Miloš Bulajic

The most inspiring lesson for me was definitely about “concentration“. Concentration before doing something, before playing or singing a phrase and then while playing or singing, to do so with complete dedication and not just “somehow″.
Alice Lechner


by Alice Lechner
October 9, 2023
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Miloš Bulajić was a member of the young ensemble at Staatsoper Unter den Linden Berlin and made his debut at the Salzburg Festival. He was also part of Accademia Rossiniana, led by M° Alberto Zedda. In a conversation with Alice Lechner, Milos talks about his experience at Accademia Rossiniana, his debut in the role of Edgardo in Donizetti’s Lucia di Lammermoor, his pianist career and last but not least, about his passion for aeroplanes.


Miloš Bulajić was born in Bonn/Germany to a family with Serbian origins. He started playing the piano at age 7, later studied as a piano soloist first at the Berlin conservatory UDK and  later parallel to his singing studies in Würzburg graduating with a concert diploma. He has studied singing with the late Leandra Overmann in Würzburg aswell as with Helene Schneiderman and Daniela Sindram. Since 2017 he is working on his vocal development with KS. Deborah Polaski in her studio in Berlin. He was a member of the young ensemble (opera studio) at Staatsoper Unter den Linden Berlin led by Mo. Barenboim for two seasons where he sung in over 115 main stage performances in a wide repertoire including Brighella in Ariadne auf Naxos,                         Geharnischter and Priest in the Magic Flute, Heinrich der Schreiber in Tannhäuser, Conte di Lerma and Araldo in Don Carlo and the Tenor solo in Petite Messe Solennelle. He made his debuts at the Salzburg Festival in 2014 being part of the „young singers project“ where he sung Don Ramiro and Belmonte in studio productions and the Rossini Opera Festival in Pesaro, being part of the prestigious Accademia Rossiniana led by M. Alberto Zedda at that time, who invited him to sing the role of Conte di Libenskof in Viaggio a Reims. Further guest contracts brought him with Tonio in La fille du Régiment to Staatstheater Karlsruhe, Theater Biel/Solothurn in Switzerland and to the Royal Operahouse Covent Garden in London to cover the same role, Lindoro in Italiana in Algeri to Nationaltheater Weimar (directed by Tobias Kratzer) and to Teatro Comunale di Bologna, Libenskof in Viaggio a Reims to Opera Graz, Italian Singer in Rosenkavalier to Staatstheater Schwerin, Don Ramiro in La Cenerentola to the opera houses of Braunschweig, Linz, Munich, Magdeburg, Osnabrück and Sofia National Opera, Almaviva in Barbiere di Siviglia to Innsbruck, Magdeburg, Meiningen and Teatro Menotti di Spoleto, Ernesto in Don Pasquale to the Austrian Festival castle Kirchstetten, Nadir in Pearlfishers and Ferrando in Cosi fan tutte to Theater Pforzheim, Don Ottavio to Theater Regensburg, Alfred in Fledermaus to Theater Freiburg, Paolino in Matrimonio Segreto to the National Opera Amsterdam, 4th Jew in Salome with Mo. Gergiev at the Verbier Festival in Switzerland and with the Tenor solo in a staged production of Rossini's Petite Messe Solennelle on a tour to the Opéra Comique in Paris, the Bregenz Festival as well as to the Grand Theatre de Luxemburg, Erfurt, Berlin, Perpignan, Nimes and AntibesRecently he made his debut in the role of Edgardo in Lucia di Lammermoor in Clermont-Ferrand, Tebaldo in Capuleti e Montecchi in Biel/Bienne, Tamino in Magic flute at Staatstheater Cottbus, sung again Lindoro in Italiana in Algeri in Kaiserslautern, Alfred in Fledermaus at the French opera houses in Rennes, Avignon, Toulon, Nantes and Angers, Lindoro in Berlin with Eroica - orchestra and Petite Messe Solennelle at the Konzerthaus Berlin, Ernesto in Don Pasquale at Teatro Comunale di Sassari in Italy and his debut in Vienna at Theater an der Wien in Weinberger Opera Schwanda the bagpiper (directed by Tobias Kratzer). He worked with the conductors Alessandro De Marchi, Patrick Lange, Alberto Zedda, Valery Gergiev, Simone Young, Massimo Zanetti, Antonello Allemandi, Daniele Squeo, Mikhail Tatarnikov, Eun Sun Kim, Stefan Soltesz, Theodor Guschlbauer, Karl Heinz Steffens, Benjamin Bayl, Srba Dinić, Daniel Inbal, Alexander Soddy, Oksana Lyniv, Joana Mallwitz, Michael Hofstetter, Domingo Hindoyan and stage directors Andrea Moses, Hans Neuenfels, Jürgen Flimm, Calixto Bieito, Andreas Homoki, Tobias Kratzer, Bernd Mottl, Andreas Bäsler, Brigitte Fassbänder, Anette Leistenschneider, Dominik Wilgenbus, Hans Hollmann and Nicola Hümpel (Nico and the Navigators). His concert and oratorio repertoire which he performed with orchestras such as the Danish Radio-Symphony-Orchestra, the Bamberg Symphony Orchestra and Concert Royal Cologne brought him with Bach's St. Matthews Passion and Christmas oratorio to the Berlin Philharmonic Hall and the Cathedral in Aachen, Mendelssohn's Lobgesang to Westminster Hall in London, Rossini's Stabat Mater to Neubrandenburg, Freiberg, London and the Teatre Principal de Palma de Mallorca, Rossini Messe di Gloria to Cottbus and Hildesheim, Puccinis Messe di Gloria to Saffron Walden Hall in Essex/UK, Bruckners Te Deum to Fulda, Carmina Burana to Freiberg, the Mozart Requiem to Bamberg, Wiesbaden and Belgrade and Mendelssohn's Elijah to Berlin. Still active as a pianist, he appears mainly with chamber music like the Beethoven Duo Sonatas for Violin and Piano as well as some Lied repertoire by Brahms, Schubert and Mozart as an accompanist like recently at the LIFE Victoria de los Angeles Liedfestival in Barcelona or at „Wohntonfestival“ in Osnabrück. 

