"Perennial favorite Milena Kitic has the perfect smoky mezzo build as Aida's antagonizing agent and scheming Amneris."

- ConcertoNet.com, by Christie Grimstad, February 2017.

"...Milena kitic was a warm voiced, dramatically belivable Suzuki who sang meaningfully and with beautiful tones that blended sensitively with the voice of her mistress..."

- Opera Today, by Maria Nockin, March 2016.

"...I was very impressed by the Suzuki of Milena Kitic, who was quite moving in her own right, and projected a large, well-produced mezzo-soprano..."

- Opera Buff - San Diego, 03/15/2016.

"...Serbian mezzo-soprano Milena Kitic is exquisite as Butterfly’s devoted servant Suzuki, especially when she and Martinez duet while sprinkling flower petals in their humble abode in mistaken anticipation of Pinkerton’s return..."

- Frontiers Media, by Christopher Cappiello, March 25, 2016.

"...Milena Kitic as Suzuki gave a brilliant performance. In voice and spirit she embodied Suzuki, whose sufferings on behalf of her mistress gave true gravity to Butterfly’s hopeless yearnings. One of the highlights of the evening was the ethereal Act II duet of the flowers, “Scuoti quella fronda di cilegio,” as mistress and maid scattered petals on the floor of the house to prepare for Butterfly’s deluded fantasy of Pinkerton’s return..."

- Seen and Heard International, by Jane Rosenberg, March 14, 2016.

"...In the important role of Suzuki, Butterfly’s servant and companion, Milena Kitic made a powerful impression..."

- Opera Warhorses, by William, March 13th, 2016.

"...Kitic provided a fiery and voluminous Oh don Fatale from Don Carlo, she and Mo. DeMain, Opera Pacific's two stalwarts, face to face again..."

- OC Register, by Timothy Mangan, , March 20, 2016.

"...gravitas, a certain dignity, to the stage: She is a lovely lady, very warm—a friendly diva! She’s one of the most technically pristine singers—impeccable technique, an impressive instrument and very polished. It’s perfect singing; I don’t know how else to say it."

- COAST, Feb. 18, 2015.

"...It is an enormous burden for the company to raise money. Frankly, her glamour makes her an incredible asset for proselytizing for us, particularly in Orange County. She’s a remarkably elegant singer, and an incredibly versatile one. We were bereft when she put her career on hold to raise her son. And we were so thrilled when she came back ... She is among that rarefied group of people in whom we have a long-term interest."

- COAST, Feb. 18, 2015.

"...Our veteran Carmen this time around was Milena Kitic. The Newport Beach resident, once a stalwart at Opera Pacific, estimates she has sung the part more than 200 times worldwide..."

"...Her voice was certainly in full blossom. The notes flowed easily, the entire compass of the part negotiated in rich and even tones. She savored the flexibility in her voice. The high notes popped out resplendently, no strain..."

"Her take on the role is refreshing. While other Carmens may vamp and slither and turn the part into a caricature of the femme fatale, Kitic’s Carmen strides in confidently and smiling. There is no evil in her Carmen, really. She is a free spirit, living life as she sees fit, no apologies, and, when it comes down to it, no subterfuge. Kitic’s Carmen is tasteful, dignified and graceful, amoral by our standards perhaps, but not hers. It works..."

- OC Register, by Timothy Mangan, Feb. 2015.

"...Milena Kitic, quien ha cantado el rol protagónico con diversas compañías alrededor del mundo, compuso una enérgica gitana, cuyo timbre dorado superó la masa orquestal y se escuchó en todos los rincones de esta sala de 2,000 butacas con excelente acústica..."

- PRO-OPERA, by Maria Nockin, Feb. 2015.

"... LA Opera’s luxury casting of mezzo-soprano Milena Kitic as Albine proved fruitful..."

- Beverly Hills Courier by Carol Jean Delmar, May 2014.

"... Appearing briefly in Act 3, was the celebrated mezzo-soprano, Milena Kitic as the Mother Superior, Albine. Her dark mezzo-soprano voice easily filled the hall with vocal splendor..."

- LA Classical Music Examiner, by Ahdda Shur, May 2014.

"... Though only appearing briefly in IV Act as the Mother Superior, Albine, the celebrated mezzo-soprano, Milena Kitic was wonderful..."

- LA Classical Music Examiner, by Ahdda Shur, May 2014.

"... ainsi qu’une excellente et convaincante Albine (Milena Kitic)..."

- La Scene, by Hervé Le Mansec, May 2014.

