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Nadja Michael

Nadja Michael

Nadja Michael

One of the most interesting and sought-after dramatic sopranos around. Born and trained in Leipzig, she has gained global celebrity with performances in major opera houses, including the Royal Opera House, Metropolitan Opera, Teatro alla Scala, Deutsche Oper Berlin, Wiener Staatsoper, Bolshoi Theatre, Teatro Real and Bayerische Staatsoper. She initially performed as a mezzo-soprano (‘a delightful actress and singer') and created many major operatic roles for that voice until making her debut as a soprano in 2005. Her stand-out creations of past seasons include the titular roles in Salome (Royal Opera House, Covent Garden, Bayerische Staatsopera, Semperoper Dresden, San Francisco Opera) and Verdi's Tosca (Deutsche Oper Berlin), Lady Macbeth in Macbeth (Metropolitan Opera, Bayerische Staatsoper, Lyric Opera of Chicago, Semperoper Dresden), Poppea in L'Incoronazione di Poppea (Teatro Real), Leonore in Fidelio (Wiener Staatsoper), Elisabeth and Venus in Tannhäuser and Marta in Eugen d'Albert's Tiefland (Deutsche Oper Berlin), as well as the title role in Cherubini's Médée (La Monnaie, Théâtre des Champs-Elysées), Mariette in Korngold's opera Die tote Stadt, in its first production at Covent Garden, and the title roles in Gluck's Iphigénie en Tauride (La Monnaie) and Mayr's Medea in Corinto (Bayerische Staatsoper). Her greatest successes have included the role of Kundra in Parsifal at the Teatro Colón, Ortrud in Lohengrin at the Mariinsky Theatre, Emilia in Janáček's The Makropulos Affair at the Bayerische Staatsoper and San Francisco Opera, Judith in Bartók's Duke Bluebeard's Castle at the Metropolitan Opera and the titular role in Gomes's Fosca at the Theatro Municipal de São Paulo, as well as Katerina Ismailova in Shostakovich's Lady Macbeth of Mtsensk District (Bolshoi Theatre), for which she was nominated for a Gold Mask (the most prestigious theatre prize in Russia) for best female role. She recently made her debut in Strauss's Elektra at the Mariinsky Theatre.


 

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