The title role in Handel Alexandar Balus / London Handel Players, Laurence Cummings

The stand-out of this year’s festival was easily Alexander Balus. … Add a heavyweight, international cast including the vivacious Sophie Junker and mezzo Renata Pokupic, and you have a Handelian winner.
The Spectator, April 2016

Marguerite in Berlioz The Damnation of Faust / Melbourne Symphony Orchestra, cond. Sir Andrew Davis

“Croatian mezzo-soprano Renata Pokupic’s lovely warm creamy voice and expressive demeanour were at once beguiling and very moving indeed. Her earlier account of “Le Roi de Thule” was similarly impressive… a glorious outpouring of vocal magic”
Classic Melbourne, March 2015

“Her voice is full of sorrow and mystery, but with a suggestive warmth of expression that at times verges on flirtatious. Her playful encounter with a beautifully shaped solo viola in the ‘Chanson gothique’ is an evening highlight.”
Daily Review, five stars, March 2015

“It can only be hoped that she returns soon, for this was an exceptional performance.”
Australian Book Review, March 2015

“Projecting a serene and gracious manner, Pokupić’s singing characterises Marguerite’s intoxicating beauty, and she also captures the fragility of the innocent heroine.”
Simon Parris: Man in Chair, March 2015

“Renata Pokupić, with her rich, middle register, brought a radiant warmth to the role of Faust’s doomed love, Marguerite.”
Limelight Magazine, March 2015

Juno/Ino in Handel Semele, Concerto Köln, cond. Ivor Bolton

“mezzo-soprano Pokupic sounded strong and robust in the lower regions… she did well with her virtuosity, which was especially needed in the vicious revenge arias of Juno.”
Place de l’Opera, May 2015

Recording: Songs by Václav Tomášek / with Roger Vignoles, piano (Hyperion Records)

“Renata Pokupic’s winey mezzo, whose slightly accented German and rolled ’r‘s has an apt flavour and timbre, especially for the six Bohemian songs.”
BBC Music Magazine, August 2015

Siebel, Gounod, Faust, Royal Opera House, Covent Garden, cond. Maurizio Benini, dir. David McVicar

“Renata Pokupić sang superbly and looked endearing as the frustrated Siébel” Opera, June 2014 “As for fresh-voiced mezzo Renata Pokupić as the lovelorn Siébel (a trouser role), she made far more of the part than is written on the page and delivered a touching account of “Faites-lui mes aveux.”
What’s on Stage, April 2014

Arias, Classical Opera Company, Wigmore Hall, cond. Ian Page

“In those arias that explored the rich, ripe lower regions of the castrato voice, Pokupić reigned supreme… Focus was on the voice alone as she movingly re-created one of Tenducci’s showpieces: Arbaces’s solemn farewell to his father from Thomas Arne’s Artaxerxes… Pokupić was undaunted by the musical seastorms lurking within an aria from J. C. Bach’s Adriano in Siria. And in Cecilio’s great aria from Mozart’s Lucio Silla, each leap of despair was firmly and glowingly sculpted. Pokupic also had the true plums of the evening: Idamante’s Il padre adorato from Idomeneo, and Sesto’s Deh, per questo istante solo from La Clemenza di Tito.”
The Times, January 2013

Mozart: Les Mystères d’Isis / Salle Pleyel, Flemish Radio Choir, Le Concert Spirituel, Diego Fasolis

“Proudly and theatrical, Renata Pokupic shows off her velvety mezzo tints, beautifully embodying both arias with her praiseworthy French. Each line placed with elegance, always mindful of its beauty as well as of its dramatic truth.”
Classique News, November 2013

Tirinto Imeneo / Barbican Hall, dir. Paul Curra, cond. Christopher Hogwood

“Renata Pokupic in the role of Tirinto scooped the two most engaging arias and delivered them with an athletic, mezzo cut-and-thrust.”
Financial Times, May 2013

