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Stunning audiences with her sterling lyric soprano voice and incisive stage personality, American soprano Heidi Stober has established herself as a house favorite at leading companies on both sides of the Atlantic. Since her critically acclaimed debut at Deutsche Oper Berlin in the fall of 2008, Ms. Stober has cultivated a long standing relationship with the company, going on to appear in a variety of leading roles including Pamina in Die Zauberflöte, Micaëla in Carmen, Susanna in Le nozze di Figaro, Adina in a new production of L’elisir d’amore, Gretel in Hänsel und Gretel, Oscar in Un ballo in maschera, Nannetta in Falstaff, Zerlina in Don Giovanni and Princess Ninette in Robert Carsen’s new production of Prokofiev’s L’Amour des Trois Oranges. Highlights of the 2016-17 season include Norina in Laurent Pelly’s production of Don Pasquale at San Francisco opera, conducted by Giuseppi Finzi, Ricky Ian Gordon’s 27 with the Collegiate Chorale in a James Robinson production conducted by Ted Sperling at New York’s City Center.  She will also return to the Deutsche Opera Berlin for a role debut as

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Stunning audiences with her sterling lyric soprano voice and incisive stage personality, American soprano Heidi Stober has established herself as a house favorite at leading companies on both sides of the Atlantic.

Since her critically acclaimed debut at Deutsche Oper Berlin in the fall of 2008, Ms. Stober has cultivated a long standing relationship with the company, going on to appear in a variety of leading roles including Pamina in Die Zauberflöte, Micaëla in Carmen, Susanna in Le nozze di Figaro, Adina in a new production of L’elisir d’amore, Gretel in Hänsel und Gretel, Oscar in Un ballo in maschera, Nannetta in Falstaff, Zerlina in Don Giovanni and Princess Ninette in Robert Carsen’s new production of Prokofiev’s L’Amour des Trois Oranges.

Highlights of the 2016-17 season include Norina in Laurent Pelly’s production of Don Pasquale at San Francisco opera, conducted by Giuseppi Finzi, Ricky Ian Gordon’s 27 with the Collegiate Chorale in a James Robinson production conducted by Ted Sperling at New York’s City Center.  She will also return to the Deutsche Opera Berlin for a role debut as Marguerite in Faust, as well as further performances with the company as Oscar, Gretel, and Pamina, and makes her United Kingdom and role debut singing the title role of Handel’s Semele with Garsington Opera.  On the concert stage, Ms. Stober joins the Boston Symphony Chamber Players and Thomas Ades for a program of the composer’s music and sings Brahms Requiem with the Tucson Symphony Orchestra.  She performs a solo recital with Tucson Desert Song and conducts a masterclass at the University of Arizona.

Last season included a house debut with the Lyric Opera of Chicago as Valencienne in The Merry Widow in a production directed by Susan Stroman and led by Sir Andrew Davies, a role debut of Johanna in Sondheim’s Sweeney Todd at San Francisco Opera conducted by Patrick Summers, and a return to Houston Grand Opera for Susannah in Le Nozze di Figaro conducted by Harry Bicket.  The soprano made her company and role debut at Dresden Semperoper singing the title role in Handel’s Alcina, as well as performances of Micaëla in Carmen.  She continued her relationship with the Deutsche Oper Berlin, with performances of Pamina, Adina, and Micaëla.  Concert appearances included a debut with the New York Philharmonic as the soprano soloists in Handel’s Messiah conducted by Jane Glover, and a joint recital with her husband, baritone Simon Pauly in Berlin.

The 2014-15 season saw returns to the Metropolitan Opera for Gretel in Hansel and Gretel conducted by Sir Andrew Davis in an international radio broadcast and Oscar in Un ballo in maschera conducted by James Levine, the role also saw her return to San Francisco Opera in a production led by Nicola Luisotti.  She made a return to Santa Fe Opera for her role debut as Sandrina in La Finta Giardiniera, and debuted with Opera Philadelphia, reprising the role of Ada in Theodore Morrison’s Oscar, based on the life of Oscar Wilde. She also returned to Deutsche Oper Berlin for further performances of Pamina, Adina, Liu and Ninette.  Concert appearances included a solo recital in Carnegie Hall’s Weill Recital Hall, a return to her alma mater of Lawrence University for a recital and master class, both with pianist Craig Terry, and a return to the Los Angeles Philharmonic for the world premiere of Stephen Hartke’s Symphony No. 4, conducted by Gustavo Dudamel.

