Matija Meić, a distinguished Croatian baritone with an impressive international career, is returning to the Croatian National Theatre Split stage, this time as Belcore in Donizetti's The Elixir of Love. His rich interpretative range, honed through roles in Verdi, Puccini, and Rossini operas, makes him an ideal performer for this comedic "villain."
You are portraying the self-assured Belcore. How did you approach building this role, and what drew you most to this character?
Throughout operatic history, a recurring theme is "the soprano and tenor are in love, but the baritone hinders their union." Examples include Verdi's Il Trovatore, Un Ballo in Maschera, Rigoletto, La Traviata, Otello, Puccini's Tosca, or Donizetti's Lucia di Lammermoor. The same pattern appears in The Elixir of Love, though in a slightly altered form: here, Adina uses Belcore to spite Nemorino, whom she truly loves. This romantic triangle exists but in a comedic form. The comedic aspect makes it fascinating to shape the archetypal baritone character who interferes with love but with a comedic twist. That is why portraying Belcore is always vocally and theatrically intriguing, as it requires clearly defining the "villain" or disruptor who brings both danger and humor.
You have extensive experience interpreting various baritone roles, from Verdi's Rigoletto to Rossini's Figaro. How does Belcore differ from other characters you have portrayed?
Vocally, Belcore is a bridge between Rossini and Verdi's baritone roles. In him, Donizetti combines elements of coloratura and fast narrative singing, found in Rossini's characters like Dandini from La Cenerentola or Figaro in The Barber of Seville, but also employs long melodic phrases and dramatic emphasis perfected later by Verdi, especially in his baritone roles. These musical demands define Belcore’s character as a strong and imposing soldier trying to be gallant and refined, which does not suit him well. I use these guiding principles in building the role, and I hope the result will be both dangerous and funny—perhaps even dangerously funny.
This is not your first time performing Belcore. How would you compare past experiences with this new production in HNK Split?
Between 2012 and 2014, I performed Belcore in a production of The Elixir of Love at HNK Zagreb. The setting was surreal, featuring giant books and brightly colored costumes, giving the impression of a cartoon. I remember wearing a white uniform and, at 26, looking like an admiral. Despite the white uniform, I was very green! Back then, I was the youngest in the cast and had the least stage experience. However, my professor, Giorgio Surian, sang Dulcamara, and working on that production was like hands-on training. He provided invaluable advice on singing and acting. Thirteen years later, I am among the more experienced cast members, which is both a responsibility and an opportunity to shape the character more deeply, both vocally and theatrically. In the Split production, director Goran Golovko sets the action in modern times, which works fantastically. The story unfolds in a hotel resort where a military unit arrives from an aircraft carrier—elements the Split audience will easily relate to. I can’t wait!
Your career includes performances in major European opera houses and festivals. How important is singing for a home audience, and how do you perceive the Split opera scene?
Performing in Croatia is not a burden due to potential criticism; it is an opportunity to share what I have learned and developed while singing abroad. I particularly enjoy working on operas and other musical works by Croatian composers, striving to bring the highest vocal and dramatic standards to this repertoire. For example, I thoroughly enjoyed portraying Oloferne in Judita by Frano Parać at HNK Zagreb, incorporating elements from similar characters like Puccini’s Scarpia or the King from Orff’s Die Kluge. I prepare my performances in Croatia with special care, as I believe giving my best to the cultural environment that shaped me is crucial. HNK Split holds a special place in my heart because I performed my first Verdi role here (Renato in Un ballo in maschera in 2022, conducted by Ivo Lipanović and directed by Goran Golovko). Another memorable moment was singing in Rossini’s The Barber of Seville, where my wife Martina played Rosina while pregnant with our son. I joke that all three of us sang on stage together!
What are your plans after this premiere? Is there a role you have not yet performed but would love to?
After The Elixir of Love in Split, I will perform the same opera in Munich in April and May, where Croatian tenor Matteo Rašić will sing Nemorino. Before that, I will sing my favorite role, Rigoletto, in Zagreb. Later in the season, in Munich, I will take on Puccini’s ultimate villain, Scarpia, and the jealousy-driven Herr Fluth in Nicolai’s The Merry Wives of Windsor. Soon, I hope to perform several Verdi masterpieces, especially Macbeth and Nabucco and perhaps Iago from Otello in a few years. I look forward to any Verdi role, as they suit my voice best and are dramatically engaging. Additionally, I would love to participate in Croatian opera productions, particularly those by my favorite composer, Boris Papandopulo. I also enjoy performing solo art songs with piano. In 2021, I presented such a program at the Split Summer Festival, and I hope to return soon with another recital—perhaps exclusively featuring Croatian composers.
Matija Meić completed his vocal studies in Zagreb under Giorgio Surian and furthered his training at the University of Music and Performing Arts Vienna with Claudia Visca and Florian Boesch. Since 2015, he has been a member of the ensemble at the Bavarian State Opera in Munich, where he has performed numerous baritone roles, including the title role in Verdi's Rigoletto, Puccini’s Scarpia (Tosca) and Marcello (La Bohème), the title roles in Danton's Death by G. von Einem, The Barber of Seville by G. Rossini, Don Giovanni by W.A. Mozart, and Eugene Onegin by P. I. Tchaikovsky. He has also excelled in the four antagonist roles of Lindorf/Coppelius/Dr. Miracle/Dapertutto in The Tales of Hoffmann by J. Offenbach, as Nick Shadow in The Rake’s Progress by I. Stravinsky, the King in Orff’s Die Kluge, and Lord Cecil in Donizetti’s Maria Stuarda. In the 2022/2023 season, he debuted in Pavia and Klagenfurt. He has performed at the Bregenz Festival and the Rossini Festival in Bad Wildbad, where he won the "International Belcanto Prize" in 2015. In Zagreb, he appeared as Belcore in The Elixir of Love, Figaro in The Barber of Seville, Onegin in Eugene Onegin, and The Marriage of Figaro, earning the Croatian Theatre Award. As a concert singer, he has collaborated with the Munich Philharmonic, the Royal Philharmonic Orchestra of Liverpool, the Helsinki Philharmonic, and many other prestigious ensembles.
The Elixir of Love, conducted by maestro Veton Marevci and directed by Goran Golovko, premieres on March 1st, 2025, with additional performances on March 3rd, 4th, 5th, and 6th.