"... Mezzo-soprano Milena Kitic was an alluring, crafty Carmen who managed to be charming as well. Her "habanera" and "seguidilla" were seductive. Her voice had swelling highs that flowed seamlessly from her chocolaty lows, and she danced like a Broadway trooper, but with far superior vocality. I will date myself here, but she reminded me of a refined Charo..."

- Carol Jean Delmar, Opera Theater Ink, September 2013.

"... It was good to see Milena Kitic (once a star at Opera Pacific) back again after taking a few years off to take care of her son. She sang Suzuki with burnished tone and rhythmic élan ..."

- Timothy Mangan, OC Register, Nov. 2012.

"... Opera Pacific presented Carmen February 28th, 2007 at Segerstrom Hall in Costa Mesa with Milena Kitic in the title role. Ms. Kitic has made a career of Carmen, and rightly so, as her command of this role isimpressive. She has said she is an intellectual student of the role, that there is always something to learn in every performance. This performance was not a disappointment, Carmen was smoldering and sexy, delivering an outstanding Habanera. There was something very honest in this portrayal, while the fiery temper was evident, there was also an inner strength and self confidence.

Ms. Kitic was in wonderful voice, as always. Her technical mastery of this role was a pleasure to listen to. She managed to resonate clearly in a hall that is far less than ideal for singers. Sadly, this is to be her last run of performances, as she is retiring to spend time raising her child. The loss is ours ..."

- Dawn Southwick, Classical Music Broadcast.com, April 2007.

"... Kitic's Carmen is a woman full of herself. Her self-regard is expressed by that satisfied smirk on her face and the easy swivel of her hips. She's got kind of a bullying swagger – men don't stand a chance. Kitic doesn't overdo the character's sexiness, as some singers do, rubbing against anything standing still like a cat marking territory. No, Kitic's movements are economical but potent all the same – just watch her dance in Act II – and a nice match with her singing, which is tastefully pointed and elegantly expressive, not dripping with venom or awash in passion. Her Carmen is too confident and supreme for that; she's a kind of female version of Don Giovanni.

Kitic, by the way, has recently said that she would be retiring from opera after this production in order to spend more time with her 5-year-old boy. One can never tell how serious a diva (or divo) is about retiring, but it seems a shame if true (albeit noble). Perhaps we should all run down to this "Carmen" to cheer her on and change her mind ..."

- Timothy Mangan, OC Register, March 2007.

"... One very good reason to go see Opera Pacific's revival of its production of Bizet's "Carmen" is that Milena Kitic, who is singing the starring role of the Gypsy enchantress for maybe the 150th time in her highly successful career, is retiring from the operatic stage after this production closes. Kitic casually announced her retirement from opera in a recent interview in the Press-Telegram. She said she wants to devote herself to raising her son full-time. Since he is just over 5 years old, it may be a decade or more before Kitic returns to opera, if ever, and those who want to see this fiery Carmen for themselves should hurry down to the Orange County Performing Arts Center in Costa Mesa for one last look.

If that news doesn't send you reaching for the phone and your credit card, perhaps this will: this "Carmen" isn't just a star turn. Kitic is wonderful as the Gypsy cigarette girl who drives her lover Don Jose to desertion and murder. She is seductive, magical, lighthearted and stubbornly independent by turn, and sings the role with both tender force and easy familiarity ..."

- John Farrell, Press-Telegram, March 2007.

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"... Milena Kitic's elegantly acted, sensuous-sounding Giulietta kept up the flow of fine singing ..."

- Charles H. Parsons, Opera News, October 2006.

"... The Venetian courtesan Giulietta owns the most famous music in the opera, the “Barcarolle” and Milena Kitic sang it beautifully. She made an unforgettable debut clad in brilliant red with beguiling mezzo tones to match. Exotic in appearance and in vocal intensity, I believe that she could be the Carmen we’ve been waiting for ..."

- Burt Saidel, The Oakwood Register, August 2006.

"... Finally, there is his base affair with the dangerously desirable courtesan Giulietta (deliciously sung by celebrated mezzo-soprano Milena Kitic in her Cincinnati Opera debut) ..."

- Kate Brauer-Bell, Cincinnati CityBeat, July 2006.

"... Milena Kitic, singing with vocal allure, made a seductive courtesan Giulietta ..."

- Janelle Gelfand, The Enquirer, July 2006.

"... Milena Kitic, singing better all the time, as Amneris ... Kitic turned in a powerful vocal performance, her lows ringing richly, her highs closely focused, her phrasing elegantly disciplined ..."

