The American soprano and winner of both the Foundation’s Study and Career Grants joins an all-star concert lineup that includes her Lucia costar (and future costar for her Metropolitan Opera debut in December) Piotr Beczala, Andrea Bocelli, Renée Fleming, Angela Gheorghiu, and 2015 Richard Tucker Award Winner Jamie Barton. Eugene Kohn leads the concert, which features members of the Metropolitan Opera Orchestra and New York Choral Society.
Nadine Sierra’s headlining performance in Donizetti’s Lucia di Lammermoor at San Francisco Opera has earned the American soprano further accolades from Bay Area press. The San Francisco Chronicle praised her “beautiful and clear-toned [performance]…delivered [with] a full helping of musical elegance, marked by crystalline tone and deftly placed passagework. Especially in Lucia’s final mad scene — an extended sequence of fantastical phrases and scattered memories accompanied with eerie tenderness by the Opera Orchestra’s principal flutist, Julie McKenzie — Sierra shaped the character’s music with a luminous edge.”
“Soprano Nadine Sierra assumed the title role and delivered a mad scene that simply brought down the house,” added the San Jose Mercury News. “Once Lucia — who loves one man but is forced by her brother, Enrico, to marry another — submits to the wedding, hers is a swift downward trajectory, and Sierra traced the fall in steely vocal terms.”
“Dramatic prowess, and especially the ability to set the right mood, are just as essential to pull off the role of Lucia, which Sierra did with aplomb,” wrote the San Francisco Examiner, “most notably in her showpiece Act 3 mad scene, with meandering and facial expressions convincingly expressing her mental derangement.”
Following her role debut as Donizetti’s eponymous heroine earlier this year in Zurich, Nadine Sierra returns to the role of Lucia di Lammermoor at San Francisco Opera next month. Starring opposite Piotr Beczala as Edgardo, Brian Mulligan as Enrico, and Nicolas Testé as Raimondo. Nicola Luisotti conducts the performances.
Nadine’s performances as Lucia will be followed by her return to the role of Pamina at San Francisco Opera. She stars in Donizetti’s tragedy October 8 through 28, and in Mozart’s Masonic masterwork November 4 through 20.
Nadine Sierra launches her season of debuts with her first Zerlina in Don Giovanni in her inaugural performances at the Opéra National de Paris. The American soprano stars opposite Artur Rucinski in the title role and Fernando Radó as Zerlina’s fiancé, Masetto.
Rounding out the cast are Marina Bengtsson as Donna Anna, Matthew Polenzani as Don Ottavio, Karine Deshayes as Donna Elvira, and Alessio Arduini as Leporello. Patrick Lange conducts the production, helmed by Michael Haneke.
Nadine Sierra’s 2015-16 calendar is highlighted with house debuts at the Opéra National de Paris, Metropolitan Opera, Teatro alla Scala, and Berlin Staatsoper. The American soprano launches her landmark season with her first Zerlina in Mozart’s Don Giovanni, performed at the Opéra National de Paris September 12 through 26.
Following a return to San Francisco Opera to sing Pamina in Die Zauberflöte (October 20 through November 20), Nadine gives her first Metropolitan Opera performances as Gilda in Rigoletto December 2 through 17. Gilda also serves as her house debut at Teatro alla Scala January 13 through February 6. Nadine then joins Daniel Barenboim at the Berlin Staatsoper to sing her first Amor in a new production of Gluck’s Orfeo ed Euridice, with sets designed by Frank Gehry, March 13 through 27.
Following recitals in Washington, DC and Cincinnati, OH, Nadine returns to Valencia to sing Tytania in Britten’s A Midsummer Night’s Dream at the Palau de les Arts June 10 through 18.
This weekend, Nadine Sierra guests with the La Escena Vocal festival in Montevideo, Uruguay, for two evenings of song. On July 31, the American soprano joins pianist Jerome Tan for Debussy’s Chansons de jeunesse, Poulenc’s Les chemins de l’amour, Rodrigo’s Cuatro madrigales amatorios, Turina’s Homenaje a Lope de Vega, plus songs by Villa Lobos and Rossini’s “Arpa gentil” from Il viaggio a Reims.
Rossini is the order of the day for August 1 when Nadine joins a lineup of singers that also includes sopranos Yana Ivanilova and Nora Nahoun as well as mezzo-soprano Nancy Fabiola Herrera. Rossini’s songs are paired with excerpts from Mozart’s Die Zauberflöte and Le Nozze di Figaro alongside works by Gounod, Saint-Saëns, Wagner, and Berlioz. Once again, Nadine is featured alongside Jerome Tan.
