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a singer and an actress

The Bosnia and Herzegovina born singer and actress Natasa Mirkovic currently lives in Vienna, Austria. She graduated in musical sciences (Music Academy – Sarajevo and later the Karl-Franzens university in Graz) and singing (Annemarie Zeller, Ioanna Borovska, Helga Mueller Molinarie) in the University of Music and Fine Arts in Graz. Mirkovic later specializes Lied & Oratorium in Graz (Gerhard Zeller, Karkheinz Donauer)
During 1996-2003 she performs as a soloist in the opera and theatre of Graz, as well as in the Camera Oper in Graz and the National Opera in Vienna. There she leaves a lasting impression with her opera, baroque, artistic, and musical show performances. Since 2004 she has been performing in theatre, classical music, the musical folklore of the Balkans, as well as her cooperation with renowned performers from all over Europe. Mirkovic has performed on international concert venues all over Europe.
Natasa Mirkovic stands out from the majority of singers not only with her sense of music, flexibility, and diversity, but also with the unique ability to lead her voice as an instrument, which brings her continent-wide recognition and fame. Famous Hollywood composer Gabriel Yared (who wrote the Oscar-winning soundtrack for The English Patient) has had the pleasure to cooperate with Natasa Mirkovic. Yared composed a song for her, which becomes the title piece in In the Land of Blood and Honey (2012), directed by Angelina Jolie

CD Releases:  
GIPSY´S LULLABY / with- drama graz- /  Extraplatte 2004: KASSANDRA (laments of the balkans)/ with -drama graz- / Extraplatte 2005 : AJVAR & STERZ / with Matthias Lobner/  producciones efímeras 2006 : WINTERREISE raumklang 2010/ with Matthias Lobner/ : SOULMOTION / with Nenad Vasilic / bayla-records(galileo)2011 : IN THE LAND OF BLOOD AND HONEY - Original Motion Picture Soundtrack-/ with Gabriel Yared /(varèse sarabande )2012


Method: Universal Voice Leading
Dear students!
Joining my masterclass will help you immensely to develop your instrument (your voice) to its full potential. This potential grows in time, no matter what your preferred style of performance is.
During the last 15 years of work and research on the abilities of the voice, a system I call Universal Voice Leading or Universelle Stimmführung was born.The method, which I introduce to many singers in my masterclasses all over Europe, gives the performer an awareness of their own instrument and a massive support in terms of the musical and technical details which need to be mastered when performing certain repertoires. I am fully aware that every singer needs to have a “mothercage”, a starting point, where they gain recognition of their instrument and in which the potential, which has been given to them by nature, can be revealed.
Universal voice leading is often very different from using a specific style and technique of singing. This is very important, as experience has proved to me that every style requires its own unique technique. It’s completely impossible to identify the universal voice singing methods to those of classical singing.
This unique, technical phenomenon of voice work may be in contradiction with a lot of opinions, especially those of classical singers. Nevertheless, it is an absolute technique, applicable to every performer.
Universal voice leading is based on knowledge in the areas of Terlusollogy, Kinesiology, Medicine, Physics, as well as knowing the technique and style of different music genres. When singing in a different genre, be it classics, jazz, folklore, pop, or anything else, the singing instrument masters the stylistics and the specific technique for the particular genre, which makes it impossible for it to go back to its original “clear instrument” state. The universal voice leading method is a way to relax, rest and recover the voice while still using its full potential.
Every singing technique also has specific differences in its performing. Folk singing, classical singing, jazz and pop singing – all these require a completely different approach to the instrument, depending on the genre and its technique. The moment you start learning universal voice reading, a new spectrum of the whole understanding of your vocal instrument will be revealed to you. The hardship and any struggles, be it in rehearsals or on stage, will remain a thing of the past.
The highest requirements for interpretation will be achieved, since this method teaches how to balance and lead the vocal instrument.
Universal voice leading allows for the smooth and easy leading of the instrument without relying on any “tricks”, such as too much chanting, which would tire the voice before the actual singing starts.
My belief is this: the moment the singer’s mouth opens to sing, the vocal instrument needs to be 100% active, which requires only a short warm-up beforehand.
The curriculum covers topics such as:
- Balance and Focus
- Do we breathe or not?
- Intensity of the vocal instrument and the music
- The singer and energy vibrations
- Singing from movement
- Noisy relaxation
- Quiet stream
- Are there high and low keys at all?
- Preparing the vocal instrument
- Types of breathing
as well as many others.
All singers are welcome in the masterclass with their repertoire, no matter what their perferred genre of performance is (classics, jazz, folklore, pop, etc.)