“Renata Pokupić’s Tirinto has music of ardour comparable to that moment of truth, and Handel launches the hero right at the start with a lovely, lightly accompanied romance. The Croatian singer gleamed with easy stage manner and security at the top and bottom of an impressive range.”
The Arts Desk, May 2013

Dorabella in Mozart Cosi fan tutte / Washington National Opera, cond. Philippe Auguin, dir. Jonathan Miller

“Croatian mezzo-soprano Pokupić was a perfect Dorabella. Ms. Pokupić’s contribution to this sister act was a steady but appealingly girlish lower register that shone both in her solo moments yet helped anchor the ensembles as well… appealing throughout the evening.”
The Washington Times, February 2012

Title role in Massenet Cendrillon / Opéra de Lille, cond. Claude Schnitzler, dir. Laurent Pelly

“The two lead singers both excelled in portraying the charms of the ingénue … It would be difficult to choose between Renata Pokupić and Gaëlle Arquez; both singers enchanted the audience with the beauty of their complementary timbres, their theatrical commitment and their crystal-clear diction.”
Res Musica, May 2012

Octavian, Strauss, Der Rosenkavalier (concert performance), Minnesota Orchestraal Association, Cond. Andrew Litton

“Similarly strong was mezzo Renata Pokupic in the trouser-clad title role. Vividly conveying a teenager’s mood swings and limited impulse control, she also brought a tender tone to the beautiful love duets she shared with sopranos Katie Van Kooten and Emma Pearson”
Rob Hubbard, The Pioneer Press, July 2011

“Mezzo-soprano Renata Pokupic brought a ringing top to Octavian … The impetuousness of her ardent performance was thoroughly winning… The Act III trio for the three women, about love and renunciation, is one of the most sublime moments in all opera and was here transcendent.”
William Randall Beard, The Star Tribune, July 2011

Opera arias, Queen’s Hall, Edinburgh, Scottish Chamber Orchestra, cond. Jean-Christophe Spinosi

“[There was] a miniature exploration of the wiles, whims and ways of love by the Croatian mezzo Renata Pokupic who, like any self-respecting opera singer, could more than match Spinosi for charisma. … Pokupic, very much the up-and-coming young mezzosoprano, has a rich tone and a great sense for drama. Her Voi che Sapete (The Marriage of Figaro) was beautifully sung, and Dorabella’s Smanie Implacabili from Così, at the other end of inexperienced love’s emotional scale; effective. Breathlessly sob-sighing and feeling her way through unfamiliar despair, the artifice was complete as Pokupic fainted, delicately, into Spinosi’s arms. … Pokupic proved to be most impressive in the Rossini duo that followed, throwing off the coloratura of Cruda Sorte (L’Italiana in Algieri) with ease. Her Rosina (‘Una voce poco fa’ from The Barber of Seville) was syrupy sweet, crafty and so resolutely defiant as she grabbed Spinosi’s baton to conduct the final chords herself.”
The Times, May 2011

Wigmore Hall debut recital with Roger Vignoles

“The Wigmore recital brought together the noble-voiced Renata Pokupić, who has been making a name for herself … and the lyric tenor Alek Shrader.” “…she entered the emotional world of this set of songs.” “In the final prayer Pokupić caught the true despair of Mary’s utterance.” “Pokupić took the opportunity to display delicate vocal graces, which may be her forte, in ‘Il rimprovero.’”
Richard Nicholson, Classical Source, April 2011

“Watching how acclaimed young opera singers adapt to the more intimate and nuanced business of delivering lieder is always fascinating. The Croatian soprano Renata Pokupic excited the critics, me included, when she sang a minor role in Tamerlano at the Royal Opera. In fact she was the best thing in a woeful show. And at the Wigmore she once again revealed the qualities that could take her to the top. Her voice has a Ferrier-like sonority, yet with a seductive husk. It is superbly even-toned from top to bottom… on the whole keeps good control. And she projects each song’s miniature emotional world effectively, yet without effusive gush… She captured perfectly the poignant joyousness of Yeats’s The Secrets of the Old in Samuel Barber’s beautiful setting. And I loved the way that she and the pianist Roger Vignoles phrased four Fauré Mélodies: respecting their reticence, delicacy and grace rather than loading them with heavy-duty emotions… She brought a similarly noble restraint to Schumann’s dark settings of poems supposedly written by Mary, Queen of Scots.”
The Times, April 2011