Tonight, Nadine Sierra steps in as a headlining performer in the 10th annual Festival del Sole. The American soprano returns to the Napa Valley celebration of music for its opening night concert, joining pianist Brian Zeger at the formidable 13th-century-inspired Castello di Amorosa. This evening’s event, which is preceded by a reception and followed by a gala dinner, is sold out.
Nadine previously appeared with Festival del Sole in 2014, singing alongside tenor Matthew Polenzani in honor of legendary actress Sophia Loren.
Nadine Sierra has made a critically acclaimed return to San Francisco Opera as Countess Almaviva in Mozart’s Le Nozze di Figaro. “Sierra’s sound is silvery and brilliant,” wrote San Francisco Classical Voice. “‘Dove sono I bei momenti’ showed off the exquisite control she has over her voice.” For the San Jose Mercury News, the American soprano “delivered ‘Porgi amor’ and ‘Dove sono’ with grace and expressiveness and acted with keen comic timing.”
The San Francisco Examiner hailed Nadine’s multifaceted portrayal, praising her ability to “tease out just the right amount of spunk to assure us that the Coutness does far more than languish as the plot unfolds,” concluding that “Sierra clearly understood the Countess’ ‘roots’ in The Barber of Seville.”
In her second performance with the company this season, Nadine Sierra returns to San Francisco Opera to sing her first Countess Almaviva in Mozart’s Le nozze di Figaro (June 14 – July 5).
The American soprano stars opposite Luca Pisaroni as the Count, with Lisette Oropesa as Susanna and Philippe Sly in the title role. Patrick Summers conduct the performances in John Copley’s production, directed in revival by Robin Guarino.
May for Nadine Sierra begins with two concert performances of Orff’s Carmina Burana with the Santa Cruz Symphony. The fast-rising soprano joins frequent artistic collaborator and countertenor Anthony Roth Costanzo as well as baritone John Moore for Orff’s epic choral masterwork, coupled with works by Lully, Handel, and Luis de Victoria. This includes a reprise of Rodelinda‘s “Io t’abbraccio,” performed by Nadine and Anthony in California following their lauded account of the Handelian duet at New York’s Morgan Library.
On April 6, Nadine Sierra makes two major debuts in Switzerland, the first being her role debut in Donizetti’s Lucia di Lammermoor. The occasion also marks the American soprano’s first outing at Opernhaus Zürich where she stars opposite Ismael Jordi as Edgardo and Artur Rucinski as Enrico. She sings the role of ill-fated Lucia, which includes the famed Act III mad scene, under the baton of Nello Santi and in a production by Damiano Michieletto.
Nadine Sierra’s New York recital with countertenor Anthony Roth Costanzo, given at the Morgan Library last Sunday as part of the George London Foundation’s annual series, was met with rhythmic applause both popular and critical. “Possessed of a natural, easy charisma, Sierra showed excellent textual awareness, mapping her phrases to the natural cadence of the text,” wrote New York Classical Review, also noting of her encore that “Sierra’s ‘O mio babbino caro’ was, not surprisingly, splendid, its arches bending gracefully to the top, where she lingered forever with gorgeous tone.”
Classical Voice North America praised both the American soprano for both her solos and duets with Costanzo. Of Nadine’s repertoire, it noted: “Turina’s settings of three poems by Félix Lope de Vega unveiled interpretive flair, a broad dynamic palette, and melismatic grace. If Corinna’s entrancing, arpeggiated aria from Rossini’s Il viaggio a Reims, properly begun offstage, entranced its listeners, her delivery of Rorem’s acrobatic Six Songs for High Voice surely amazed them — a real bravura vocal feat.” Of her duet from Rodelinda with Costanzo, CVNA added “Everything had been scrupulously pondered, down to the harmonic subtleties of the fine joint cadenzas — plus stance and facial expressions that created the sense of a dramatic performance.”
(Photo: Shawn Ehlers/George London Foundation for Singers)
Having debuted with the ensemble earlier this season, Nadine Sierra rejoins the Cleveland Orchestra this week for three concerts at Miami’s Adrienne Arsht Center for the Performing Arts March 26, 27, and 28. The American soprano reprises the work that marked her first outing with the orchestra, Orff’s Carmina Burana, whose highlights include “In trutina” and “Dulcissime.”
Of her “In trutina,” the Cleveland Plain Dealer wrote in August, “Talk about evocative. Sierra’s final aria, the song of a girl torn between desire and virtue, melted the heart as surely as a scene from a play.”
Nadine is joined by frequent performance partner Anthony Roth Costanzo as well as baritone Stephen Powell. Giancarlo Guerrero conducts the performances, which also hear Bernstein’s Chichester Psalms.
