Chen Reiss



Soprano Chen Reiss has established a strongly-acclaimed and distinctive career, enchanting audiences with “one of the most perfect Strauss voices one could wish for” (Classical Source), “a voice of silver brightness and clarity” (Bachtrack) with “immaculately produced and enticing tone matched by superb musicianship” (Opera News, USA).

Born in Israel, she came to prominence as a member of the ensemble of the Bavarian State Opera under the music directorship of Zubin Mehta, and has for a number of years been a resident artist at the Vienna State Opera. She has also performed leading parts at the Théâtre des Champs-Élysées, Teatro alla Scala, Semperoper Dresden, Deutsche Oper Berlin, Netherlands Opera, Wiener Festwochen, Maggio Musicale Fiorentino, Opera Company of Philadelphia and the Israeli Opera.

Recent highlights include Marzelline in a new production of Beethoven’s Leonore (the original version of Fidelio) and her role debuts as Susanna (Le nozze di Figaro) and Aennchen (Der Freischutz) at the Vienna State Opera where she also returned in signature roles including Ginevra (Ariodante) and Sophie (Der Rosenkavalier), her debut at the Royal Opera House Covent Garden as Zerlina in Kasper Holten’s production of Don Giovanni conducted by Marc Minkowski, her debut at Teatro Real in Madrid and Gran Teatre del Liceu Barcelona as Ginevra (Ariodante) under William Christie, and her role debut as Liu (Turandot) with the Israel Philharmonic Orchestra.

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Recent News

Pappano, Finley & Reiss Return The Royal Opera House Autumn 2020!

The Royal Opera House has announced a thrilling an wide-ranging new line-up for its autumn programme. The performances will be performed in front of a live, socially-distanced Covent Garden audience and live streamed to audiences at home. Soprano Chen Reiss and...


“The performance of Israeli soprano Chen Reiss, whose interpretation of Bernstein’s Chichester Psalms, conducted by John Axelrod, rates as the best I have ever heard. […] Chen Reiss’s voice exactly met Bernstein’s demands – she sounded innocent, heavenly, pure, and very youthful. Chen Reiss acted as if praying while singing, and phrased beautifully with her beautiful voice. […]”

Markéta Vejvodová

Chen Reiss, making her Royal Opera debut at this performance, made Zerlina a character of both charm and guile, matched by a voice of silver brightness and clarity.

Matthew Rye


Here it was the Israeli soprano Chen Reiss, making her house debut in this role (she is a regular with the Vienna State Opera). Here is a Zerlina that is no innocent, stripping for the Don and realizing the power she has over the male libido. The duet ‘La ci darem’ was all the more delicious for Reiss’ slight depth to her voice: this is no soubrette Zerlina.

Colin Clarke

Seen and Heard International

Chen Reiss fields a supple, vernal lyric-coloratura that soars without strain or hardness into the stratosphere. […] she can spin a pure legato and always phrases musically, with rubato growing naturally from the curve of the line and the flux of the harmony. The florid melismas and high tessitura of Krenek’s ‘Die Nachtigall’ – and the tricky, vaulting leaps of the Berg songs are negotiated with effortless grace.

Richard Wigmore


More Reviews

Royal Festival Hall – Philharmonia Orchestra/ Lahav Shani

Strauss – Orchestra Lieder.

Mahler – 4th Symphony

“The sequence of six Richard Strauss songs was drawn from right across his career. Quite frankly Chen Reiss has one of the most perfect Strauss voices one could wish for – think Lisa della Casa – conveying that radiant, soaring ecstasy so characteristic of the composer’s love-affair with the female voice. ‘Morgen!’, topped and tailed by superb violin solos, was especially memorable.

When we reached the concluding child’s vision of Heaven Chen Reiss – now in the simplest gown rather than the sumptuous one she had worn for the Strauss – rose from within the orchestra, a particularly elegant solution to introduce the singer without disrupting the music’s flow. Reiss’s voice may be almost too beautiful and sophisticated for this faux-naif music but far better that than some less-impressive vocalists one has heard.”


Vienna State Opera: Strauss: Der Rosenkavalier (Sophie)

The dark-haired, distinctively beautiful young singer never offers the flittery, breathy soprano, which one often hears as Sophie; she presents a substantial, radiant, bright voice with the necessary heavenly high notes in Piano and in Forte. Linguistically perfect, she plays Sophie as confused, yet sympathetic, lively and with a strong personality.

Der neue Merker

Bayerische Staatsoper – Rigoletto (Gilda)

Chen Reiss was a stunning Gilda, her immaculately produced voice and enticing tone matched by her superb musicianship; she was able to reach out emotionally to the audience.

Opera News Online, USA