2016–17 Season: Emilia Marty in The Makropulos Case
Born and raised in former East Germany, soprano Nadja Michael emigrated to the West soon after leaving school and studied singing in Stuttgart and at the University of Indiana, Bloomington. She has risen to international prominence in leading theaters, including the Bavarian State Opera in Munich; Vienna State Opera; Royal Opera, Covent Garden; Théâtre Royale de la Monnaie in Brussels; Teatro San Carlo in Naples; Berlin State Opera; Deutsche Oper Berlin; Teatro al Fenice in Venice; Théâtre du Capitole in Toulouse; Arena di Verona; and at the Glyndebourne and Salzburg Festivals. Her repertoire includes some of the most challenging roles for a dramatic soprano: Cherubini’s Médée, Beethoven’s Leonore in Fidelio, Marietta in Korngold’s Die Tote Stadt, Floria Tosca, Cassandre and Didon in Berlioz’s Les Troyens, and the title role in Richard Strauss’s Salome.
In 2009, Nadja Michael made her American and San Francisco Opera debuts with Salome. She then returned to the Théâtre Royale de La Monnaie as Iphigenie in Gluck’s Iphigenie en Tauride. Michael sang Elisabeth and Venus in Tannhäuser at the Deutsche Oper Berlin and appearred as Salome in Hamburg. In June 2010 she starred in the title role of the Bavarian State Opera’s new production of Mayr’s rarely performed Medea in Corinto. In 2011 she made her debut as Marie in Berg’s Wozzeck at the Berlin Staatsoper. This was followed by her debut in Cherubini’s Médée in 2012 at the Théâtre de Champs Élysées in Paris.
Recent engagements include Judith in Bartók’s Bluebeard’s Castle at the Metropolitan Opera, Emilia Marty in The Makropulos Case at the Bavarian State Opera, and Lady Macbeth (Verdi) in Amsterdam.