- Timothy Mangan, Opera News, July 2006.

"... made memorable by the acting and singing of mezzo-soprano, Milena Kitic. ... at the first performance in Orange County's lavish Center for the Performing Arts, the show was stolen out from under her. Mezzo-soprano Milena Kitic's dynamic interpretation of the Pharoah's daughter made us wonder if the opera should not be retitled 'Amneris'. ... it's hardly suprising that Milena Kitic's Amneris became the undisputed star of the evening. The Serbian performer merged a total grasp of the music with a transparent gift for acting that made her character's motivations in Antonio Ghislanzoni's libreto every bit as important as Verdi's melodies ..."

- www.theatrescope.com, May 2006.

"... Tuesday was not without strong singing. Milena Kitic made a powerful Amneris, the princess who also loves Radames. She may have nibbled on the scenery a bit too much, but that was in keeping with the production, and her rich, velvety tone and ability to portray a depth of emotion meant she dwarfed all around her ..."

- Mark Swed, LA Times, April 2006.

"... Milena Kitic was the vocally resplendent Amneris, possessed of a rich and mellow low register, unforced volume and closely focused high notes. She sang with elegant discipline ..."

- Timothy Mangan, OC Register, April 2006.

"... Mezzo-soprano Milena Kitic provided a properly beautiful Delilah, negotiating the lower depths of the part with the fluid, full tone that became more lustrous as she went into her upper register ..."

- Timothy Mangan, OC Register, February 2005.

"... Milena Kitic, as Delilah, showed off an arresting, powerful voice. She dominated the stage as a good Delilah should ..."

- Chris Pasles, LA Times, February 2005.

"... Milena Kitic took the title role of Delilah and made it her own, full and sparkling in tone when that was called for, dark and troubled when she planned the betrayal of Samson, full of almost-charming violence when she sees him blinded and disgraced. Delilah moves through the opera on a downward spiral of growing hatred, and Kitic made the trip almost joyful ..."

- John Ferrell, Long Beach Magazine and U Daily Bulletin, February 2005.

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"... We chose to see Milena Kitic, who has donned the dark wig and red skirts of Carmen to flirt with all the great opera houses of Europe, much as Carmen herself seduced the soldiers of Seville. Never mind that she's actually from Belgrade: like Bizet, Kitic has the real sangria. She captures not just the feminine flash, but the genuine likeability of Carmen, who craves freedom even more than she craves men. Kitic can even dance ..."

- Marc Porter Zasada, LA Downtown News, The Urban Man, October 2004.

"... Opening night at Los Angeles Opera found Milena Kitic (alternating in the role with Catherine Malfitano) making the part her own. A profile in the newspaper had outlined Ms Kitic's previous European successes with the role in modernized productions that featured Carmen as a leather-clad dominatrix. No doubt most of the L.A. audience was relieved to find this production (from the Teatro Real in Madrid) to be sturdily conventional--which is not to say dull. Kitic could hardly be dull in the role no matter what her surroundings. An alluring figure, a strong characterization, and a voice that flowed seamlessly from the burnished velvet of her low tones to the soaring strength of her top made Kitic's Carmen a memorable creation that dominated her every moment on stage ..."

- Michael Van Duzer, Online Entertainment Magazine, October 2004.

"... More important, M. Kitic, who sung Giulietta in Offenbach's 'Tales of Hoffman' for LA Opera in 2002, brought a rich, creamy mezzo-soprano and a commanding strength to the title role Friday. She dominated the opera, exactly as Carmen is supposed to do and Bizet had envisioned ..."

- Chris Pasles, The Los Angeles Times, October 2004.

"... Milena Kitic brings to the title role, a well-rounded, evenly supported tone and a basically sound technique. There was a consistant spark in her singing and an assurance to her characterization ..."

- Tim Smith, The Baltimore Sun, May 2004.

"... What really kept this 'Carmen' going was the sultry and vocally secure presence of Mezzo-Soprano Milena Kitic in the title role. Kitic's approach to the role amounts to saying that Carmen is what she is. When Carmen sings in a first act aria that 'love is a rebellious bird', Kitic's swaggering, self-confident delivery makes it clear that this gypsy has no intention of ending up in a domestic cage. Without trying to make the gypsy either overly sympathetic or too scheming, she gives us a Carmen who seduces Don Jose and prompts this soldier to make a career-threatening decision ..."

- Mike Giuliano, Patuxent Papers, May 2004.

