Finally I come to the conductor, Srba Dinić, the real hero of the performance, capable of bringing the orchestra, choir and soloists to the ultimate performance level, which I have witnessed many times.

Luis Gutiérrez Ruvalcaba, Othello, Theatro de Bellas Artes

Those who are not familiar with the Ring immersed themselves in the mixture of instrumentals, while the others were able to hear that SrbaDinic succeeded in bringing the extraordinarily high-spirited orchestra to the enormous virtuosity of sound. Enchantingly precise winds, strings in brilliant tension, flute and violin’s charming solo passages, chamber music in the first view of Vesung, while Dinić draws his tenderness even from Wotan’s farewell. It sounded tense for a scenic, Braunschsweig’s “Ring”.

Braunschweiger Zeitung, Staatsorchester Braunschweig

Dinić has grown into a sensational sound creator and perfect musical follower breathing together with his orchestra.

Braunschweiger Zeitung, Gala koncert, Symphoniker Hambur

With Ana Netrebko by his side, Dinic allowed himself the luxury to draw the most beautiful colours from the orchestra and understood accurately the musical dramaturgy of each part; moreover he elaborated in great detail each orchestral segment: soft and full sound of strings, exquisite rounded sound of woodwinds and excellent diction of brasses

El Universal, Gala Concert with Anna Netrebko

Srba Dinic was superb at directing the Teatro de Bella Artes choir and orchestra. The tempos were vivid and the sound he drew from the musicians was clear, joyful and colourful. The chorus which appeared several times sounded fabulous. An enchanting evening, indeed.

Opera Click, Opera Don Giovanni

After more than 50 years, Arrigo Boito’s Mephistopheles was performed in concert form in the Palace of Fine Arts, the most important operatic institution in Mexico. The main role was entrusted to Carlo Colombara, Faust was played by Jose Luis Ordones while Maribel Salazar played both Margherita and Elena. Most praises went to the Teatro de Bellas Artes Orchestra and Choir and equally to the conductor Srba Dinic, who brought them in perfect balance, obtaining fine nuances and texture from music. He achieved the contrast between sudden changes of forte and piano masterfully so the choir sounded both powerful and controlled.

Opera, Opera Mephistopheles

Maestro Srba Dinic conducted the Teatro de Bellas Artes orchestra and choir in a lively, intensive and powerful performance. The orchestra dynamics and exquisiteness of their sound were notable, particularly during the brilliant “Te Deum” in which Dinic conducted with the perfect control of sound and perfect balance of orchestra and choir. The orchestra never overpowered singers, particularly Vassilev and Galvan, who had very successful performances.

Opera Click, Opera Tosca

Dinic wants to show us that Verdi’s “years of captivity” are over, he has outgrown successful cabaletta and his instrumentation has become richer and dramaturgically more elaborate. The orchestra makes it clear that they have intimately gone through the maestro’s “master class”: delicate phrasing, careful balancing, carefully cultivated solo sections contribute to the Verdi noble sound.

Revierpassagen, Opera The Robbers (I Masnadieri)

Srboljub Dinic seems to be a conductor born for Verdi’s opus, such who is able to create tension in the best possible manner – by formulating contrasts, placing legatos, following singers and proportioning tempos. With the Essen Philharmonic Orchestra who are exquisite and highly motivated musicians, even the introductory symphony sounds divine in misty transparency with fantastic cello solo sections (István-Alexander Gaal). The Serbian conductor whipped up the orchestral ecstasy of sounds, both in lyrical moments and in dramatic finales of the score.

Der neue Merker, Opera The Robbers (I Masnadieri)

A high quality evening with an almost perfect conductor. Srboljub Dinic, chief conductor in the Bern City Theatre and a guest conductor on the podium in Essen, interprets Verdi’s score which is, although conventional, absolutely packed with contrasts, and in view of powerful effects uncommonly confusing. He does this with maximum distinction, differentiation and tempo discipline.

Die Deutsche Bühne, Opera The Robbers (I Masnadieri)

In any case, the Essen Philharmonic under the direction of Srboljub Dinic, with adequate tension, are enjoying the harmonization allowing orchestral colours to bloom with joy. A sound of great format is heard here.

Theater pur, Opera The Robbers (I Masnadieri)

Guest conductor Srboljub Dinic and the Essen Philharmonic showed with fervour and delicacy that “The Robbers” can offer the real Verdi quality.

WDR 5 (Scala), Opera The Robbers (I Masnadieri)

The Essen Philharmonic under the direction of Srboljub Dinic are a real joy., Opera The Robbers ( I Masnadieri)

Srboljub Dinic has a real feeling for early Verdi’s tempo proportioning.

