Ana Pusar is born in the small town Sentjur, which is characterized by the music tradition of a celebrated family of composers, the Ipavec. She comes from a music loving family, one of her relatives was the famous mezzo-soprano Sonja Draxler Radde. All these facts form a solid foundation for Ana Pusar Jeric to become a famous soprano of international standing. Her music education started in Celje and was cotinued in Ljubljana and Salzburg. Her successful studies won her a number of prizes at international competitions, where she sang various programms, above all parts from Italian operas. She won the following prizes: 1st prize for the part of Nedda in “I Pagliacci” at the Competition Totti dal Monte in Treviso, 2nd prizes at the Yugoslav Competition in Zagreb, the Mario del Monaco Competition in the Villa Manin, 2nd prize and Silver Medal in Geneve, Prize of the Critics in Berlin for the part of Lisa in “Pique Dame”, Preseren`s Fund Award for the part of Poppea in Monteverdi`s “I Coronazione di Poppea”, the Betetto Prize awarded for her life achievement.

Immediately after her studies soprano Ana Pusar Jeric was engaged on a permanent base at the Ljubljana Opera, where she sang a wide range of different parts: Dido in “Dido and Aeneas”, Rosina in “The Barber of Seville”, Fenena in “Nabucco”. Oxana in “The Christmas Night”, Zerlina in “Don Giovanni”, Minka in “The Nightingale of Gorjensko”, Nedda in “I Pagliacci”, Lauretta in “Gianni Schicci”, Michaela in “Carmen”, Georgetta in “Il Tabarro”, Lucietta in “Quatro Rustigh”, Manon in “Manon”, Ana in “The Partizan Ana”, Nanette in “Falstaff”, Tatjana in “Eugen Onegin”, Desdemona in “Otello”, Elisabetta in “Don Carlo”. This wide range of parts shows the singer`s extraordinary vocal technique, since they are examples of quite different genres. At the same time Ana Pusar Jeric did chamber music, concerts and Lieder recitals.

After six years at the Ljubljana Opera SNG she became a permanent member of the Comic Opera Berlin. In this house as well as in the Berlin State Opera, the Dresden State Opera and the Opera in Wiesbaden, her greatest success of these years were the following parts: Cio-Cio San in “Madame Butterfly”, Firodiligi in “Cosi fan Tutte”, Ariadne in “Ariadne auf Naxos”, Ellen in “Peter Grimes”, the Countess in “Le Nozze di Figaro”, Elsa in “Lohengrin”, Elvira in “La Muette de Portici”, Agathe in “Der Freischütz”, Lisa in “Pique Dame”. These parts were followed by tours to Japan, Venice, Edinburgh, The Bolshoi Opera in Moscow, Prague, St.Petersburg, Madrid. At this stage of her carreer her work with the general manager Joachim Herz and the Dresen State Orchestra was of great importance. It lasted for many years and culminated in the part of the Marshall`s Wife in “Der Rosenkavalier” when the Dresden State Opera (the Semper Opera) was re-opened in 1985.

After working at the Berlin Comoic Opera for six years, Ana Pusar Jeric went freelance. She made her debut in this new status in a concert performance of Schrecker`s opera “Der Schatzgräber”, in which she sang the part of Els. In the Vienna State Opera her first part was Donna Anna in “Don Giovanni”, followed by Ariadne, Agathe, Arabella, the Countess in “Capriccio”, the Marshall´s wife in “Der Rosenkavalier”, Marie in “Der Rattenfänger” by Cerha. At this stage of her carreer Ana Pusar Jeric was greatly interested in the German repertoire. So far she had sung Italian parts mostly and declined all offers of dramatic Italian parts and dramatic coloratura, plannig to go into them at a later time. She made an exception for Violetta in “La Traviata”. Her further carreer led her to the following opera houses: Munich (Daphne, the Figaro-Countess, Donna Anna, the Capriccio-Countess), Barcelona (Donna Anna), Venice (Agathe, Elsa, Tatjana), Hamburg State Opera (Desdemona, Elsa, Margarethe, Fidelio-Leonore, Katja Kabanova), Montreal (Donna Anna), Geneve (Capriccio), Zurich (Fidelio-Leonore, Katja Kabanova), Salzburg (Ariadne, Elsa). In addition she sang in Stuttgart, Lisbon, Bern, Toulouse, Las Palmas, Graz, Cologne, Verona, Milan, Rome, Naples, Florence, London, Sao Paolo, Trieste, Chicago.
She worked with conductors such as Stein, Maazel, Pritchard, Pretre, Harnoncourt, Schneider, Sawalllisch, Chailly, Kuhn, Albrecht, Voink, Weickert, Delman, Penderezky, Melles, Hollreiser and others.
Among her partners there were Carlo Cossuta, Vladimir Atlantow, Edith Mathis, Brigitte Fassbaender, Renato Bruson, Gösta Windbergh, Simon Estes, Eva Marton, Agnes Baltsa, Jose van Dam, Walter Berry, Hanna Schwartz, Herman Prey, James King, Theo Adam, Peter Schreier, Matti Salminen, Lucia Valentini Terani, Neil Shicoff, Ferruccio Furlanetto, Kurt Moll, Bernd Weikl, Ann Gjevang, Wolfgang Schölne, Alicia Nafe, Gino Quillico, Olaf Bär, Franz Grundheber, Ann Murray, Kurt Rydl, Thomas Hampson, Anne Howels, Katja Ricciarelli.