"... Carmen , sung by mezzo Milena Kitic, did a great job and was truly believable in her role; she had all of the Carmenesque stances, dances - and even finger cymbals. Her habanera was performed perfectly ..."

- Joseph Giannino, Operaonline.us, May 2004.

"... Milena Kitic made more of Laura than most mezzos, singing alternately with elegance and power in her second act aria and two duets ..."

- Robert Levine, ClassicsToday.com, April 2004.

"... Mezzo Milena Kitic's comely appearance matched her appealing personality. Her 'Stella de Marinar' was unusually sensitive ..."

- Bill Zakariasen, The Westsider, April 2004.

"... Singing in a warm mezzo-soprano, Milena Kitic, as Laura, held her own in the love duet with Giordani and rivalry duet with Millo and outshone Luiz-Ottavio Faria, as Alvise, in their dramatic scene. She did not hit the final note of her aria, "Stella del marinar!," dead on, but neatly salvaged it with a diminuendo ..."

- Bruce Michael Gelbert, TheatreScene.net, April 2004.

"... Milena Kitic's Herodias offered the most satisfying, colorfully drawn portrayal of the evening, vocally as well as dramatically ..."

- Truman C. Wang, Classical Reviews, February 2003.

"... and excellent contributions from Milena Kitic's Emilia ..."

- Mark Swed, The Los Angeles Times, January 2003.

"... and Milena Kitic is a sensually predatory Giulietta ..."

- Paul Berenson, KDB Radio Santa Barbara 93.7 FM, November 2002.

"... Milena Kitic, a mezzo-soprano pushing into soprano territory, is a voluptuously seductive Giulietta in the Venetian act, and it is a pity that the full extent of the Kaye findings were not included in this scene ..."

- Mark Swed, The Los Angeles Times, November 2002.

"... Milena Kitic, a mezzo-soprano pushing into soprano territory, is a voluptuously seductive Giulietta in the Venetian act, and it is a pity that the full extent of the Kaye findings were not included in this scene ..."

- Mark Swed, The Los Angeles Times, November 2002.

"... Milena Kitic's rich, shimmering, almost flinty mezzo soprano made the 'Barcarolle' and the rest of the second act a sumptuous treat. With laid-back sensuality, she convincingly seduced Hoffmann ..."

- Rick Mortensen, Daily Bulletin, November 2002.

"... His second crush is the seductive Venetian siren Giulietta (Milena Kitic), whose mellow voice suits her flaming beauty ..."

- Laura Hitchcock, Curtain Up, November 2002.

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"... Milena Kitic, 'Eboli' to Vassalio's Rodrigo in last year's 'Don Carlo', is Barber's Rosina. This time, Kitic has eyes only for Rockwell Blake as the lovestruck Count Almaviva. Kitic touchingly performs 'Una voce poco fa'. She's also dramatically tender with Blake, their vocal deliveries impressive ..."

- Jack Zinc, Sun-Sentinal, April 2000.

"... The singing was topnotch: the strongest of the season. The coquettish Rosina was sung by mezzo-soprano Milena Kitic, with charm and a suitable touch of malicious cleverness. Her opening-act aria, 'Una voce poca fa', showed a full, open rather big voice with a vibrant tone color. She displayed ease and agility as she handled the coloratura passages with authority and grace. Her last-act 'Contro Un Cor' was especially affecting as she sang of her glowing love for Almaviva ..."

- Robert S. Butler, The News, April 2000.

"... mezzo-soprano Milena Kitic personifies the coquettish Rosina, displaying a brilliant coloratura in the process ..."

- Charles Passy, The Palm Beach Post, April 2000.

"... Milena Kitic's lush voice was a bit dark for the part, but she has great technique, and her presence on stage was elegant ..."

- Earl Cunningham, Palm Beach Daily News, April 2000.

"... If you are to believe the adage about when the opera is over, the Palm Beach Opera's 'Barber of Seville' will never end. Just check out Milena Kitic at the Kravis Center tonight, Sunday or Tuesday, and you'll understand why. The trim Yugoslavia-born mezzo-soprano has the pipes - and the looks ..."

- Thom Smith, Palm Beach Post, April 2000.

"... I would like to hear more of Milena Kitic, who sang Emilia ..."

- Brian Kellow, Opera News, September 2000.

"... Milena Kitic bringt als Maddalena einen warmen, ganz und gar nicht verrucht lasterhaften Ton ein ..."

- HL, Salzburger Kronen Zeitung, October 1999.

