© Simon Pauly
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 2008, Heidi has cultivated a long-standing relationship with the company, where recent roles include her debut as Eva Die Meistersinger von Nürnberg, Gretel Hänsel und Gretel, Donna Elvira Don Giovanni, Micaëla Carmen, Marguerite Faust and Oscar Un ballo in maschera. With a particular affinity for the Baroque, her appearances outside Berlin include Cleopatra Cesare at Houston Grand Opera, Dalinda Ariodante at the Chicago Lyric, title role Esther with Music of the Baroque, title role Semele for Garsington Opera and Angelica Orlando for San Francisco Opera. This season’s highlights include her role debut as Blanche Dialogues of the Carmelites for San Francisco Opera, Gretel for Chicago Lyric, Despina Così fan tutte for Hamburgische Staatsoper, Susanna Le Nozze di Figaro for Semperoper Dresden and Donna Elvira at Japan’s Hyogo Performing Arts Center.
Turnage's Greek at the Deutsche Oper Berlin
Heidi Stober returns to the the Deutsche Oper Berlin in the roles of Mother, Waitress 2 and Sphinx 1 in Mark-Anthony Turnage's opera Greek, after Steven Berkoff’s 1980 verse tragedy of the same name based on Sophocles' 'Oedipus Rex'. This open air production will be staged on the theatre parking deck and premieres on 27 August, with further performances on 28, 31 August, 1 September.
Heidi then goes on to perform Mahler's Symphony No. 2 cond. Donald Runnicles at the Deutsche Oper as part of the MusikFest Berlin after which she spends her autumn at the San Francisco Opera where she makes her role debut as Blanche in Les Dialogues des Carmelites.
For further information on Heidi's performance of Greek, visit the Deutsche Oper website here.
Mass in B minor
St John Passion
St Matthew Passion
Knoxville: Summer of 1915
Ein Deutsches Requiem
Poème de l'amour et de la mer
Symphony No. 4 ‘Organ’
Symphony No. 2
Symphony No. 4
Mass No. 5 In Ab Major
La Sonnambula (Lisa)
Les Troyens (Ascagne)
Les Pêcheurs de Perles (Leila)
Il Matrimonio Segreto (Carolina)
The Tender Land (Laurie)
Don Pasquale (Norina)
L'elisir d'amore (Adina)
Roméo et Juliette (Juliette)
'27' (Alice B Toklas)
Alcina (Alcina, Morgana)
Giulio Cesare (Cleopatra)
Hänsel und Gretel (Gretel)
The Merry Widow (Valencienne)
The Old Maid & The Thief (Laetitia)
L'Incoronazione di Poppea (Drusilla)
Oscar (Ada Leverson)
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)
L'amour des trois oranges (Ninette)
La bohème (Musetta)
Platée (La Folie/Thalie)
Le comte Ory (Comtesse Adele)
Sweeney Todd (Johanna)
The Rake's Progress (Anne Trulove)
Un ballo in Maschera (Oscar)
Don Carlo (Voce dal cielo)
wagner DIE MEISTERSINGER VON NÜRNBURG / deutsche oper berlin
"In the third act she revealed a voice of generous presence and pleasingly silvery tone: the startling ‘O Sachs! Mein Freund’ emerged less as a response to Sachs’s jealousy than a sudden moment of clarity, a cathartic outpouring of honest feeling that cleared away the messy emotional turmoil of the earlier scenes. The same radiance and clarity carried over to the quintet in which she was the dominant force."
Jesse Simon, Mundoclassico.com (27 June 2022)
"Heidi Stober dealt with the physical demands of singing Eva, such as being entangled on the floor with Sachs, rather well with her slender but pliant, clear soprano."
Ako Imamura, Bachtrack (20 June 2022)
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)