NadineSierra

Press

• Teatro di San Carlo: recital

  Napoli

  May 2024

  • Per il resto, la serata è stata di livello alto: Nadine Sierra è molto brava, lo studio e la sicurezza tecnica le rendono possibile abbandonarsi alla genuina gioia di cantare. La voce è robusta, estesa, dagli accattivanti toni caldi, tutte qualità mantenute negli acuti presi senza segni di sforzo o cedimenti. In più affronta come se niente fosse un programma eclettico, quasi un puzzle dalle tessere sparse, in cui si faticava a trovare un filo conduttore: opera francese, Lieder di Strauss e canzoni spagnole o brasiliane, fino a 'O sole mio e un po' di Rossini prima di Puccini autore di ben tre dei quattro bis concessi alla fine. È stato così che quasi da subito, anche grazie ad una naturale simpatia e comunicativa senza il minimo distacco divistico, il pubblico napoletano ha finito con l'adottarla applaudendola senza riserve. [TRANSLATION] The evening was of a high standard: Nadine Sierra is very good, her study and technical confidence making it possible for her to indulge in the genuine joy of singing. The voice is robust, extended, with captivating warm tones, all qualities maintained in the high notes taken without signs of strain or sagging. What's more, she tackles as if nothing was wrong with an eclectic program, almost a puzzle with scattered tiles, in which one struggled to find a common thread: French opera, Strauss's Lieder and Spanish or Brazilian songs, all the way to 'O sole mio and a bit of Rossini before Puccini authored no less than three of the four encores granted at the end. So it was that almost immediately, thanks in part to a natural sympathy and communicativeness without the slightest divine detachment, the Neapolitan audience ended up adopting her, applauding her without reservation.

    • Opera Click
    • 29 May 2024

• Lucia di Lammermoor

  The Royal Opera House

  May 2024

  • Nadine Sierra is stunning in the title role as her soprano reveals a thrilling combination of richness and sensitivity that makes her coloratura particularly affecting. The spirit of Lucia also comes across clearly, making her character seem highly believable and her descent into madness feel as compelling as it is disturbing to watch.

    • Opera Online
    • 19 April 2024

  • Lucia di Lammermoor reaches its true stature if what happens on stage matches the inspiration of Donizetti’s score. But it cannot do this without a soprano capable of its leading role. Sierra is emphatically that. Her voice has a thrilling security. She sang Donizetti’s top notes without transposing them down – allied to darker chest voice tones and a cherishable ability to sing softly while still projecting the words, which together enable her to inhabit the searching side of the role. Her opening aria was sensationally good, while her mad scene was not merely vocally breathtaking – sung in a disembodied tone that dovetailed well with Katherine Baker’s flute obbligato – but was also genuinely disturbing to witness. [...] But this is Sierra’s show. It is simply not a revival to be missed.

    • The Guardian
    • 21 April 2024

  • Leading this outstanding cast was the American soprano Nadine Sierra (previously notable here as Adina in L’elisir d’amore), her diamond-bright and pitch perfect voice having an easy command of Donizetti’s coloratura. One quickly forgot the vocal gymnastics as she glided through the opening cavatina, its stratospheric notes sung with power and bell-like clarity. For the ‘mad scene’ she reined in her tone to reveal a spun line of remarkable delicacy, her fragile state of mind never in doubt, nor too her stage-filling sound whether at full throttle or a theatrical whisper, this last superbly matched by Katherine Baker’s flute obbligato. It wasn’t just her vocal assurance that captivated, it was her complete absorption of the role in all its emotional complexity, her hopes, despair and emotional shipwreck utterly compelling.

    • Opera Today
    • 21 April 2024

• Roméo et Juliette

  The Metropolitan Opera

  • The heroine’s role includes a demanding virtuosic aria near the opera’s beginning while the remainder of her music requires more expansive, lyrical qualities. Juliette’s coloratura aria “Je veux vivre” found Sierra in frantic form; Sher has her prance about with girlish enthusiasm, which may have caused her to be less at ease in her florid frills. But from then on, as Juliette rapidly matured, and Sierra’s refulgent soprano blossomed

    • Observer
    • 12 March 2024

• Romeo et Juliette

  Wiener Staatsoper

  Sep 2024

  • From the very first moment Nadine Sierra took the stage as Juliette, the audience was transported into a world of youthful innocence and boundless passion. Sierra's portrayal was both luminous and grounded, an exquisite blend of vocal prowess and emotional depth. Juliette’s famous waltz aria, "Je veux vivre," is one of the opera's most iconic moments, and Sierra’s rendition was nothing short of breathtaking. Her voice soared effortlessly through the shimmering high notes, embodying Juliette’s dreams and desires with a thrilling purity. But beyond the technical perfection, what truly set Sierra apart was the joy and vitality she infused into the character.

    • European News Agency
    • 15 September 2024