Corinne Winters



Acclaimed by The New York Times as “an outstanding actress, as well as a singer of extraordinary grace and finesse,” American soprano Corinne Winters has performed over twenty-five leading roles at major opera houses around the world. Corinne’s 21/22 season begins at Opera di Roma as Madama Butterfly, followed by debuts at Oper Frankfurt as Tchaikovsky’s Iolanta, La Monnaie de Munt as Giorgetta in Il Tabarro and Suor Angelica in Puccini’s Il Trittico, and the Grand Théâtre de Genève as Jenůfa. Her season also includes a return to Opera di Roma and the title role in a new production at the Salzburg Festival (to be announced).

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 OperaWolf Trap OperaMichigan Opera TheatreEnglish National Opera, Opera Lyra Ottawa, and Opera Hong Kong.

Other recent appearances include the title roles in Moniuszko’s Halka (Theater an der Wien) and Katya Kabanova (Seattle Opera), Rachel in La Juive and Desdemona in Otello (Opera Vlaanderen), Tatyana in Eugene Onegin (Michigan Opera Theatre, Arizona Opera), Fiordiligi in Così fan tutte (Royal Opera HouseOrchestra dell’Accademia Nazionale di Santa Cecilia), Magda in La rondine (Opera Theatre of Saint Louis), Leïla in The Pearl Fishers (Santa Fe Opera), Mélisande in Pelléas et Mélisande (Opernhaus Zürich, Opera Theatre of Saint Louis), Mimì in La bohème (English National OperaWashington National Opera, Arizona Opera), Juliette in Roméo et Juliette (Arizona Opera), Alice Ford in Falstaff (City of Birmingham Symphony Orchestra), Soong Ching-ling in the American premiere of Dr. Sun Yat-sen (Santa Fe Opera), and Liù in Turandot (Orquesta Sinfónica Simón Bolívar de Venezuela) under the baton of Gustavo Dudamel.

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“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)