Der Opernfreund, Opera The Robbers (I Masnadieri)

In musical sense, this is a triumphant march in Dolby Surround. The whole theatre is spellbound from the very first moment. In the midst of this spectacle stands Srboljub Dinic and with precise beat and explosive forcefulness he takes the orchestra and singers to rhythmic staccato music delivery. His performance is effective and full of tension. At the same time, Dinic and the  extremely well disposed Essen Philharmonic achieve quiet moments as well and raise them to a high intensity., Opera Aida

With Srboljub Dinic the score is in safe hands. By using dynamically the broad sweep and observing Verdi’s set tempo, the maestro carefully considers all finesses of the master piece. The Bern Symphony Orchestra plays brilliantly from the first strings figures in the overture up to the very large ensemble.

Der Bund, Opera Macbeth

The Bern Symphony Orchestra is in safe hands when directed by Srboljub Dinic. The music director, who has conducted several Verdi’s productions in the Bern Theatre, demonstrates a feeling for bel canto elements and for tension building in large ensemble scenes. The second act finale when planned festive joy, Macbeth’s horrific visions, Lady Macbeth’s attempts at covering up and guests’ consternation all merge into a multi-layer composition is unforgettable.

Neue Zürcher Zeitung, Opera Macbeth

The Orchestra led by the musical director Srboljub Dinic proved to be in a high form. There was not a single mistake, the conductor placed accents and at the same time he was a sensitive follower. A convincing conducting.

Der neue Merker, Opera Macbeth

Conductor Srboljub Dinic, at ease with different styles, is here clearly in his own element. From the first moment the conductor fuels a thickened and balanced excitement with joy and inspiration together with the orchestra playing with notable precision, since this is the premiere. “La Cenerentola” is not only fun, there are also romantic, movingly beautiful passages to which Dinic and the Bern Symphony Orchestra give a dignified respect.

Der Bund, Opera Cinderella (La Cenerentola)

The strings’ introductory theme  is breathtaking and must be listened with great care. The beginning of the “Eugene Onegin” premiere in the Essen Alto Theatre is tender, fragrant and fragile as glass; the beauty of it almost hurts. Under the filigree precision of Srboljub Dinic’s direction, Tchaikovsky’s lyrical scenes depart from melancholy, rich power and dark gloom. With flutteringly rising tempos and virtuosic floating ease they find themselves in today’s Russia, a young world between modernity and social traditionalism, which sniffs at freedom as if spellbound, and yet does not dare leap. In the original experience of sound Dinic, with the Essen Philharmonic, defines the score unburdened and with curiosity thus tracing the direction followed by the film and theatre director Michael Sturminger…

Opernglas, Opera Eugene Onegin

The Essen Philharmonic are showing us yet again the high level at which they perform. As a guest, Dinic inspires awe: his is suave, poetic, multi-layer style; mass scenes are vital, but never  rustic and the choir sound outstanding. The orchestra seems to have taken to Dinic.  

WAZ, Opera Eugene Onegin

The resulting “Eugene Onegin” is the outcome of musical exploration of Srboljub Dinic and excitingly disposed Essen Philharmonic. Dinic chooses a powerful basic tempo which takes us through passionate (temperamentful) moments or dramatic finales. This contributes to the tone of opera conversation which has never been so elaborate. The Essen Philharmonic respond with confidence to clearly given signs and understand well Tchaikovsky’s music. In a slender, filigree sound all finesses can be heard which, one would say, independently underlie the opera’s emotional content. Burning hearts, youthful yearning and national simplicity are reflected again in technically proficient performance.

Opernnetz, Opera Eugene Onegin

As a rule, the Essen Philharmonic flourish under the direction of Srboljub Dinic: this time under his precise, clear, transparent but also very sensitive guidance, musicians sounded convincing, owing to the superb intonation, amazing individual achievements, as well as highly homogenous sound.

tg Info, Opera Eugene Onegin

He wanted to do something completely personal and yet familiar to other people – says Srboljub Dinic, production conductor. The Essen Philharmonic perform all this with grandeur – far from pomposity and immoderate rubato. Much of it sounds like chamber music; seldom is the score transparent and permeated with light to such an extent that it glows.

Der Opernfreund, Opera Eugene Onegin

Dodecaphony stays in the background, so the only thing that is heard is a fascinating, subtly assembled but by no means arbitrary potpourri of ear-catching melodies. With the Bern Symphony Orchestra under the direction of Srboljub Dinic all this is very well balanced; both sound sensuousness and precision can be heard.

BO, Opera The Rake’s Progress

The conductor Srboljub Dinic holds the Bern Symphonic Orchestra together in the best possible way and is of enormous benefit to the singers. Hardly a single tone is covered, but when it needs to be expressed, everybody is in their right place. This is how the team managed to present an exciting and grand opera night.

Basellandschaftliche Zeitung, Opera The Flying Dutchman

An impressively powerful musical whirlwind, particularly the differentiated and yet homogenous performance of the Bern Symphony orchestra under the direction of Srboljub Dinic.

