NadineSierra

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Soprano
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© Gregor Hohenberg
© Gregor Hohenberg

News

  • 29 April 2024

    14 Askonas Holt artists feature in Wiener Staatsoper’s 2024/25 season

    Read full article
  • 20 March 2024

    Opéra national de Paris 2024/25 season to feature 15 Askonas Holt artists

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  • 01 March 2024

    Askonas Holt welcomes soprano Nadine Sierra

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Press

  • Verdi: La Traviata

    Opéra national de Paris
    Jan 2024

    • The main role is entrusted to Nadine Sierra , who offers her intensity of stage and vocal interpretation. Her voice lights up naturally, amplified by a present vibrato and assertive low-mids. It rises with agility and finesse in the treble. Her long and delicate outfits also know how to delve into tragic heartbreaks.

    • We are still searching for words to express our admiration for Nadine Sierra 's masterful incarnation as Violetta. Thank you, Madame, for making us cry for the first time at the opera. How powerfully moving this “ Addio, del passato… ” was!!! The mastery of the soprano's voice leaves us speechless. Length of breath, vocalizations, colors, nuances, highs, lightening of the line, everything is there as expected. There are also these sustained notes which subtly protrude and which delight any lover of lyrical art. The diva resurfaces just when necessary without ever sacrificing the character to the vocal number. Great art!!!

    • Nadine Sierra shone as Violetta Valery. The approach to staging is perfect for a young and beautiful woman of this era, both characteristics of the singer born in Fort Lauderdale (Florida, USA). Fully in focus in every act, she was able to move seamlessly from the coloratura and high notes of the beginning to the drama of the end without affecting her vocal performance. Furthermore, her subtleties, her yarns, her mezzo-voices and her pianissimi were a real luxury. Her extraordinary vocality, with her beautiful center and perfectly timbred high notes, shone in a truly triumphal evening.

    • The vocal cast suffers no reproach, dominated by the moving Nadine Sierra in the title role who impresses with her vocal and stage incarnation arguing for phenomenal power and projection, a wide ambitus from treble, stratospheric or subtly spun, right down to well-toned bass notes, bringing out from his song magnificent colors and a moving legato that would make stones cry, carried by a breath that seems inexhaustible.

    • Nadine Sierra is a legendary Violetta. Beautiful to die for and with a natural grace that makes her both fatal and fascinating, she embodies the role effortlessly. Vocally she is an ideal Verdienne with a stable range, precise and brilliant agility, and powerful bass without being overwhelming. We notice pianissimi of pure beauty. What a treat to see how she carries this character and makes us rediscover scenes and music that we thought we already knew by heart.

    • However, a powerful heroine requires a powerful voice, especially on the gigantic stage of the Opéra Bastille. Let us, therefore, thank the extraordinary soprano Nadine Sierra. The singer is prodigious in the role, and remains radiant and beautiful whatever the situation. Her performance, akin to that of the greatest actresses, takes her from the nightclub to her deathbed. Her voice, capable of any feat, has a powerful, balanced timbre that surpasses any others, compelling us to laugh and cry at her slightest variations

    • Nadine Sierra , who establishes herself as the most accomplished holder of the role in the world today. She has everything going for her: she is first of all devastatingly beautiful, which makes her radiance clear, but she is not content with this appearance, she inhabits her character to the very core, by turns seductive, worried, in love, panting, torn, broken, defeated. At each moment, she draws from her sparkling timbre new colors which sculpt with incredible truth the character of this woman who lights up and goes out - and leaves us stunned. We rarely hear an E strano so constructed, drawn, to express the inner pangs of Violetta, going from trendy influencer to simply lost woman; we never hear an Addio del passato carried like this to the point of exhaustion of the song, the tempo slowed down as if life was lacking for this farewell, each note chiseled, the color draining from it like the blood from the face, like a raw wound. It's heartbreaking.

  • Donizetti: L'elisir d'amore

    The Royal Opera House, Covent Garden
    Sep 2023

    • Unbelievably this was Nadine Sierra’s house debut as she is one of this generation’s finest young sopranos and seems to light up the stage whenever she is singing. Sierra’s coloratura is effortless and her voice has a lovely fluidity and she was dramatically convincing as the flighty, manipulative – and very sexy – Adina who actually is attracted to Nemorino from the outset, even if she perhaps doesn’t initially realise it. I enjoyed all the trials and tribulations of being a modern woman Sierra added and revealed with some wonderful facial expressions that truly brought her Adina to life.

    • Nadine Sierra sang beautifully and spontaneously as Adina. She interpreted the role in perfect bel canto style, with light and elegant phrasing, a voice with a clear timbre and ringing high notes, not to mention brilliant acting in the solo numbers and in the duets with Nemorino and Belcore. First disillusioned in "Della cruel Isotta", then with a voluble attitude in her duet with Nemorino "Chiedi all'aura lusinghiera", she finally surrenders and falls in love for the young man in the aria "Prendi, per me sei libero": she sang with clear technique and with an enchanting and never gratuitous coloratura.

    • This was Nadine Sierra’s belated house debut. She is no stranger to the role of Adina and she simply sizzled in a way that even the best Adinas rarely do. Hers is an Adina more than just aware of her sexuality; she enjoys it and she uses it mercilessly. In some respects, her “journey” is the triumph of a deep monogamous love over wandering carnality. Vocally, Sierra delivered a blend of impeccable technique with emotion and feeling. Her trills were a delight, her top notes smooth and easy, her legato milky. She easily soared over the chorus and orchestra, even at the busiest moments, and there was a vocal confidence there palpable in her delivery.

    • From start to finish, Nadine Sierra was phenomenal, with outstanding range, lyricism and dynamic control. Effortless ornamentation lifted her performance.

    • The other debutante was someone bringing with her an altogether more solid international reptation, the soprano Nadine Sierra. Covent Garden has therefore been a notable omission to her portfolio of international opera houses; and what a way to right the situation. Sierra was perfect for the part – her voice shining up top and yet she has the necessary lower register. She exudes an infectious energy onstage and is absolutely believably the popular yet innocent beauty of the village. Her voice has all the agility Donizetti asks for, too, yet it was in the more lyrical passages she impressed the most. With Sierra giving such a pitch-perfect (in multiple ways) account of her role,

    • Nadine Sierra stands out in the cast , a beautiful, smiling and capricious Adina, certainly aware of her seductive power. Vocally extended and with a soft delivery, Sierra seems to sing everything with ease, including punctuations and coloraturas.