Cherubino, Mozart Le nozze di Figaro Los Angeles Opera, cond. Placido Domingo, dir. Ian Judge

“Renata Pokupic’s Cherubino, the young scamp enamoured of all women, shot erotic darts. The mezzo from Croatia passes for boyish, but she is also feminine, and her flirtations with both Susanna and the Countess seemed more than a little loaded.”

Irene, Handel Tamerlano Royal Opera House, Covent Garden, cond. Ivor Bolton, dir. Graham Vick

“But the only accomplished lyricism came from the Croatian mezzo Renata Pokupic in the role of Irene, a rival princess.”Richard Morrison, The Times, March 2010 “…the bright Croatian debutante Renata Pokupic — who provided the evening’s most radiant singing and won the most enthusiastic ovation in the role of Tamerlano’s spurned betrothed, Irene.”
Hugh Canning, The Sunday Times, March 2010

“Renata Pokupic – bright, open, and seductive of voice – also made an impression as Irene, Tamerlano’s would-be betrothed.”
Edward Seckerson, The Independent, March 2010

“Renata Pokupić’s assumption of the part from the moment of her entry atop a vertiginous royal blue elephant was one of the evening’s most rewarding elements. Musically assured, she expanded the character’s importance in the network of intrigues in her disguise as servant girl and her dignity in propria persona.”
Richard Nicolson, Classical Source, March 2010

“Renata Pokupic makes an impressive house debut as Irene.”
Simon Thomas, What’s On Stage, March 2010

“Another house debutant provided almost equally lustrous performance; the mezzo Renata Pokupic phrased Irene’s wonderful aria ‘Par che mi nasca in seno’ with touching sensitivity, and gave a fully rounded portrayal of her character.”
Melanie Eskenazi, The Opera Critic, March 2010

“Croatian mezzo-soprano Renata Pokupic made a very spirited debut with the Royal Opera in the role of Irene and turned out to be a very pleasant surprise, displaying a warm, full-bodied and velvety timbre which was a genuine delight to listen to. Her Act II aria ‘Par che mi nasca in seno’ was impressively stylish with a very smooth legato line.”
Faye Courtney, Opera Britannia, March 2010

Angel, Mendelssohn Elijah, London Philharmonic Orchestra, cond. Kurt Masur

“Topi Lehtipuu and Renata Pokupic gave Obadiah and the Angel a sense of immediacy that was almost palpable.”

Dorabella in Mozart Così fan tutte (concert version) Théatre des Champs-Elysées, Le Cercle de l’Harmonie, Jérémie Rhorer

“Croatian mezzo Renata Pokupic sang Dorabella with ease and fluency, demonstrating an impressive fullness and stability of timbre across the whole tessitura, and perfect tuning.” – ConcertoNet, October 2009

“Naturally adorable, Renata Pokupic sang Dorabella with a rich, velvety tone whose opulence gently veiled the exquisitely formed contours of her melodies.”

Eliogabalo, Cavalli’s Eliogabalo, Grange Park Opera, cond. Christian Curnyn, dir. David Fielding

“As for Eliogabalo, strutting in silver tights, the velvet high mezzo of Renata Pokupic is more pleasing still; quite a star turn, in fact.”

Sesto, Mozart’s La Clemenza di Tito, Chicago Opera Theater, cond. Jane Glover, dir. Christopher Alden

“Croatian mezzo-soprano Renata Pokupic’s performance as Sesto was a revelation. Her acting was flawless, and her voice was magnificent. Nearly every moment she was onstage was a highlight, but the particular standout was her performance of the long second act aria “Deh per questo istante.”
R. Todd Shuman, Operaonline US, April 2009

“Pokupic, a superb Croatian mezzo, nailed each of Sesto’s arias with aplomb, not least the famous ‘Parto, parto,’ in tandem with Charlene Zimmerman’s stunning clarinet obbligato.”