Berner Oberlaender, Opera The Flying Dutchman

Clear and yet sensuous are colours of the sound which Srboljub Dinic draws from the well disposed orchestra. The decisive hue is the warm, compact sound, which helps the understanding of confinement and succeeds in harmonious covering of dramaturgical voids on the stage.

Der Bund, Opera Eugene Onegin

The Bern Symphony Orchestra under the direction of Srboljub Dinic fits into the stage direction concept in the best manner. Puccini’s mastery at depicting internal and external moods is successfully conveyed in a plastic manner and in fine dynamic passages. Dinic makes this visible and packs it in a thin, transparent clothing of the sound.

Berner Zeitung, Opera La Boheme

Musically brilliant and with voices rich in colour, the Bern Symphony Orchestra conducted by Srboljub Dinic and the singing ensemble shape the opening of music season with poetic details, but with a rather conventional scene.

…The Bern Symphony Orchestra under the direction of Srboljub Dinic contributes to the fullness of vital transparent sounds. They give freshness to nostalgic images and encourage the action.

Der Bund, Opera La Boheme

The Brunswick State Orchestra, which is still in search of general music director, this time was led through a passionate score by Srba Dinic at the stand, with masculine, precise conducting. The orchestra followed the Serbian chief conductor of the Mexico City Opera with a high concentration and brilliant brasses.

RUNDBLICK, Opera La Boheme

Ramon Vargas is adequately supported by Srba Dinic, chief conductor of the Bern City Theatre. When performing with the Wirtemberg Philharmonic in Reutlingen Dinic commented that Vargas should be allowed time to develop his voice, which testifies to the conductor’s wariness and experience. In the meantime Dinic had opportunities to profile himself further in overtures and intermezzos, in which he proved to be a passionate musician.

NZZ Gala concert with Ramon Vargas

For the high format performance, the audience should thank the conductor Srboljub Dinic, who never lacked in tension, drama and differentiation and who is master at placing accents. The Bern Symphony Orchestra follows him impeccably: sensitively in giving the tone, flexibly in necessary contrasts, with full regard in following singers and last, but not least, in passionate and emotional engagement.

Cavalleria Rusticana with Agnes Baltza and Salvatore Licitra at Stadttheater Bern

Srboljub Dinic, musical head and chief-director of the house is an outstanding observer and master of the situation in extremely demanding music. The Orchestra has responded very well to his exciting, fervent tempos. The ensemble and the orchestra understand his messages which results in disciplined and respectful performance.

Stadttheater Bern, Opera Mazeppa

Verdi’s opera Falstaff is a challenge for any orchestra. The fine instrumental allusions and virtuosic commentaries are those which give charm to the language and movement. With precision and subtle feelings Srboljub Dinic (music director) with the Bern Symphony Orchestra gives wings to this music and its lyrical preciousness. A special compliment goes to the convincing and dramatic contrasts and confidence in tempos.

Stadttheater Bern, Opera Falstaff

The Bern performance wins over primarily with the interpretation of score which is full of tension and highly differentiated owing to extremely well disposed and evidently outstandingly well rehearsed Bern Symphony Orchestra under the fascinating direction of chief-director Srboljub Dinic, who with the “La Wally” showed his most mature accomplishment.

Stadttheater Bern, Opera La Wally

On the podium in front of the Bern Symphony Orchestra playing, as usual, in a cultivated, flexible and tone manner stands Srboljub Dinic – and one would say that he feels particularly at home with verisimo opera. He differentiates with sensitivity, relies on extraordinarily fine piano effects and intervenes only in powerfully fortissimo outbursts, where the score and action explicitly prescribe it.

Stadttheater Bern, Madama Butterfly

The orchestra, led by the hand of Srba Dinic, played with delicacy and yet with power and details of great beauty.

Milenio, Don Giovanni

From the musical aspect it is unmistakable that the largest success of this direction is the appointment of Srba Dinic as the head of the house. He has brought about an immense “enlightenment” of Bellas Artes orchestra, with very precise tempos and articulations as well as carefully cultivated sound in all orchestral sections. The maestro exercises an absolute control over stage activities, not only by overseeing  them but also through highly precise work on musical structure with all soloists. Everything is transparent all the time.

El Universal, Opera Don Giovanni

With Ana Netrebko by his side, Dinic allowed himself the luxury to draw the most beautiful colours from the orchestra and understood accurately the musical dramaturgy of each part; moreover he elaborated in great detail each orchestral segment: soft and full sound of strings, exquisite rounded sound of woodwinds and excellent diction of brasses

El Universal, Gala Concert with Anna Netrebko

The developed overture surprised by its colors and nuances. The Stable Orchestra sounded with adjustment and delicacy from beginning to end under the leadership of the Srba Dinic, and delivered great moments, among others the fluffy and nostalgic trumpet at the beginning of the second act.

Clarin, Argentina, Don Pasquale