Corinne Winters

Soprano

Biography

Acclaimed by The New York Times as “an outstanding actress, as well as a singer of extraordinary grace and finesse,” soprano Corinne Winters will enjoy a 2019/20 season of major role and house debuts amid return engagements at beloved companies. Following Corinne’s first Leïla in The Pearl Fishers at Santa Fe Opera, she makes a dual house and role debut as the title character in Moniuszko’s Halka at Theater an der Wien. She makes her much-anticipated role debut as Rusalka in a new Tatjana Gürbaca production of Dvorak’s masterpiece at English National Opera, where her career was launched onto the international stage, and concludes the run in her house debut at Les Théâtres de la Ville de Luxembourg.

Recent seasons have included major role debuts as the title character in Seattle Opera’s Katya Kabanova, Rachel in La Juive and Desdemona in Otello at Opera Vlaanderen, Tatyana in Eugene Onegin at Michigan Opera Theatre and Arizona Opera, Magda in La rondine at Opera Theatre of Saint Louis, and Liù in Turandot with the Orquesta Sinfónica Simón Bolívar de Venezuela under the baton of Gustavo Dudamel. Corinne has brought her Violetta, praised by The Guardian as “a wonderful combination of feistiness and fragility, sung with unflagging intensity,” to audiences around the world – at Royal Opera House Covent Garden, Theater Basel, Opera Australia, San Diego Opera, Seattle Opera, Wolf Trap Opera, Michigan Opera Theatre, English National Opera, Opera Lyra Ottawa, and Opera Hong Kong.

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Reviews

“Once in a great while, a singer just seems to have it all.”

Scott Cantrell

New York Times, Feb 2017

More Reviews

“Winters was an exquisite Tatyana with a beautiful and ravishing tone. Quite superb was her ‘Letter Scene’ in which Tatyana pours out her heart to the man with whom she is passionately in love. This scene was surely one of the highlights of the performance.”

Grosse Pointe News (Dina Winter)

Gardiner has an excellent ear for singers and he chose a great soloist quartet for this operatic mass for the dead. The soprano had a very flexible voice, flawless, with an interesting timbre, well placed piano and forte singing that carried over the wave of the orchestra. Winters is currently one of the most famous Traviatas on the operatic stage and it was easy to hear why. Her Verdian phrasing was stylish and she used beautiful Italianate ornamentation as well.”

Racjonalista.TV (Jacek Tabisz)

“Corinne Winters gives a performance of genius, with a wonderfully supple voice…Her ‘Amami Alfredo’ was the most heart–rending since Renata Scotto.”

The Spectator (Michael Tanner)

““Winters is the best ENO Violetta in decades, and worth the ticket price alone…”

The Times (UK) (Hugh Canning)