© Salzburger Festspiele

Mezzo-soprano Nadine Weissmann has drawn international attention at the forefront of the new generation of Wagnerian singers. 


This season begins with concerts at the Achava-Festspiele in Erfurt with the Weimar Staatskapelle, followed by her Royal Opera House Covent Garden debut in David McVicar's Zauberflöte.  Pelléas et Mélisande returns to the Komische Oper Berlin in the spring with Nadine as Geneviève.  She sings Wagner's Wesendoncklieder with the Zuger Sinfonietta under Daniel Huppert in May, and June will feature Beethoven's 9th in Wiesbaden with the Hessisches Staatsorchester under Patrick Lange.  The season ends with her debut at the Budapest Wagner Days as Waltraute in Götterdämmerung under Ádám Fischer as well as a concert of the third act of Siegfried at the Bregenz Festival.

Exciting performances marked the last season. The revival of Un ballo in maschera at the DNT Weimar was praised by critics and audiences.  Nadine gave her debut with the Bournemouth Symphony Orchestra with Krill Karabits conducting Mahler's Second Symphony.  She returned to the Staatskapelle Weimar under Lothar Zagrosek with Schoenberg's Lied der Waldtaube from his Gurrelieder.  Her Korean debut followed in Achim Freyer's new Rheingold in Seoul alongside many Bayreuth colleagues.  She went on tour as a guest of the Komische Oper Berlin with Zauberflöte again, this time to Australia and New Zealand.  Early April marked her debut at the Tonhalle Düsseldorf under Ádám Fischer, again with Mahler's Second.  At Eastertime she participated in a fundraiser gala performance in aid of the Staatstheater Augsburg as Schwertleite in a concert Walküre.  At short notice she jumped in as Erda in Siegfried at the Chemnitz Theater in June.  A special highlight was her debut at the Salzburg Festival in the summer as  Cupidon in Barrie Kosky's new production of Orphée aux enfers.  

The 17/18 season began with Verdi Requiems in Erfurt and Weimar, a concert performance of the third act of Walküre at the Musikfest Berlin under Donald Runnicles and the orchestra of the Deutsche Oper Berlin at the Philharmonie, followed by a new production of Pelléas et Mélisande by Barrie Kosky at the Komische Oper Berlin. Nadine took over the last five performances at short notice as Quickly at the Opéra Bastille under Fabio Luisi and next to Bryn Terfel as Falstaff; in between, she sang Zauberflöte as part of the Komische Oper tour at the Opéra Comique in Paris.  In the winter, she performed concerts of Schumann's Faustszenen at the Victoria Hall in Geneva with the Orchestra de la Suisse Romande, and spring began with a second Zauberflöte-tour to Japan.

A return to her old house, the Deutsches Nationaltheater Weimar, for role debuts of Ulrica in Un ballo in Maschera, and the special honor to sing Dalila in Samson et Dalila at the place it was premiered with the Staatskapelle Weimar rounded off the season.

The fall of 2016 saw her acclaimed role debut as Ježibaba in Barrie Kosky's Rusalka at the Komische Oper Berlin; she was also heard with the Verdi Requiem in Eutin and sang Schwertleite in concert performances of the third act of Walküre with and in the Concertgebouw Amsterdam under Valery Gergiev. In December, she ventured into a new fach role as Fricka/Waltraute in Loriot's Ring an einem Abend at the Munich Gasteig with the Staatskapelle Weimar under Kirill Karabits. 2017 was rung in with 17 performances of Zauberflöte at the Paris Bastille. The spring saw the much-anticipated premiere of Aribert Reimann's Medea at the Komische Oper, immediately followed by a concert tour of Rheingold with the NDR Elbphilharmonie Orchestra under Thomas Hengelbrock. She returned for a 5th consecutive summer as a celebrated Erda and Schwertleite to the Bayreuth Festival. In June she was awarded Fellow of the Royal Academy of Music.


This season includes Verdi's Requiem in Erfurt and Weimar, Pelléas et Mélisande at the Komische Oper, Quickly in Falstaff at the Opéra Bastille and Zauberflöte on tour with the Komische Oper at the Opéra Comique, both Paris, Schumann's Faustszenen in Geneva, another tour of Zauberflöte in Japan, as well as her role debuts as Ulrica and Dalila in Weimar.

2016 began with 12 Magic Flutes at the Teatro Real, Madrid, her Dresden debut as Schwertleite at the Semperoper under Christian Thielemann. Her role debut as Laura in La Gioconda at the Musiktheater im Revier became a huge audience success, and she spent her fourth summer at the Bayreuth Festival. 