"... als seine -natürlich retmähnige- Schwester Maddalena spielte Milena Kitic erotisches Kapital aus!"

- Ernst P. Strob, Salzurger Volkszeitung, October 1999.

"... Belgrade-born Milena Kitic, is a real find, with a voice as golden as her hair. Tall and elegant, she is one of those rare performers whose mere presence on a stage is mesmerizing. The voice is richly textured, with a fine and flexible upper range, and those dark lower notes that you expect from Eastern European singers ..."

- The Blackmore Vale Magazine, August 1999.

"... Milena Kitic's Eboli was vocally accomplished, with fire and sensitivity in equal balance ..."

- Tim Smith, Sun-Sentinal, January 1999.

"... Immerhin hatte das Aalto-Musiktheater mit Milena Kitic eine exzellente Interpretin der Titelpartie anzubieten, die mit ihren blonden Haaren nicht nur hinreissend aussah und sich glaenzend auf der Buehne zu bewegen verstand, sondern ueberdies mit ihrem wunderbar geschmeidigen, hinsichtlich der Register herrlich ausgeglichenen, reichen Mezzo von angenehm sinnlicher Faerbung und gesundem Klang erfreulich nuancenreich und mit viel Mut zum piano gestaltete ..."

- Thomas Tillmann, Orpheus, July 1998.

"... Carmen (Milena Kitic) ist blonde eine keineswegs eindimensionale Mischung aus ordinaerem Biest und selbstbestimmter Frau. Sie Zeit alle Register als Verfuehrerin, bleibt aber letztlich underchschaubar in ihrer seltsamen Ambiwalenz von Leichtfertchkeit und Tragik. Kitic singt mit herrlich runder, aber ueberaus praezis und klar gefeuerter Stimme. Sie gurrt und wispert, schreit und schmeichelt und spricht die Dialoge mit erfrischend undaengerischem lapidarem Ton ..."

- Regine Mueller, Rheinische Post, April 1998.

"... das hervoragende Orchesterspiel und die in jeder Beziehung blendende Carmen der Milena Kitic lohnen einen Besuch ..."

- Ulrich Schreiber, Handelsblatt, April 1998.

"... Applaus fuer die als Entdeckung gefeierte Carmen- Darstellerin Milena Kitic ..."

- MaS, NRZ- Neue Ruhr Zeitung, April 1998.

"... Schade für Milena Kitic in der Titelrolle, die mit ihren stimmlichen Qualitäten und ihrem sinnlichen Charisma eine kollegialere Behandlung verdient hätte ..."

- Pedro Obiera, Westfälischer Anzeiger, April 1998.

"... Herausragend: Milena Kitic als Carmen mit schoenem satten Mezzo ..."

- Konrad Pohlmann, Opern-Premiere, March 1998.

"... Wie immer gab es auch einen ersten musikalischen Vorgeschmack: Als Carmen begeisterte Milena Kitic mit der berühmten Habanera ..."

- AM, Westdeutsche Allgemeine Zeitung Essen, March 1998.

"... Es gibt freilich auch eine bemerkenswerte Carmen-Sängerin, die, obwohl auch die vm Regisseur gnadenlos "ausgebeutet" wird, sich überzeugend im Zentrum bewegte: Milena Kitic. Eine blonde Carmen, die kühles Feuer verströmt und Sinnlichkeit mit Stimm-Bravour gleichsetzt. Dennoch, Milena Kitic ist die Entdeckung des Abends. Von einem wissenden Regisseur geleitet, würde in ihr mit Sicherheit eine Weltklasse-Carmen heranreifen ..."

- Johannes K. Glauber, NRZ- Neue Ruhr Zeitung, March 1998.

"... Stark ist die blonde Carmen von Milena Kitic, die ihre makellose Stimme so bewundernswert geschmeidig und schlank einsetzt, als wolle sie ein Lied singen ..."

- Michael Stenger, Westdeutsche Allgemmeine, March 1998.

"... Die Entdeckung des Abends ist aber Milena Kitic in der Titlpartie (Carmen). Die Blonde Belgraderin, die durch einen runden warmen Mezzosopran besticht, entwichelt sich von der zurueckhaltenden Fabrikarbeiterin zu einer freiheitsliebenden Megaere. Intelligent dosiert sie Emotionen, mutiert neimals zur Furie, sondern bleibt die starke Frau, die keine Fesseln duldet, auch nicht die der Liebe ..."

- Michael-Georg Müller, Westfaelische Rundschau, March 1998.

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