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Praised for her vocal beauty, seamless technique, and abundant musicality, soprano Nadine Sierra is being hailed as one of the most promising emerging talents in the opera world today. The youngest winner to date of both the Metropolitan Opera National Council Auditions and the Marilyn Horne Foundation Vocal Competition, she is already making a name for herself though her performances with top opera companies and symphony orchestras around the world. Having made her professional debut as a teenager with the Palm Beach Opera, she received her first national exposure at just 15, when she sang “O mio babbino caro” from Gianni Schicchi on NPR’s young artist showcase From the Top. After graduating from New York’s Mannes College of Music, she entered the Adler Fellowship Program at San Francisco Opera, where she made her company debut in 2011, creating the dual roles of Juliet and Barbara opposite Thomas Hampson in the world premiere production of Christopher Theofanidis’s 9/11 opera, Heart of a Soldier. In the coming season, Sierra makes her Atlanta Opera debut as Gilda in a new staging of Verdi’s Rigoletto, her Valencia debut as Norina in Donizetti’s Don Pasquale, and

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Praised for her vocal beauty, seamless technique, and abundant musicality, soprano Nadine Sierra is being hailed as one of the most promising emerging talents in the opera world today. The youngest winner to date of both the Metropolitan Opera National Council Auditions and the Marilyn Horne Foundation Vocal Competition, she is already making a name for herself though her performances with top opera companies and symphony orchestras around the world.

Having made her professional debut as a teenager with the Palm Beach Opera, she received her first national exposure at just 15, when she sang “O mio babbino caro” from Gianni Schicchi on NPR’s young artist showcase From the Top. After graduating from New York’s Mannes College of Music, she entered the Adler Fellowship Program at San Francisco Opera, where she made her company debut in 2011, creating the dual roles of Juliet and Barbara opposite Thomas Hampson in the world premiere production of Christopher Theofanidis’s 9/11 opera, Heart of a Soldier.

In the coming season, Sierra makes her Atlanta Opera debut as Gilda in a new staging of Verdi’s Rigoletto, her Valencia debut as Norina in Donizetti’s Don Pasquale, and returns to the San Francisco Opera to sing Musetta in John Caird’s new production of La bohème and the Countess in John Copley’s iconic staging of Le nozze di Figaro. In concert, she joins the Cleveland Orchestra and Oregon Symphony for Orff’s Carmina Burana, the San Antonio Symphony for Mahler’s “Resurrection” Symphony, and the Master Chorale of South Florida for Handel’s Messiah. With her fellow 2010 George London Foundation Award winner, countertenor Anthony Roth Costanzo, she gives a George London Foundation Recital at the Morgan Library in New York City.

Verdi’s Gilda was the vehicle for Sierra’s debuts at the Seattle Opera, Florida Grand Opera, and Italy’s Teatro di San Carlo, as well as for her recent return to Boston Lyric Opera, where she first appeared as Tytania in Britten’s A Midsummer Night’s Dream. Her other notable engagements include last season’s debuts at the Virginia Opera, Israeli Opera, and Italy’s Teatro Lirico di Cagliari; her portrayal of the Princess in Gotham Chamber Opera’s U.S. premiere production of Xavier Montsalvatge’s El gato con botas; her return to the Palm Beach Opera in a title role in Gluck’s Orfeo ed Euridice; her Glimmerglass Festival debut in staged performances of Pergolesi’s Stabat mater; and last year’s debut with the San Francisco Symphony and Michael Tilson Thomas. In recital, the soprano has appeared at venues ranging from Carnegie’s Weill Hall to the U.S. Supreme Court, where she has performed alongside both Joseph Calleja and Thomas Hampson.

A winner of numerous vocal competitions, Sierra placed first at the Neue Stimmen, Montserrat Caballé, and Veronica Dunne International Singing Competitions in 2013. Three years earlier, she won first prizes at the George London Competition, Gerda Lissner International Vocal Competition, and Loren Zachary Competition. A recipient of both the Richard Tucker Music Foundation’s Study and Career Grant, her numerous previous competition wins include the 2007 Marilyn Horne Foundation Vocal Competition and the 2009 Metropolitan Opera National Council Auditions, as recounted by Nick Romeo in his book Driven: Six Incredible Musical Journeys (2011), a chapter of which is devoted to Sierra’s Grand Finals triumph. Sierra has also been featured as the subject of an Opera News “Sound Bites” column and the cover story of Uptempo magazine’s inaugural issue.

A native of south Florida, the American soprano was born in 1988 to a Portuguese mother and an American father of Puerto Rican and Italian descent.

www.nadinesierra.com

www.facebook.com/pages/Nadine-Sierra

(586 words)

© 21C Media Group, October 2014

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Reviews

"There was no way to listen to soprano Nadine Sierra…and feel anything but awe and delight―a combination of admiration for her current gifts and eager anticipation at what the future surely holds for her."

San Francisco Chronicle

"Sierra, a lovely, dewy-eyed Floridian, made a memorable FGO debut with a purity of tone that echoed her character's persona. She not only demonstrated a technical command, but also an ability to project to the back of the hall, even when she faced away from the audience."

Bill Hirschman, SunSentinel

"In her company debut, Nadine Sierra played Pamina with earnest expression and depth of character. With her fluid soprano ringing in the hall at all dynamic levels, she sculpted her arias in beautiful phrases, and the orchestra — comprising Virginia Symphony members conducted by Mark Russell Smith — supported her musicality."

Grace Jean, The Washington Post

"Nadine Sierra [...] is something special even in this world of very good sopranos. [... ]Musically she was the star of the evening. "

Jeff Haller, ConcertoNet.com

"As Gilda, [...] Nadine Sierra sings with a marvelous lightness, youthful in timbre if mature in body, flexibility, and assurance. "

Gavin Borchert, Seattle Weekly

"But no one else matched the art of transition displayed by American soprano Nadine Sierra, making her Seattle Opera debut as Gilda. [...] Sierra — and you’ll most definitely want to pay attention to her name — has an alluring, immediately identifiable voice that encompasses dark-hued deep notes as well as spectacularly spun, floating light notes at the very top of her range. And that’s only a starting point for Sierra: her remarkable control allows her to venture an exciting variety in her phrasing. Her characterization complements this vocal richness: Sierra shows Gilda not as the innocent “tabula rasa” we usually see at first but as a loving daughter who already has desires of her own. The pain of her humiliation in the second act is so palpable it’s hard to watch. And her Gilda’s persistent attachment to the Duke isn’t a sentimental weakness but a desperate attempt to salvage some kind of meaning within the opera’s heartless environment. An especially effective touch is the shudder of terror she reveals even after she’s resolved to sacrifice herself."

Thomas May, Memeteria