studying at the Royal Academy Opera, she approached the roles of Sophie (Der Rosenkavalier)Adina (L’Elisir d’amore), Adele (Die Fledermaus) and Despina (Così fan tutte).

On the recital platform, she was a member of the Academy Song Circle and a soloist in the Kohn Foundation Bach Cantata series. She gave recitals at Wigmore Hall, Midsummer Music and Oxford Lieder Festivals. She took part in a staged production of Handel’s Messiah with Opéra National de Bordeaux. Highlights include the Klavier Festival Ruhr with Graham Johnson, Kioi Hall in Tokyo, Festival Maribor with Richard Tognetti and Victoria Hall in Geneva. She performed Berg’s Sieben frühe Lieder at Kings Place and Vaughan Williams’ Serenade to Music with the CBSO.

Nika is grateful for the support from YCAT, Sir Charles Mackerras Opera Scholarship, Independent Opera Voice Scholarship, Josephine Baker Trust and Slovenian Ministry of Culture during her studies.


…and the Italian Soprano, soaringly sung by promising newcomer Nika Gorič, caps the lines beautifully with her drunken observations.
The Arts Desk, David Nice / Garsington Opera – Capriccio / June 2018

“Nika Goric and Caspar Singh are the delightful Italian singers”
The Epoch Times, Robert Hughill / Garsington Opera – Capriccio / June 2018

Izstopala je gotovo tudi sopranistka Nika Gorič, ki ima tehnično izpopolnjen glas (slabše so zvenele nižine, kar je morda posledica akustike), s katerim lahko dosega nebeške višine in eterično pobarvane tone. V izvedbi Boccherinija in drugi večer tudi Johanna Christiana Bacha se je dokazala z vokalno čistostjo in tudi izrazitimi poizkusi vživljanja v ekspresivne momente glasbe,…”
Dnevnik Gregor Pompe / Belcanto, Lamento – Festival Ljubljana / August 2018

Žuraj’s twenty-minute expressionist tirade of eruptive singing and playing is a bit like Pierrot Lunaire on steroids and laughing gas. Nika Gorič negotiated its demands with a virtuosic savagery that showed off her florid coloratura and impressive range…
Classical Source / Ubuquity, Philharmonia, Royal Festival Hall / April 2018

Nika Gorič delivered Polly’s defiant ‘Barbara Song’ with bright-toned vigour.
Opera Magazine / The Threepenny Opera RAO / July 2017

Nika Gorič made a fresh-voiced, very pretty Polly and she achieved a better mix of sweetness and sardonic edge, especially in the ‘Barbara-Song’.
Bachtrack / The Threepenny Opera RAO / June 2017

Stimmkraft plus Eleganz
…. setzte die Slowenin Nika Goric fort, die ihren so klug den Text ausdeutenden wie betörend geführten Sopran der Ilia aus Mozarts Idomeneo lieh. Auch Mimik und Gestik sind so wohl dosiert wie passgenau eingesetzt, und es fallen einem gleich ein paar Rollen ein, in der man diese Sängerin gerne hören würde (Pamina!). Aufs schönste mischte sich ihre Stimme auch mit dem später hinzutretenden angenehmen Mezzo…
Die Presse / YSP Abschlusskonzert / August 2016
Und zwischendurch wurde die Arienfolge mit Duetten aufgelockert, etwa dem aus „Idomeneo“ mit der stimmlich und als Erscheinung bezaubernden slowenischen Sopranistin Nika Gorič.
GOTTFRIED FRANZ KASPAREK / YSP Abschlusskonzert / August 2016

Aus dem Lamento »When I am laid in arth« wird die Liebesarie der Titania. Nika Goric singt sie hochexpressiv, reichert sie mit dunklen Farben an: Die slowenische Sopranistin sticht aus dem Ensemble heraus.”

OPERNWELT Georg Rudiger / YSP Abschlusskonzert / September 2016

…Easily the strongest and most finished showing came from Slovenian Nika Gorič, deliciously crisp, pert and on the note as Suzman’s spunky Susanna.
The Times / The Marriage of Figaro RAO / November 2015

Nika Gorič was a sassy Fortuna, her agile sound creating tons of meaning in each word she sang.
www.schmopera.com / L’Incoronazione di Poppea RAO / May 2016





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