Having already taken to the stages of the world’s most important opera companies, Ms. Stober made her debut at the Metropolitan Opera during the 2011-2012 season as Gretel in Hansel and Gretel conducted by Robin Ticciati, returning to the company as Pamina in The Magic Flute.  In 2010 she debuted with the San Francisco Opera to great critical acclaim as Sophie in Werther which was followed by performances of Susanna in Le nozze di Figaro, Atalanta in Xerxes, Nannetta in Falstaff, Magnolia in Showboat, and a highly acclaimed Pamina in a new production of Die Zauberflöte of which Mercury News wrote “Consider going to this new Flute simply to see Stober. Every time she arrives on stage, Mozart re-emerges in all his richness. In the end, we go to the opera to hear singing; this woman can sing.” 

Solidly established as a house favorite at Houston Grand Opera, in addition to Atalanta in Xerxes, Ms. Stober has appeared as Susanna, Blondchen in Die Entführung aus dem Serail, Drusilla in L’incoronazione di Poppea, Norina in Don Pasquale, and Musetta in a new production of La bohème.  Her 2007 debut as La Folie in Plateé with the Santa Fe Opera was a particular success leading to a continuing relationship with that company in such roles as Tigrane in Handel’s Radamisto, Musetta in La Boheme, Zdenka in Arabella and Ada in the world premiere of Theodore Morrison’s Oscar.

She made her role debut as Leïla in Les pêcheurs de perles with Opera Colorado, her South American debut with Teatro Municipal in Santiago as Morgana in Alcina, and role and house debuts with Opera Theatre of St. Louis as Aminta in Mozart’s Il re pastore.  The New York Times wrote of her New York City Opera debut that she “contributed some remarkable singing” as Poppea in Handel’s Agrippina.  Ms. Stober made early appearances with Boston Lyric Opera, Wolf Trap Opera, Central City Opera, and Utah Opera.

Highlights of concert engagements include Mozart’s Requiem with the Los Angeles Philharmonic, Mahler’s Symphony No. 4 (Edo de Waart, conductor) with the Milwaukee Symphony Orchestra, and the role of Anne Trulove in The Rake’s Progress with the St. Paul Chamber Orchestra. Additional concert work includes soprano soloist in concert performances of Barber’s Knoxville: Summer of 1915 with the Oslo Philharmonic, Beethoven’s Symphony No. 9 with the Baltimore Symphony, Brahms’ Ein deutsches Requiem with the Houston Symphony, Handel’s Messiah with the Hong Kong Philharmonic, Carmina Burana with Houston Ballet, and Barber’s Knoxville: Summer of 1915 and Mahler’s 4th Symphony with Rundfunk-Sinfonieorchester Berlin under the baton of Mark Wigglesworth.

Heidi Stober’s professional training took place at the Houston Grand Opera Studio, and she holds degrees from Lawrence University and the New England Conservatory.  She and her husband, baritone Simon Pauly, currently make their home in Berlin with their son.

***For more information about Heidi Stober, please visit the artist's website: www.heidistober.com***

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Reviews

"The petite soprano Heidi Stober was wonderful as Zdenka, who, as a young man, calls herself Zdenko. Dressed in a trim gray suit, with short blond hair and eyeglasses, she looked bookish and earnest and sang with bright, penetrating sound."

Anthony Tomassini, The New York Times

"Consider going to this new "Flute" simply to see Stober. Every time she arrives on stage, Mozart re-emerges in all his richness. In the end, we go to the opera to hear singing; this woman can sing."

Richard Scheinin, Mercury News

"Heidi Strober was similarly impressive. She gave life to a strong-willed, astute character through her subtle interpretation: her powerful tone and the humorous way in which she delivered her lines and the ornamentation were memorable."

Marina Romani , Musicalcriticism

"Heidi Stober was radiant as the young affianced woman who is compelled to impersonate the Shepherd King Aminta and enact his plight. Her ample, well-schooled, warm lyric soprano blossomed especially above the staff, and her stage demeanor served up a generous helping of star-quality."

Opera Today

"The lively soprano Heidi Stober portrays Tigrane, Prince of Pontus, who serves Tiridate but turns against him. Ms. Stober is made up to look like some pompous Armenian businessman, complete with roly-poly potbelly. Yet her subtly expressive singing demands that you take her character seriously"

The New York Times

"Heidi Stober, a magnificent Folie in last summer's Platée, sang the canny counselor Tigrane with rock-solid technique, and her blazing soprano could be both wistful and wild. She maintained the part's inherent dignity wonderfully, even though compromised by a wacky costume and character — and that was, ladies and gentlemen, as Groucho Marx in A Night in Casablanca, complete to fez, white suit, cigar, Groucho glasses and 'stache, and paunch. Where the pair of Birkenstocks came from is anyone's guess."

Santa Fe New Mexican

"The standout was Heidi Stober as the younger daughter. Her limpid, very pretty soprano was a delight every time she sang."

The Wall Street Journal