NadineSierra
Representation
About Nadine
"Her voice with its pure, incisive and delicate timbre radiates tenderness in the middle register, while she floats her golden high register to the limits of audibility ." - Le Monde
Praised for her vocal beauty, seamless technique, and abundant musicality, Nadine Sierra is being hailed as one of the most promising, young talents in opera today. She was named the Richard Tucker Award Winner in 2017 and was awarded the 2018 Beverly Sills Artist Award by the Metropolitan Opera. Having made a string of successful debuts at the Met, Teatro alla Scala, Paris Opera, and Staatsoper Berlin, she has become a fixture at many of the top houses around the world. In 2018, Deutsche Grammophon/Universal Music labels released her debut album, There’s a Place for Us, followed by a second album, Made For Opera, in 2022.
Nadine's 24/25 season starts with her Wiener Staatsoper debut singing the lead in Romeo et Juliette followed by returning to Metropolitan Opera as Gilda In Rigoletto. She is excited to return to Gran Teatre del Liceu in Barcelona numerous times next season as Violetta in La Traviata, Amina in La Sonnambula and Maria in West Side Story, under the baton of Gustavo Dudamel. She will also appear at Madrid's Teatro Real as Violetta, to Paris Opera as Manon and to Naples Teatro San Carlo as Juliette.
Nadine's previous season highlights included her Royal Opera House debut as Adina in L'elisir d'amore, and then returning later in the year singing the title role in Lucia di Lammermoor, as well as joining the Royal Opera on a tour of Japan singing Gilda in Rigoletto, conducted by Maestro Antonio Pappano. Sierra also starred as Juliette in Roméo et Juliette at the Met, Violetta in La traviata at Paris Opera and debuted the role of Luisa Miller at Teatro di San Carlo.
She appeared in concerts and recitals with with Berliner Philharmoniker under the baton of Gustavo Dudamel, Philadelphia Orchestra conducted by Yannick Nézet-Séguin, Orchestra dell'Accademia Nazionale di Santa Cecilia with Antonio Pappano.She also performed in recital at Palm Beach Opera, Teatro Real, Canergie Hall, Teatro di San Carlo, Festival Dortmund, Grand Théâtre de Genève and in Kansas City (Harriman-Jewell Series). She has also joined Andrea Bocelli in his 30th anniversary tour across Europe and North America and will be joining him again in Madison Square Garden, New York and at Kaseya Center in Miami, Florida in December 2024.
Representation
Season Highlights
News
Fatma Said, Nadine Sierra and Cristian Măcelaru to appear at the Concert de Paris
Nadine Sierra and Xabier Anduaga give gala performance celebrating Antonio Pappano’s leadership at the Royal Opera
14 Askonas Holt artists feature in Wiener Staatsoper’s 2024/25 season
Opéra national de Paris 2024/25 season to feature 15 Askonas Holt artists
Askonas Holt welcomes soprano Nadine Sierra
Press
Teatro di San Carlo: recital
NapoliMay 2024Per 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
