Mitja Gregorac, tenor

The fervour of the voice of Mitja Gregorac ...
Lausanne (Gazette de Lausanne, February 1968)

The tenor Mitja Gregorac very successfully contributed his share to the performance of Missa Solemnis, bringing to it his beatiful voice and sound musicianship
Belgrade ("Borba", February 1963)

... Schon diese barocken Ariosi zeigten den Sänger als ausgezeichneten Tenor. Dass es aber auch gesangstechnisch weit Schwierigeres zu meistern wusste, bewies er in den Drei Liedern zur Harfe von Duparc, dessen stylistische Nähe zu Debussy deutlich ist, und in den sehr wort- und sinngezeugten sechs Hölderlin-Fragmenten op. 61 von Benjamin Britten.
Jochannes Frankfurter (Graz, Neue Zeit, Oktober 1968)

Mitja Gregorac name - Mitja Gregorac

Particulary successful in Britten’s wonderful cycle "Les Illumilations" was our tenor soloist Mitja Gregorac, the leading artist in this field in our country. He has both a highly cultured and accurate way of singing, and a very beautiful voice which never fails him.
("Nasi razgledi", Ljubljana 1963)

The tenor Mitja Gregorac - good in timbre, and best in interpretation.
Brescia (Giornale di Brescia, October 1969)

note-line

Mitja Gregorac (1921 - 1997) studied singing with Prof. Julij Betetto at the Academy of Music in Ljubljana. He became a concert singer and won admiration of the Yugoslav public with his excellent recitals, concerts, broadcasts and television appearances.

Particurarly successful were his interpretations of Stravinski’s Oedipus Rex at the 13th Dubrovnik Summer Festival 1962, Beethoven’s Missa Solemnis in Belgrade 1963, and Britten’s cycle Les Illuminations in Zagreb and Ljubljana 1963
He was very successful also outside Yugoslavia, thus in Italy (Roma, Firenze, Torino, Peruggia, Bari, L´Aquila, Brescia, Messina, Trieste), Switzerland (Lausanne, Bienne), Federal Republic of Germany (München), Austria (Graz, Klagenfurt) and in the Democratic Republic of Germany (Berlin).

Gregorac-Matacic
Mitja Gregorac (second from right) - Lovro von Matacic (third from left)
Performance of Händel’s Belsazar for soloists, choir and orchestra
(Ljubljana 1965)

R e c o r d i n g s

Novak - The Happy day or The Marriage of Mathew
(Mladinska knjiga, LD 0538, Ljubljana 1980)
Plautzius - The motet Dic Maria
(Mladinska knjiga, U-LP-15, Ljubljana 1966)
Stravinsky - Les Noces
(Pioneer Records, LATO 2 - P 1012, Trieste 1967)
Beethoven, Britten, Lipovsek, Schubert, Haydn
(Obzorja Maribor, Helidon 1983, FLP 06-005)
Britten, Lipovsek, Krek, Ravel
(Mladinska knjiga, LP 49 A, Ljubljana 1971)