The wide scope of her voice, her exceptional technique and pronounced musicality allow her to adapt her voice to a wide range of styles and parts. Thus after the premiere of Fiordiligi in Dresden critics called her “The Teschemacher of the Eighties”, and after the premiere of “Capriccio” in Geneve the critics compared her to Elisabeth Schwarzkopf. Moreover, in Berlin her singing in “Madame Butterfly” was likened to that of Renata Tebaldi. When she sang the Marshall´s Wife in “Der Rosenkavalier” the critic wrote that Strauss must certainly have been thinking of her when composing this part. In Hamburg her Margarete in “Faust” made a critic write that “Ana Pusar is a brillint cast”. Her Violetta in “La Traviata” was praised as exceptional, “because she interprets the contens of the second, third and fourth acts as a young dramatic soprano – which this part actually demands – while at the same time singing the coloratura aria in the first act with great brilliance”.

A critic praised her CD with Verdi arias: The soprano Ansa Pusar is something special in the world of opera. Her singing personality is complex, just as Verdi requires for his soprano parts. With her choice of of arias on this new CD the artist encompasses the whole range of characters that Verdi devoted to the soprano voice. Moreover this means that Pusar`s vocal flexibility moves within a musical field that no other Slovene soprano achieved in her entire period of individual vocal development, even less within the Narrow Frame of one recital recorded in a short period of time. Internationally, too, i.e. in any period, we hardly encounter a singer equally sovereign in interpreting the soft delight of coloratura (La Traviata) as well as the great tragic tension of dramatic singing (e.g. her Leonora in La Forza del Destino). Verdi`s dramatic heroines are reprresented on the CD by Leonora (Il Trovatore), Amelia (Un Ballo in Maschera), Elisabetta (Don Carlo), and Aida represent a special soprano quality which demands a vocal power and virtuosity rarely to be found. Yet, Ana Pusar is capable of virtuosity together with finely shaded dramatic potential, thus going far beyond the usual limitations of the soprano repertoire. As a singer she sparkles effectively in dramatic coloratura, especially so in the extract from “Aroldo” – a rarity no other of our interpreters has ever succeeded in doing. The singer`s vocal versatility is surmounted by delicate psychological insight into those female characters who share the fate of tragic resignation.”

In 1995 Ana Pusarn Jeric was again permanently engaged by the Ljubljana Opera SNG. There she sang Leonore in “Fidelio” and in “Un Ballo in Maschera”, Lisa, Ariadne, Cio-Cio-San, the Countess in “La Nozze di Figaro”, Marinka, Donna Anna, Abigaile, Cleopatra in “Kleopatra” by Danilo Svara and the soprano part in Verdi`s “Requiem”.
Her musicality and her flexible voice allow for a repertoire of pieces from all musical periods. She does not only sing in operas but also in concerts and she interprets Lieder. Thus she sings Baroque music such as the Passions and cantatas by Bach, pieces from the Classic and Romantic periods by Schubert, Schumann, Mendelssohn, Brahms, Wolf, Liszt, reaching out to Rachmaninow, Shostakowich, Strawinsky, Berg. Her repertory also includes Lieder by Slovene composers such as Ipavec, Savin, Vilhar, Pavcic, Lajovic, Kogoj, Sivic, Svara, Simoniti, Skerjanc, Ccek, Lipovsek, Cvetko, Vremsak, Mauri, Bravnicar, Dekleva and others.