(Photo: Robin Hill for Knight Foundation)
On March 22, Nadine Sierra joins countertenor Anthony Roth Costanzo for an afternoon recital at the Morgan Library and Museum, presented by the George London Foundation. The pair, who performed an acclaimed Pergolesi Stabat Mater at the Glimmerglass Festival in 2012, perform arias and duets including selections from Pergolesi’s sacred work and Handel’s Rodelinda. Highlights for Nadine include “Arpa gentil” from Rossini’s Il viaggio a Reims and a quartet of songs by Ned Rorem.
This weekend, Nadine Sierra joins Polish baritone Mariusz Kwiecien for a concert of arias and duets at Warsaw’s Teatr Wielki. The American soprano will be heard in excerpts from Il barbiere di Siviglia (“Dunque io son?”), L’elisir d’amore (“Prendi per me sei libero”), Lucia di Lammermoor (“Regnava nel silenzio” and “Il pallor funesto, orrendo”), and Don Pasquale (“E il dottor non si vede!”).
Nadine and Mariusz are joined by conductor Carlo Montanaro and the Orchestra of the Teatr Wielki – Polish National Opera on March 15 at the Moniuszko Auditorium. Nadine most recently appeared at the theater in December for a New Year’s Eve gala concert.
As announced earlier this afternoon, Nadine Sierra will make her Metropolitan Opera debut in the 2015-16 season. The American soprano, who became the youngest winner to date of the Metropolitan Opera National Council Auditions in 2009, sings her signature role of Gilda in a revival of Rigoletto, starring in Michael Mayer’s Las Vegas production. Under the baton of Roberto Abbado, with whom she recently collaborated on Don Pasquale in Valencia, Nadine stars opposite Piotr Beczala as the Duke of Mantua and Željko Lučić in the title role. Performances take place December 2, 5, 8, 12, and 17.
(Photo: Ken Howard/Metropolitan Opera)
Following her triumphant first outing at Valencia’s Palau de les Arts, Nadine Sierra makes her debut with Atlanta Opera later this month in Rigoletto. Praised by the Boston Globe for a Gilda sung “with wide-eyed innocence, lucid phrasing, and a sweetness of tone,” the American soprano returns to Tomer Zvulun’s production, in which she was heard in Boston last year, starring opposite Todd Thomas in the title role and Scott Quinn as the Duke of Mantua. Joseph Rescigno conducts performances, which take place February 28 as well as March 3, 6, and 8.
Two renowned opera houses have recently announced Nadine Sierra’s company debuts, beginning in April with the Opernhaus Zürich. There, the American soprano steps in as the title role in Donizetti’s Lucia di Lammermoor, marking her first performances as Lucia Ashton. Nadine stars in Damiano Michieletto’s production, conducted by Nello Santi, opposite Ismael Jordi as Edgardo and Artur Rucinski as Enrico. Performances take place April 6 through 25.
In the 2015-16 season, Nadine will also guest with the Opéra National de Paris for the first time, singing Zerlina in Mozart’s Don Giovanni. Austrian filmmaker Michael Haneke’s production pairs Nadine once again with Artur Rucinski as the Don and Fernando Radó as Masetto in a cast that also includes Alexander Tsymbalyuk, Matthew Polenzani, and Karine Deshayes. Patrick Lange conducts the performances, which feature Nadine September 12 through 26.
Nadine Sierra’s house and role debut at Valencia’s Palau de les Arts Reina Sofia in the role of Norina in Don Pasquale earned what Valencia Plaza reported to be a six-minute ovation. The Plaza went on to write that the American soprano was “highly celebrated by the audience.”
El Diario concurred, writing, “The soprano Nadine Sierra made a promising debut in Valencia in the role of Norina. With a bright and velvety timbre, she captivated the audience with the agility of her flourishes and the naturalism of her top notes.”
“Nadine Sierra shone with a young, fresh voice that rang very well in the center with rapid agility…showing impudence that suited the character,” added El País.
(Photo: Tato Baeza)
This month, Nadine Sierra makes both her house and role debut in the Palau de les Arts Reina Sofia’s production of Don Pasquale. In Donizetti’s charming comedy, the American soprano sings her first Norina in a cast that also includes Maxim Mironov as Ernesto, Artur Rucinski as Malatesta, and Michele Pertusi in the title role. Roberto Abbado conducts the production, a revival of Jonathan Miller’s staging directed here by Rodula Gaitanou.
Nadine can be heard as Norina January 31, as well as February 3, 5, 8, 11, and 13. Click here for ticket information.