Her long-awaited Berlin operatic debut came in September 2014 as Third Lady in Barrie Kosky's Magic Flute at the Komische Oper.  She revived one of her signature roles, Carmen, at the Landestheater in Bregenz, immediately followed by her debut as Flosshilde, Schwertleite, and jumping in as the Second Norn at the Bavarian State Opera under Kirill Petrenko. A third summer in Bayreuth ended the season, then came a tour with the Komische Oper at the Edinburgh Festival with The Magic Flute. The world premiere of an orchestral song cycle with the Staatskapelle Weimar as well as Beethoven Ninths brought the year 2015 to a close.  


In the fall of 2013, she gave her debut at the Palau de les Arts, Valencia, as Schwertleite under Zubin Mehta.  She rang in the new year with the Robert-Schumann-Philharmonie in the Chemnitz Theater with Beethoven's Ninth.  In February she was heard singing Verdi's Requiem in Bonn, in April she returned to the Auditori Barcelona for the Alto II in Mahler's Eighth Symphony.  A concert version of Rusalka at the Concertgebouw Amsterdam followed in May.  She returned to the Bayreuth Festival for the Ring Cycle. 


The 2012/2013 season started with the Brahms' Alto Rhapsody at the Opéra de Bordeaux and Beethoven's Missa solemnis  in Mulhouse.  The year new year was rung in by three Beethoven 9 concerts with the Weimar Staatskapelle and only shortly after, three concerts with the same orchestra with Berlioz' Les nuits d'été song cycle.  More Beethoven 9 and Das Rheingold as Erda and Flosshilde followed with the Liceu Barcelona in the  spring.  The high point was the highly acclaimed debut at the Bayreuth Festival as Erda and Schwertleite in the new Ring Cycle by Frank Castorf and Kirill Petrenko.


The 2011/2012 season began with performances of Die tote Stadt at the Frankfurt Opera.  The year ended with a Brahms' Alto Rhapsody in Eutin and excerpts from Ligeti's Le grand Macabre with the DSO Berlin in the Philharmonie.  A new production of The Rake's Progress in the spring of 2012 at the Opéra Théâtre de Saint-Étienne was followed by an Elijah at the Alte Oper Frankfurt.  Seven concerts throughout Mecklenburg-Vorpommern with the Mecklenburgische Staatskapelle Schwerin rounded off the summer.


The fall 2010 saw her returning to Madrid to cover the role of Leokadja Begbick in Weill's Rise and Fall of the City of Mahagonny, followed by Mathis der Maler at the Bastille in Paris under Christoph Eschenbach in a new production by Olivier Py.  2011 began with concerts of the "Wesendonck-Lieder", followed by Claus Guth's Parsifal in Barcelona, Filipyevna in Eugene Onegin in Bilbao, and revivals of the Weimar Ring. She finished the season with a benefit concert as a past prizewinner of the Rheinsberg Festival.


Starting the 2009/10 season was her debut in Falstaff as Quickly at the Finnish National Opera in Helsinki.  Shortly following that, she made her debut in Bilbao as Marthe in Faust.  2010 began with her first Mary in Der fliegende Holländer at the Teatro Real, Madrid, followed by her first performance of Mahler 2 in Weimar.  More debuts followed as Brigitta in Die tote Stadt at the Opéra national de Lorraine Nancy, and at the Teatro Real, Madrid, with an open-air Spanish Night concert with the Staatskapelle Weimar to close the season.


In the 2008/2009 season, she completed performances of the Ring in Weimar as Erda (Rheingold/ Siegfried), Schwertleite (Walküre), and 2.Norn/ Waltraute in (Götterdämmerung).  In January she sang Elektra in Lisbon with the Gulbenkian Orchestra under Lawrence Foster.  Jumping in with the Staatskapelle Halle for the Berio Folk Songs under Karl-Heinz Steffens set a highlight in February.  She was heard in Beethoven's 9th symphony in Weimar as well as in Lisbon in the spring.  She made her Berlin Philharmonic debut in May with the second alto part in Elijah under the baton of Seiji Ozawa.


Nadine Weissmann is the winner of the Orchestra Choice Award of the Seattle Opera International Wagner Competition 2008, and performed there in August with great success under the baton of Asher Fisch.  She completedher first Ring-cycle at the DNT Weimar in July of that year, with her role debuts as Second Norn and Waltraute inGötterdämmerung.  Arthaus has published the cycle on DVD.