Bach Mass in B Minor, Tafelmusik, Baroque Orchestra and Chamber Choir, Place des Arts, Montreal, cond. Kent Nagano

“Renata Pokupic was particularly rich and melodious in the Qui sedes, which she performed standing beside the oboe d’amore player.”

Statira, Vivaldi’s L’incoronazione di Dario, Garsington Opera, cond. Laurence Cummings

“…fine singing from Renata Pokupic” – Anthony Holden, Guardian, June 2008

“…Renata Pokupic…. gave a vibrant, polished account.” – Fiona Maddocks, Evening Standard, June 2008

“Renata Pokupic’s sweetly ditsy Statira…is outstanding” – Anna Picard, Independent, June 2008

“Renata Pokupic was an enchanting Statira” Andrew Clark, Financial Times, June 2008

“(Statira) Delightfully portrayed by the young Croatian mezzo Renata Pokupic.”

Teodata, Handel’s Flavio Barbican, cond. Christopher Hogwood, Academy of Ancient Music

“… it was… Renata Pokupic’s Teodata who provided the most distinguished singing…”

Dvorak, Stabat Mater,  Choeur Accentus, cond. Laurence Equilbey

“We are also lucky that the first recording of this unheard version is served by magnificent performers who are well acquainted with this repertoire and form – the compassionate piano of Brigitte Engerer, the ardent and contrasted voices of the Accentus choir and the soloists (particularly mezzo-soprano Renata Pokupic). To her equally successful Brahms German Requiem and Liszt Via Crucis, Laurence Equilbey and partners add with this another exemplary trophy. This sacred trilogy, this holy trinity has no equals or rivals in today’s discography.”

Cherubino, Mozart’s Le Nozze di Figaro, Theatre des Champs-Elysees, cond. Jérémie Rohrer

“Renata Pokupic displays a charm worthy of Frederica von Stade.”

Siébel, Gounod’s Faust, Opera Ireland

“The best singing on stage comes from the Croatian mezzo Renata Pokupic in the trousers role of Siébel. Her tone is straight and true, her boyish antics perfectly apt, and whenever she sings, she simply commands attention.”

Messagera, Monteverdi’s Orfeo, Lille Opera, Emmanuelle Haïm

“Renata Pokupic makes herself easily noticed, a Messagera with a soft and gripping tone, with clear and assured diction; conscious of her account’s crucial role, she knows how to bend the action towards tragedy with sincerity and emotion.”

Dejanira, Handel’s Hercules, London Handel Festival Choir and Orchestra, Laurence Cummings

“… she can cope with the most demanding of Handel’s florid vocal lines and ornaments with remarkable control of articulation and breath… an extremely appealing stage presence combined with the sheer quality of her voice, gives her an almost unbelievable ability to express the widely varying moods. She has a very special talent.”

Anna, Berlioz’s Les Troyens Orchestre Révolutionnaire et Romantique, Théâtre du Châtelet, John Eliot Gardiner

“Renata Pokupic composes a quasi-mozartian Anna, giving to the great duo with her sister Dido a very appropriate dreamy charm.”

Handel: Ariodante’s arias, Aestas Musica International Ensemble, Laurence Cummings

“Renata Pokupic displayed attributes that merit her a place at the very pinnacle of her profession. She projects a vivid and refreshing personality from the platform, but in doing so immerses herself totally in the spirit and style of the music. Her technique is completely assured and meticulously controlled. Ms Pokupic is a very special singer.” “Arias from Ariodante were sungwith a gleaming bronzed vocal quality, admirable flexibility, complete attachment to text and character and a poise and sophistication … and led me to believe that here is an outstanding talent.”

– Stephen Pettitt, Evening Standard