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Dear Miloš, it’s a pleasure to have this conversation with you. How was your summer? What are your expectations for this new season that has just started? Where can we see you? Dear Alice, the pleasure is completely mine. Thank you for having me. My summer was wonderful. I finally had a lot of time at […]

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Alice Lechner

Alice Lechner

Alice Lechner comes from a music-loving family. Her first encounter with the opera universe was at the tender age of six. The grandeur of the stage productions and costumes, the backstage chatter, and last, but definitely not least, the music left her in awe, beginning with Mozart’s Don Giovanni. The overall feeling that opera awakens in anyone who gets a glimpse into this part of artistic eternity, that each and every day passes the test of time, was what drew her to stay and be a part of this world. The Opera House of Brașov became her second home, and the people who worked there were her second family.

Since then, Alice has devoted her spare time to maximising her musical knowledge through instrumental studies, studying both piano and violin for a short time. In the following years, her number one passion stepped out of the limelight and graciously gave way to Law Studies.
Since 2018 she has been studying Law at “Alexandru Ioan Cuza” University in Iași.

Her passion for opera, even if it is no longer her top professional priority in terms of career, it has most definitely become her priority during her free time. Wanting to experience the best of both worlds and extend her musical horizons, she regularly attends opera performances throughout Romania and abroad.
With OPERA Charm Magazine, Alice aims to nurture her creative side to help it flourish and bloom and to discover, alongside the magazine’s readers, the fascinatingly complex world of opera.

Currently, she is an LL.M. in Business Law at “Alexandru Ioan Cuza” University in Iași.

Oana Zamfir

Oana Zamfir is a second year MA student at the “George Enescu” National University of Arts, at the Department of Musicology.

She studied violin for 12 years at the “Stefan Luchian” High School of Art in Botosani, later focusing on the theoretical aspects of music. In 2019 she completed her bachelor studies in Musicology as a student of the National Academy of Music “Gheorghe Dima” in Cluj-Napoca. Her research during 2018-2019 brought to the forefront elements of the archaic ritual within works of composers who activated during the communist period, giving her the opportunity to start a research internship at the “Carl von Ossietzky” University in Germany. In this context, she recorded conversations with members of the Sophie Drinker Institute in Bremen, and had access to documents directly from the Myriam Marbé archive.

Since 2019 she has been a teacher of Music Education and Theoretical Music Studies, making full use of interactive methods in the musical training of students and working, at the same time, with the children’s choir founded in the first year of her activity.

Her interests include pursuing a degree in interior design in 2020.

Alexandru Suciu

Alexandru Suciu inherited his passion for art growing up in a family of several generations of musicians. He began his musical studies at the “Augustin Bena” School of Music in Cluj, where he studied piano and guitar. Even though his main study direction was philological, his passion for music prevailed. He began his academical journey at the Faculty of Letters of the “Babeș-Bolyai” University, studying Comparative literature and English. He continued by studying Opera Singing at the “Gheorghe Dima” National Music Academy. He also graduated the Musical Education section, followed by Artistic Directing at the Musical Performing Arts department.

His multidisciplinary education opened the doors towards research, which is seen both through his participation in national and international conferences and symposia, such as the Salzburg Easter School PhD-forum, organized by the Salzburg Universität or the Silesian Meeting of Young Scholars, organized by the Institute of English at the University of Silesia, as well as the collaboration with Opera Charm Magazine.

During his student years, he won several prizes, including the Grand Prize at the “Paul Constantinescu” National Musical Interpretation Competition, the Romanian Composers and Musicologists’ Union Prize at the same competition, the First Prize and the Schubert Prize at the “Ada Ulubeanu” Competition.

He further developed his artistic skills by specializing in courses and masterclasses held by personalities such as Vittorio Terranova, Giuseppe Sabbatini, Marian Pop, Ines Salazar, Riccardo Zanellato, Paolo Bosisio, Valentina Farcaș and Manuel Lange in contexts such as the Internationale Sommerakademie für Operngesang Deutschlandsberg, Corso Internazionale di Canto Lirico I.M.C. Licata or the Europäische Akademie für Musik und darstellende Kunst Montepulciano. Besides his activity on-stage, he currently teaches Opera Singing Didactics, and Pedagogical Practice within the Department for Teacher Education and Training at the “Gheorghe Dima” National Music Academy.

Cristina Fieraru

Cristina is a 24 year-old Romanian soprano & a student at the National University of Music Bucharest, where she pursues the MA program in Vocal Performance.

She made her debut in Pamina from “Die Zauberflöte” by Wolfgang Amadeus Mozart at only 19 years old at the Bucharest National Opera House, as a member of the Ludovic Spiess Experimental Opera Studio. Over the years she made her debut in roles such as Contessa d’Almaviva (Le nozze di Figaro), Mimì & Musetta (La Bohème), Alice Ford (Falstaff), Erste Dame (Die Zauberflöte) in her university’s opera productions.
Her passion and experience extends in the field of choral music, too.

She has been part of our dream team since the fall of 2021. For a good period of time she took care of OPERA Charm’s social media and took you on the monthly journey through the history of opera through our Legends rubric – and a few times through the Theaters around the World rubric.

Her little soul rubric – from 2021 to present – is definitely the Conductors of the Future, where, every month, she gives you the chance to meet a young star of the world of conducting and, of course, to find out what’s the most charming feature of opera in these artists’ views.


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