© 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, Liu Turandot and Marguerite Faust. 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. In a reduced 2020-21 season, Heidi performs Despina Così fan tutte for Staatsoper Hamburg and appears in concert at the Grand Teton Music Festival.
News
Cosi fan Tutte at the Staatsoper Hamburg
Heidi Stober launches her 2020-21 season as Despina in the Staastoper Hamburg's revival of Così fan tutte directed by Herbert Fritsch. Sébastien Rouland conducts the Philharmonisches Staatsorchester Hamburg, and joining Heidi in the cast are Ruzan Mantashyan as Fiordiligi, Ida Aldrian as Dorabella, Alexey Bogdanchikov as Guglielmo, Oleksiy Palchykov as Ferrando and Pietro Spagnoli as Don Alfonso.
Così fan tutte premieres on 22 September, with further performances on 24, 27, 29 September and 2 October. Due to COVID-19 restrictions, the production has been abridged to run for 2 hours without interval.
Heidi will return to Hamburg for their subsequent production of Die Zauberflöte which opens on 18 November.
Click here for Hamburg's full season 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
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)
