Heidi Stober

Soprano

Biography

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.

The current 2015-16 season includes a role debut of Johanna in Sondheim’s Sweeney Todd at San Francisco Opera conducted by Patrick Summers, followed by a return to the Lyric Opera of Chicago as Valencienne in The Merry Widow, directed by Susan Stroman and led by Sir Andrew Davis, and Houston Grand Opera for Susannah in Le Nozze di Figaro conducted by Harry Bicket.  The soprano makes 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 continues her relationship with the Deutsche Oper Berlin, peforming Pamina, Gretel, and Micaela.  Concert appearances include 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.

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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