The 2007/2008 season saw Nadine in her second Erda, in the premiere of Siegfried at Weimar.  Starting in January, her new Carmen received highest praise, under the baton of Martin Hoff with the Staatskapelle Weimar.  In May, she made her debut at the Gran Teatre del Liceu in Barcelona as Schwertleite in concert versions of Walküre under Sebastian Weigle, performing with Plácido Domingo.


In 2006/2007, Nadine’s season began with Erda in Rheingold as a guest artist in Weimar.  The calendar year ended with new concerts with the Gulbenkian Orchestra in Lisbon and the Missa solemnis in Santiago de Compostela.  In January 2007, she made her debut as Emilia in Otello at the Opéra de Monte-Carlo.  She joined the ensemble in Weimar in February 2007, starting with Schwertleite in Walküre.   March saw the release of the Deutsche Grammophon CD Duets with Anna Netrebko and Rolando Villazon under Nicola Luisotti, where Nadine can be heard as Giovanna in the selection from Rigoletto.  At the end of the season she was also adding a new Verdi role, Federica in Luisa Miller, to her repertoire, also in Weimar.


In September 2005, she was a finalist in the Marseille Opera Competition and a prize-winner of the Hilde Zadek Singing Competition in Vienna.  In December, she sang Carmen at the theater in Nordhausen and Baba the Turk in Lübeck.  In January 2006, she won second prize, the Wagner-Prize, and the special prize of Sao Paolo at the Francisco Viñas Competition in Barcelona. In March 2006, she appeared in the Thomas Quasthoff Professional Workshop and final concert at Weill Hall at Carnegie Hall.  In April, she made her debut as Herodias in Salome with the Gulbenkian Orchestra in Lisbon under Lawrence Foster. In June, she premiered as Florence Pike in Albert Herring in Lübeck.  Throughout the summer, she was a cover for the title role of the Duenna in Betorthal in a Monastery at the Glyndebourne Festival, and sang Herodias at the German National Theater in Weimar.


In the 2004/2005 season, she performed Carmen at the Mecklenburgisches Staatstheater Schwerin; in March and April, she returned to the role of Baba in The Rake's Progress for the first time at the theater in Hagen.  Also in March, she was the featured soloist in Bernstein's Jeremiah - Symphony at the Berlin Konzerthaus and on radio broadcast under the baton of Lawrence Foster with the RSB.


She was a principal artist of the theater in Osnabrück from March 2002 to July 2004.   Among other roles, she appeared as Marcellina (Figaro), Old Lady (Candide), Maddalena (Rigoletto), Dorabella (Così fan tutte), Gräfin Helfenstein (Hindemith: Mathis der Maler) Anita (West Side Story) and Annina (Der Rosenkavalier); her debut as Carmen under Lothar Koenigs was received enthusiastically by audiences and press alike.  In August of 2004, she was chosen as the only German participant for the Operalia Competition in Los Angeles.


In the years 2000-2002, she introduced herself in and around Berlin with a number of debut recitals, concerts in the chamber music series of the DSO, and premieres of several new vocal works. Upon her return from the United States, she successfully participated in many international competitions, receiving an extraordinary prize in the Francisco-Viñas Competition and being a finalist in the national German singing competition.  As a winner of the Kammeroper Schloss Rheinsberg Competition, she appeared as Kytämnestra in Iphigenie in Aulis and in the opera gala at the Rheinsberg Festival 2002.


Nadine Tamira Weissmann was born in 1974 in Berlin. During her time at the John-F.-Kennedy School she had many opportunities to explore her passion for singing in diverse genres, performing in diverse ensembles in musicals and concerts.  After graduation she was accepted to the Royal Academy of Music in London, where she completed her Bachelor of Music in 1997. She pursued her graduate training at the world renowned Indiana University School of Music in Bloomington, where she studied with Virginia Zeani.  During her time there, she was a soloist in concerts, recitals, oratorios, and also performed the role of the Old Baroness in Barber's Vanessa and Baba the Turk in Stravinsky's The Rake's Progress, both under Imre Palló.  After completing her Master of Music in 1999, she was offered a scholarship as an Associate Instructor and continued studying for one year, after which she obtained a Performer Diploma.  She attended many masterclasses during her college years, amongst others those of Brigitte Fassbaender and Marjana Lipovšek. She is under the vocal guidance of Anneliese Fried and Jean-Ronald LaFond.


(For updates and shortened biogaphy texts, please contact the artist.)