▶ People②
Zoran Todorovich, Professor in the Department of Vocal Music
*<Power of Fate (La forza del destino)>: This opera by Giuseppe Verdi is a masterful portrayal of the human psyche confronting tragic fate. Professor Todorovich, who has performed the role of the male protagonist Don Álvaro several times, has expressed a strong preference for this artwork.
From engineer to opera singer, from lyric tenor to dramatic tenor, and from performer to director, Professor Zoran Todorovich has embraced a lifetime of shifts under the unifying theme of opera. Since his debut in the music world, he has continually evolved, welcoming each shift across disciplines as part of his pursuit of “experience.”
A choice or experience may appear isolated, like a single dot, yet when viewed across the trajectory of time, these dots connect to form the arc of a life.
“I have no planner personality. Human life tends to flow in defiance of our plans,” Professor Todorovich once remarked. His past, too, comprises both major and minor decisions that altered the directions of his life. His first key turning point was his decision to diverge from a career path in aircraft engineering.
“I began singing in a choir at my girlfriend's suggestion while working as an engineer at a research institute focused on military aircraft. A year later, I decided to pursue a career in music. Although my father opposed the decision, I now believe it was a bold move—because I dared to leave a stable job for one with an uncertain future.”
Professor Todorovich, who auditioned for and received offers from several regional opera houses, chose to begin his career at the smallest among them. He believed that a smaller house would offer greater opportunities to develop his craft by taking on various roles. As he anticipated, those early experiences performing diverse characters laid the foundation for his successful and steady career as a lyric tenor.
His second career shift was even more significant. While working at one of the world’s leading opera houses, he recognized a mismatch between the roles he was assigned and the natural qualities of his voice. In search of a solution, he studied with Italian baritone Bruno Pola, from whom he learned and internalized a radically novel vocal technique—one that engaged the whole body rather than relying solely on the head voice.
“This new vocal technique was a game-changer. It allowed me to master opera roles that were completely different from those I had previously performed. My opera house began offering me new roles, such as Otello and Don Álvaro, and since then, I have worked as an opera singer for over 20 years."
His third landmark decision was to accept, without hesitation, an offer to teach at SNU following his retirement from opera performance.
“After receiving an offer from Samuel Yoon, a baritone and professor of vocal music, I accepted without a moment’s hesitation. No institution in Europe left as strong an impression on me as SNU.”
Professor Todorovich has taught the vocal technique that shifted his career to his students, while also imparting boundless enthusiasm for guiding them in the lifestyle and mindset required of an artist. His goal is to help shy but diligent Korean students grow into distinguished opera singers on the global stage by showcasing their exceptional talents.
Beyond teaching a vocal technique that engages both the vocal cords and the whole body, and drawing from his 30 years of stage experience, the core learning experience Professor Todorovich aims to offer his students is an “Aha moment.”
“An ‘Aha moment’ occurs when a singer captivates the audience through their voice, emotion, and music, and simultaneously, comes to recognize their own artistic allure. When the singer's deep sensibility resonates with the audience from the stage, this shared experience fosters extraordinary growth for both the performer and the listener.”
Zoran Todorovich with the St. George String Orchestra
at the Belgrade Concert Hall, in a gala concert of specially arranged Puccini pieces.
At the 21st Daegu International Opera Festival (DIOF) in 2024, where he served as director, the staging of The Knight of the Rose as the opening performance marked a significant turning point in many respects. The Knight of the Rose is considered Richard Strauss’s most celebrated opera and one of the most challenging operas to produce. Beyond its five to six main characters, the production requires various supporting characters and many choir and ensemble scenes, requiring significant effort to recruit suitable vocalists. This masterpiece had not been staged in South Korea for 28 years until Professor Todorovich took on the role of the producer.
“The Knight of the Rose is an exceptionally challenging opera. Even the Metropolitan Opera requires three years of preparation following contract agreements with the singers. However, we conceived the idea in March and staged the performance by September. Every member of the team participated in the process with incredible dedication and passion, and the outcome was immensely impressive. No opera house in Europe could have produced such a high-caliber performance in so short a time. Such an achievement is only possible in South Korea.”
The Knight of the Rose marked a new milestone both in Professor Todorovich’s career and in the history of opera in South Korea. Featuring an all-Korean cast, the production delivered an unparalleled experience for the audience. Its success significantly raised expectations for the Daegu Opera House as a leader in ushering in “a new era of opera.”
A life not of rigid plans but of quiet preparation, a stance of learning through experience rather than controlling circumstances—this defines Professor Todorovich’s holistic and enriching approach to the artist’s journey, as well as the outcomes he has achieved by living in alignment with this mindset.
“The novel vocal technique of engaging the whole body
enabled me to master opera repertoires that were completely different from those I had
previously performed. This technical advancement led to more theatrical opportunities and
has propelled my career as an opera singer for over 20 years.”
