Irena Parlov


Mezzosoprano Irena Parlov completed her Master’s degree in Opera Studies at the Music Academy, University of Split , where she currently lives. She made her debut right after her studies as Suora infermiera in Puccini’s “Suor Angelica” under the baton of Mo. Ivan Repusic which was followed by the role of Adalgisa in Bellini’s Norma in Croatian National Theatre in Osijek.

G. Verdi: Aida – Amneris (Croatian National Theater in Split/ Split Summer Festival, 2022)
J. Gotovac: Mila Gojsalića – Mila (Croatian National Theatre in Split 2023)
C. Saint-Säens: Samson et Dalila – Dalila (Croatian National Theatre in Osijek, 2021)
G. Verdi: Un ballo in maschera – Ulrica (National Moravian-Silesian Theatre in Ostrava, Czech Republic 2020, 2022)
G. Bizet: Carmen (Slovenian Opera and Ballet Ljubljana, from 2016-2022 still present; Croatian National Theatre in Zagreb 2022; Croatian National Theatre in Osijek 2018, 2019. still present; Auditorio de Zaragoza 2018)
G. Verdi: Il Trovatore – Azucena (Slovenian National Opera and Ballet in Maribor 2017/2018; Croatian National Theatre in Split 2018/2019.; Croatian National Theatre in Osijek 2018, 2019, 2022)
G. Verdi: Rigoletto – Maddalena (Slovenian National Theatre in Ljubljana 2019; Croatian National Theatre in Split 2020)
G. Puccini: Madama Butterfly – Suzuki (Slovenian National Opera and Ballet Ljubljana, 2017)
V. Bellini: I Capuleti e i Montecchi – Romeo – Slovenian Opera and Ballet, Ljubljana Verlobung im Traum (Hans Krasa) Nastassja – National Moravian-Silesian Theatre and National Theatre in Prague, Czech Republic
L. Janaček: Katja Kabanova – Varvara ( Opera de Rennes, France 2018; Slovenian National Opera and Ballet, Ljubljana 2016)
V. Bellini: Norma – Adalgisa (National Theatre in Osijek,Croatia 2013)
G. Verdi: Otello – Emilia (Slovenian National Opera and Ballet Ljubljana, 2016/2017) Mo. Kyzlink
P. Mascagni: Cavalleria Rusticana – Mamma Lucia (National Theatre in Split, Croatia March 2014) Mo. Loris Voltolini
G. Donizetti: Maria di Rohan – Armando di Gondi (National Theatre in Brno,Czech Republic March 2014) Mo. Robert Kružik, Mo. Ondrej Ološ
J. Gotovac: Ero the Joker (Croatian national opera)- Doma ( National Theatre in Osijek-Croatia April 2014, National Theater in Split, 2014) Mo. Filip Pavisic., Mo. Ivo Lipanovic
B. Britten: A Midsummer Night’s Dream – Hermia (National Theatre in Brno,Czech Republic January 2013) Mo. Jakub Klecker
J. Strauss: Die Fledermaus – Prince Orlofsky (National Theatre Split,Croatia January 2012) Mo.Hari Zlodre
G. Puccini: Suor Angelica – Suora infermiera (National Theatre in Split, Croatia 2009.) Mo. Ivan Repusic



“…but some new performers left an indelible mark, such as the long-awaited Croatian Amneris in “Aida”, excellent mezzo-soprano Irena Parlov. At the Peristyle, a location of tricky acoustics that, somewhat expectedly, many singers fear, the crystal clear, convincing, powerful and perfectly balanced voice of Irena Parlov, equally full of character and wonderful color in both high and low register gave a new dimension to the Egyptian royal who fights with a slave Aida, for the love of the warlord Radames. A great remark from the audience was that “Peristyle was full of her voice”, which proves that she is a mezzo-soprano with excellent technique and control, a vocal that the orchestra will not “eat”, and her acting expressiveness and deep immersion in the role are just bonuses in the performance of this talented singer that has been conquering the European audience for years, with the flattering comment that she is a “walking Carmen”. After the anthology performance in Aida at the 68th Split summer, we could freely say that Parlov is a walking Amneris, and her best singing years are still ahead of her”

Magdalena Mrčela

Mahler 3rd Symphony, Erfurt opera house

“…the part of it was sung by the alto and mezzo-soprano Irena Parlov from Sarajevo, who accompanied the rising and falling melodic character of the individual verses to the perfection and expressively emphasized the meaning”

Dr. Hanns-Peter Mederer for “Amusio”

“The multi-layered role of Dalila was successfully achieved by mezzo-soprano Irena Parlov because she showed high concentration in a number of different character transformations and interpreted them according to the style of 19th century French opera. The lack of the stage direction required endurance in long arias and duets, especially in the second act which was the most vocally demanding and here Parlov has shown that she can respond professionally to all the challenges of this role in concert version of this opera”

Sunčana Bašić –

“Sul lato musicale abbiamo due vincitori assoluti. La prima, Irena Parlov, cessela una Carmen che non può che risultare affascinante e simpatica; É padrona della scena e ha molto lavorato su gestualità e posture che risultano naturali ma curate; la voce ha un grande volume e un bel timbro da mezzosoprano che si schiarisce molto negli acuti generosi”

C. Canulli – Opera Critics

“Irena Parlov (mezzo-soprano) interprets the carefree and young Varvara. Her voice, equally powerful and well vibrated, with piercing high notes and a warm tone, is perfectly suited to the role of a tempting young woman, who will offer Katia the key to the garden where amorous couples meet at night. She also forms beautiful duets with her lover Kudrjaš…”

Véronique Boudier – Olyrix

“Her somewhat agreed game is opposed to the one, in excess, of her sister at the stage, Irena Parlov, whose strong and convincing mezzo is powerful. The role fits her perfectly vocally”

Tanya Bracq – Le magazine du monde lyrique 2018

“Special surprise of the evening was mezzosoprano Irena Parlov, who triumphed last night in the role of gipsy Azucena…”

HRT RADIO 3 2018

“Mezzosoprano Irena Parlov showed the extraordinary voice power. The excellent phrasing of the melody that created tension in the psychological doubts of her role ”


“Calorosi gli applausi per Zulian (Pinkerton) e, forse altrettanto, per la brava Irena Parlov, Suzuki elegante in scena e precisa musicalmente, di pasta vocale scura e sonora…”

OperaClick 2017