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© Gregor Hohenberg
© Gregor Hohenberg


Alice Stacpoole

Alice Stacpoole

Assistant Artist Manager


Worldwide general management with Askonas Holt

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.

Plans in season 2023/24 include L'elisir d'amore and Lucia di Lammermoor at the Royal Opera House, Roméo et Juliette at ABAO Olbe in Bilbao and Metropolitan Opera, La traviata at Paris Opera, Luisa Miller at Teatro di San Carlo, Rigoletto on a Japan tour with the Royal Opera House, as well as concerts and recitals with Teatro Real, Canergie Hall, Teatro di San Carlo, Festival Dortmund.

Sierra’s most recent seasons included the roles of Violetta at the Metropolitan Opera, Lucia at Bavarian State Opera, Teatro di San Carlo and Gran Teatre del Liceu, Gilda at Paris Opera, Teatro alla Scala and Staatsoper Berlin under the baton of Daniel Barenboim, Manon at Gran Teatre del Liceu. Concert appearances included appearances 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, Grand Théâtre de Genève and in Kansas City (Harriman-Jewell Series), and she joined Andrea Bocelli in a tour across the States.

Nadine is based in New York

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Worldwide general management with Askonas Holt

Season Highlights

Sep 2024
Vienna Staatsoper
Romeo et Juliette (Juliette)
Nov 2024
Metropolitan Opera
Rigoletto (Gilda)
Jan 2025
Grean Teatre del Liceu, Barcelona
La Traviata (Violetta)




  • Verdi: La Traviata

    Opéra national de Paris
    Jan 2024
    • The main role is entrusted to Nadine Sierra , who offers her intensity of stage and vocal interpretation. Her voice lights up naturally, amplified by a present vibrato and assertive low-mids. It rises with agility and finesse in the treble. Her long and delicate outfits also know how to delve into tragic heartbreaks.

    • We are still searching for words to express our admiration for Nadine Sierra 's masterful incarnation as Violetta. Thank you, Madame, for making us cry for the first time at the opera. How powerfully moving this “ Addio, del passato… ” was!!! The mastery of the soprano's voice leaves us speechless. Length of breath, vocalizations, colors, nuances, highs, lightening of the line, everything is there as expected. There are also these sustained notes which subtly protrude and which delight any lover of lyrical art. The diva resurfaces just when necessary without ever sacrificing the character to the vocal number. Great art!!!

    • Nadine Sierra shone as Violetta Valery. The approach to staging is perfect for a young and beautiful woman of this era, both characteristics of the singer born in Fort Lauderdale (Florida, USA). Fully in focus in every act, she was able to move seamlessly from the coloratura and high notes of the beginning to the drama of the end without affecting her vocal performance. Furthermore, her subtleties, her yarns, her mezzo-voices and her pianissimi were a real luxury. Her extraordinary vocality, with her beautiful center and perfectly timbred high notes, shone in a truly triumphal evening.

    • The vocal cast suffers no reproach, dominated by the moving Nadine Sierra in the title role who impresses with her vocal and stage incarnation arguing for phenomenal power and projection, a wide ambitus from treble, stratospheric or subtly spun, right down to well-toned bass notes, bringing out from his song magnificent colors and a moving legato that would make stones cry, carried by a breath that seems inexhaustible.

    • Nadine Sierra is a legendary Violetta. Beautiful to die for and with a natural grace that makes her both fatal and fascinating, she embodies the role effortlessly. Vocally she is an ideal Verdienne with a stable range, precise and brilliant agility, and powerful bass without being overwhelming. We notice pianissimi of pure beauty. What a treat to see how she carries this character and makes us rediscover scenes and music that we thought we already knew by heart.

    • However, a powerful heroine requires a powerful voice, especially on the gigantic stage of the Opéra Bastille. Let us, therefore, thank the extraordinary soprano Nadine Sierra. The singer is prodigious in the role, and remains radiant and beautiful whatever the situation. Her performance, akin to that of the greatest actresses, takes her from the nightclub to her deathbed. Her voice, capable of any feat, has a powerful, balanced timbre that surpasses any others, compelling us to laugh and cry at her slightest variations

    • Nadine Sierra , who establishes herself as the most accomplished holder of the role in the world today. She has everything going for her: she is first of all devastatingly beautiful, which makes her radiance clear, but she is not content with this appearance, she inhabits her character to the very core, by turns seductive, worried, in love, panting, torn, broken, defeated. At each moment, she draws from her sparkling timbre new colors which sculpt with incredible truth the character of this woman who lights up and goes out - and leaves us stunned. We rarely hear an E strano so constructed, drawn, to express the inner pangs of Violetta, going from trendy influencer to simply lost woman; we never hear an Addio del passato carried like this to the point of exhaustion of the song, the tempo slowed down as if life was lacking for this farewell, each note chiseled, the color draining from it like the blood from the face, like a raw wound. It's heartbreaking.