On Wednesday 2nd April 2025, mezzo-soprano Lucija Varsic was announced as the winner of the International Handel Singing Competition as well as taking home the Audience Prize following the final presented by broadcaster Petroc Trelawny, which took place at London’s St George’s Church, Hanover Square. Second Prize was awarded to soprano Maryam Wocial. The final was judged by Crispin Woodhead, Deborah Warner, Iestyn Davies, Sue Spence and Jonathan Lemalu and also featured finalists Mathilda Sidén Silfver (mezzo-soprano), Peter Edge (baritone), Rumyana Kostova (soprano) and Steffen Bjerre Jespersen (countertenor).
Croatian mezzo-soprano Lucija Varsic holds a master’s degree in vocal performance and historically informed performance practice from the University of Music and Performing Arts, Vienna. Her passion for early music has made her a sought-after baroque singer, collaborating with renowned ensembles such as Neue Hofkapelle Graz, Wiener Akademie and Concentus Musicus Wien, performing at prestigious events prestigious events and venues such as the International Harnoncourt Festival, Wiener Musikverein and Wiener Konzerthaus. This summer, Lucija will portray Andronico in Vivaldi’s Il Giustino at the Innsbruck Festival of Early Music and Humilità/Nobilità in Stradella’s Oratorio Santa Editta at the Opéra de Nice.
Gregory Batsleer, Festival Director for the London Handel Festival comments, “The International Handel Singing Competition continues to be a highlight of the London Handel Festival, and this year’s final was nothing short of extraordinary. With such exceptional talent on display, the judges faced an incredibly tough decision. Congratulations to Lucija Varsic, this year’s winner and recipient of the audience prize, and to Maryam Wocial, who took second place. It was a thrilling evening, and we look forward to seeing all the finalists flourish in their careers.”
Crispin Woodhead, of the International Handel Singing Competition jury adds, “With six outstanding finalists, choosing a winner was no easy task. Each singer brought something unique and deeply compelling to the stage. The International Handel Singing Competition is just one night in these artists’ journeys, and I have no doubt that every one of them will go on to have remarkable careers. I would also like to congratulate all those who applied this year—reaching the final is an immense achievement, but the dedication and artistry shown by every applicant deserve equal recognition.”
The composer George Frideric Handel was known to encourage and train young, unestablished singers, many of whom rose to fame as his star soloists. The London Handel Festival aims to continue Handel’s great tradition of nurturing talent through the International Handel Singing Competition. The competition was inaugurated in 2002 with Ian Partridge and James Bowman as the first adjudicators and has grown to become a major international singing event, attracting over 140 applicants of 40 different nationalities this year.
The calibre of the competition is demonstrated by past winners and finalists who have gone on to become internationally recognised soloists, not just in the baroque music field, and give regular appearances in the world’s leading opera houses. They include Iestyn Davies, Lucy Crowe, Grace Davidson, Tim Mead, Christopher Ainslie, Rupert Charlesworth and Ruby Hughes.
The Competition comprises a preliminary round of reviewing files sent digitally, and then the first live round at Craxton Studios in north London. Then follows the Semi-Final with around 10-12 singers accompanied by harpsichord, and then the Final with between four and six singers who are accompanied by the Academy of Ancient Music, directed from the violin by Bojan Čičić. Both the Semi-Final and Final are held at St George’s, Hanover Square in Mayfair, central London (Handel’s own church) and are open to the general public as part of the annual London Handel Festival. These events are well attended, including by many agents and promoters. All competitors are required to submit all-Handel programmes at each stage.
As well as cash prizes (starting with £5,000 for the winner) and the chance to work with a professional baroque orchestra, one of the key benefits of getting through to the semi-finals and finals is the increased profile, through significant press and promoter interest, which leads to numerous engagements; this has been the vehicle through which they have been able to build their professional careers.