© Simon Pauly

Heidi Stober

Soprano

Stunning audiences with her sterling lyric voice and incisive stage personality, American lyric soprano Heidi Stober has established herself as a house favourite at leading companies on both sides of the Atlantic. Since her critically acclaimed debut at the Deutsche Oper Berlin in the autumn of 2008, Heidi has cultivated a long-standing relationship with the company, with recent roles including Donna Elvira Don Giovanni, Micaëla Carmen, Marguerite Faust and Liu Turandot. With a particular affinity for the Baroque, her appearances outside of Berlin include Cleopatra Cesare at Houston Grand Opera, Dalinda Ariodante at the Chicago Lyric cond. Harry Bicket, title role Esther with Music of the Baroque, title role Semele for Garsington Opera and Angelica Orlando for San Francisco Opera. Heidi opens the 2021-22 season as Mother/Waitress 2/Sphinx 1 in Turnage’s Greek at the Deutsche Oper Berlin, where she also sings Donna Clara in Zemlinksy’s Der Zwerg. Other highlights of the season include Micaela Carmen for Houston Grand Opera and Fiordiligi Così fan tutte for the Semperoper Dresden.

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Artist Manager

Camilla Wehmeyer

camilla@wehmeyermanagement.com

Associate

Mary Donald

mary@wehmeyermanagement.com

 
 

News

Stober returns to Houston Grand Opera

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We are delighted to announce that Heidi Stober returns to Houston Grand Opera this autumn as Micaela in Rob Ashford's acclaimed production of Carmen. Joining Heidi in the cast are Carolyn Sproule in the title role, Tray Smagur as Don José and Christian Pursell as Escamillo. The production opens on 22 October, with further performances on 24, 28, 30 October and 3, 5, 6 and 7 (matinee) November.
 

Later this season, Heidi will appear as Donna Clara in Zemlinksy’s Der Zwerg at the Deutsche Oper Berlin and as Fiordiligi in Così fan tutte for the Semperoper Dresden.
 

Visit the Houston Gran Opera website here or more information.

 

Media

Repertoire Includes

Concert

BACH

Mass in B minor

St John Passion
St Matthew Passion


BARBER

Knoxville: Summer of 1915


BEETHOVEN

Symphony No.9
Choral Fantasy


BRAHMS

Ein Deutsches Requiem


CHAUSSON

Poème de l'amour et de la mer


FAURÉ

Requiem


HANDEL

Messiah


HARTKE

Symphony No. 4 ‘Organ’


HAYDN

The Creation


MAHLER

Symphony No. 2
Symphony No. 4


MOZART

Coronation Mass
Requiem
Exsultate Jubilate


ORFF

Carmina Burana


PENDERECKI

Credo


POULENC

Gloria


RUTTER

Requiem


SCHUBERT

Mass No. 5 In Ab Major

Opera

BELLINI

La Sonnambula (Lisa)


BERLIOZ

Les Troyens (Ascagne)


BIZET

Les Pêcheurs de Perles (Leila)
Carmen (Micaëla)

CIMAROSA

Il Matrimonio Segreto (Carolina)


COPLAND

The Tender Land (Laurie)

 

DONIZETTI

Don Pasquale (Norina)
L'elisir d'amore (Adina)


GOUNOD

Roméo et Juliette (Juliette) 
Faust (Marguerite)

 

GORDON

'27' (Alice B Toklas)

 

HANDEL
Agrippina (Poppea)

Alcina (Alcina, Morgana)
Giulio Cesare (Cleopatra)

Radamisto (Tigrane)

Semele (Semele)

Xerxes (Atlanta)
 

HUMPERDINCK

Hänsel und Gretel (Gretel) 
 

KERN 

Showboat (Magnolia) 

 

LEHÁR

The Merry Widow (Valencienne)

 

MASSENET

Werther (Sophie)

 

MENOTTI

The Old Maid & The Thief  (Laetitia)

 

MONTEVERDI

L'Incoronazione di Poppea (Drusilla)

 

MORRISON

Oscar (Ada Leverson) 

MOZART

Le nozze di Figaro (Susannah, Countess)
Die Zauberflöte (Pamina)

La finta giardiniera (Sandrina) 

Don Giovanni (Donna Elvira)
Il re pastore (Aminta)

Cosi fan tutte (Despina)

PROKOFIEV

L'amour des trois oranges (Ninette)

 

PUCCINI

La bohème (Musetta)


RAMEAU

Platée (La Folie/Thalie)


ROSSINI

Le comte Ory (Comtesse Adele)


SONDHEIM

Sweeney Todd (Johanna)

 

STRAVINSKY

The Rake's Progress (Anne Trulove)
 

STRAUSS 

Arabella (Zdenka)
 

VERDI

Falstaff (Nannetta) 
Un ballo in Maschera (Oscar)
Don Carlo (Voce dal cielo)

 
 

Press

bizet CARMEN / houston grand Opera

“Soprano Heidi Stober, another former HGO Studio artist, has the most difficult job of all, portraying wimpy Micaela, whose character was added to Meilhac and Halevy's libretto as a sop to French family values. Virginal and skittish, she carries a torch for Jose, as well as a not-so-subtle kiss from mom to be given to her son. She's a throwback to grand opera days long past and can be portrayed as a dishrag when chirpy soubrettes take on the role, but Stober's burnished and powerful soprano gives her surprising depth and solemnity. Stober's Act I duet with Jose is a classic as is her final aria. These numbers are Bizet at his most radiantly old-fashioned, they're real crowd pleasers in emotion and sweeping French melody. Stober stops the show each time with her dramatic interpretation and golden pipes.”

D L Groover, Houston Press (October 2021)


"In a role that depends even more on sheer vocal attractiveness, soprano Heidi Stober brought warmth and lyrical glow to Micaela’s brief time onstage. In Micaela’s duet with José in Act 1 and aria in Act 3, Stober enabled Bizet’s big melodies to well up richly, but she also gave each number a flavor its own. In the duet, her touches of delicacy conveyed Micaela’s innocence and her love for José."
Steve Brown, Texas Classical Review (October 2021)

"Elsewhere, soprano Heidi Stober makes the most of a rather thankless role as Micaela, the pious woman Jose throws over for Carmen. She shares a thrilling act one duet with Smagur that would be more romantic if the characters weren’t passing messages to and from Jose’s mother, but it’s still a beautiful scene. Her act three aria “Je dis que rien m’epouvante,” a plea for God to protect her after following Jose into the mountains, is likewise gorgeous."
Chris Gray, Houston Chronicle (October 2021)

mozart COSI FAN TUTTE / Metropolitan Opera

“The soprano Heidi Stober has been away from the Met for a few seasons, but returns with a cheerfully bright, natural, unexaggerated Despina.”

Zachary Woolfe, New York Times (February 2020)

“As Despina, Heidi Stober carried herself with a fiery, magnetic energy that shone through the character’s many desires and disguises.”

Logan Martell, OperaWire (February 2020)

“Heidi Stober’s serviceable soprano put across Despina’s “Una donna a quindici anni,” with flair, and she brought conspiratorial glee and a randy elbow in the ribs to the role.”

David Wright, New York Classical Review, (February 2020)

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