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© Reka Choy


Miah Persson


Since her operatic debut as Susanna Le nozze di Figaro in 1998, Swedish soprano Miah Persson has distinguished herself as one of the world’s principal Mozart interpreters, leaving a lasting legacy on those lyric soprano roles for which she has become most celebrated: Susanna, Zerlina Don Giovanni, Sophie Der Rosenkavalier, Poppea L’Incoronazione di Poppea and later Fiordiligi Cosi fan Tutte, Donna Elvira Don Giovanni and Contessa Le nozze di Figaro. Having ‘added a burnish of gold to the silvery soprano that served her so well in Mozart roles’ (The Sunday Times), Miah has now ‘cemented her place as one of the most intelligent Strauss sopranos of our time at the peak of her powers’ (Bachtrack), with impactful role debuts as the Marschallin Der Rosenkavalier and Countess Capriccio.

“She gives one of the most detailed and nuanced acting performances of any singer of the past decade or more. And she looks sensational … this is a near-immaculate assumption, pouring out Strauss’ soaring legato in long-breathed phrases and holding the stage with effortless charisma” (Hugh Canning, The Sunday Times, 2018)

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Artist Manager

Camilla Wehmeyer


Mary Donald



Miah Persson in recital at the Prague Spring Festival

Miah Persson 4 © Reka Choy_edited.jpg

On 16 May, Miah Persson appears in recital with pianist Malcolm Martineau at the Rudolfinum concert hall as part of the Prague Spring Festival. She is presenting a programme entitled A Woman’s Love and Life, and in addition to Schumann's famous Frauen Liebe und Leben she performs songs by Clara Schumann and Scandinavian composers Gösta Nystroem, Ture Rangström, Wilhelm Stenhammar, Edvard Grieg, Jean Sibelius, Bo Linde, Hugo Alfvén, Lars-Erik Larsson and Wilhelm Peterson-Berger.

Miah then goes on to perform Verdi's Requiem at the National Concert Hall, Dublin with the National Symphony Orchestra conducted by Jaime Martín before ending her 2023-24 season in recital at the Aalborg Opera Festival, Denmark accompanied by pianist, Magnus Svensson.

Next season's highlights for Miah include performances of Strauss' Four Last Songs with the New York Philharmonic, and performances of the Marschallin Der Rosenkavalier with the Tokyo Symphony Orchestra conducted by Jonathan Nott and directed by Sir Thomas Allen.

For more details on Miah's recital at the Prague Spring Festival, please see here.

Posted 15/05/2024.

Monteverdi: L'incoronazione di Poppea (Gran Teatre del Liceu)


Repertoire Includes


Christmas Oratorio

Mass in B minor
St John Passion
St Matthew Passion

Cantata for the Death of Emperor Joseph II
Symphony no. 9

Frühe Lieder



Te Deum

Peer Gynt




Nelson Mass
The Seasons


Des Knabens Wunderhorn
Symphony No.2
Symphony No.4


Exsultate Jubilate

Mass in C minor




Der Hilt auf dem Felsen


Das Paradies und die Peri (Peri)
Faust Szenen (Gretchen)


Vier letzte Lieder


The Turn of the Screw (Governess)
Peter Grimes (Ellen Orford)

Pelleas et Melisande (Melisande)


Orfeo ed Euridice (Euridice)


Alcina (title role)
Giulio Cesare (Cleopatra)
Partenope (title role)
Rodelinda (title role)


L’incoronazione di Poppea (Poppea)


Cosi Fan Tutte (Fiordiligi)
Don Giovanni (Donna Elvira)
Idomeneo (Elettra)
Le nozze di Figaro (Countess)
Zaide (title role)


Les Contes d’Hoffmann (Antonia/Giulietta)


Dialogues des Carmelites (Blanche)
La Voix Humaine


Arabella (title role)
Capriccio (Governess)
Der Rosenkavalier (Marschallin)


The Rake’s Progress (Anne Trulove)


Blank Out
Sunken Garden (Iris)


Selected Discography


Verdi REQUIEM / Royal Philharmonic Orchestra, Royal Albert Hall London

"The top notes (a top B flat and the big top C) shone out like glittering stars"
John Rhodes, Seen and Heard International (24 April 2024)

Handel SOLOMON / The English Concert, Barbican Centre London

"Swedish soprano Miah Persson almost outshone all the other singers with her lilting vocal portrayal of Solomon’s Queen and her dramatic portrayal as well of one of the two women who dispute which of them is the mother of a baby."
James Roy MacBean, Berkeley Daily Planet (13 March 2023)

"The falseness of the second harlot (Niamh O’Sullivan), approving the decree, is revealed, while the heartbreak of the first was superbly evoked by Miah Persson’s stylish phrasing in “Can I see my infant gor’d”, and in the pregnant pauses and the lacerating dissonances of the woodwind."
Barry Millington, Evening Standard (1 March 2023)


Mozart LE NOZZE DI FIGARO / Opera National de Paris

"It was also a pleasure to hear the lovely Miah Persson again as the Countess, which she sings with elegance and touching sensitivity"

Denise Wendel-Poray, Opera Canada (9 January 2023)

"Miah Persson’s Countess was a tragic figure. She is a skilled performer and can gracefully carry the coloraturas in the second act’s trio—which is sometimes sung by Susanna. [...] I particularly enjoyed her lower range in her duo with Susanna during the “Canzonetta sull’aria.”

João Marcos Copertino, Opera Wire (29 November 2022)

Britten THE TURN OF THE SCREW / Vicenza Opera Festival

"Fischer argues in his programme notes for us to see ambiguity in the relationships, yet here Persson’s superbly sung, bright-eyed Governess emerges as the focus of goodness, slipping fearfully into over-protectiveness towards Miles."

Nicholas Kenyon, The Telegraph (24 October 2022)

"With one exception, the singers were singing in their mother tongue and from her exemplary diction and projection one would not notice Miah Persson’s Swedish origins. She owned her part (The Governess)"
Agnes Kory, Seen and Heard (25 September 2022)

Mozart MASS IN C MINOR / Los Angeles Philharmonic Orchestra, Walt Disney Concert Hall

"Miah Persson has become something of a local favorite. An angelic stage presence, with a robust lyric soprano growing more sumptuous through the years, her Laudamus te was never in doubt."
Matthew Richard Martinez, Bachtrack (1 April 2022)

Strauss VIER LETZTE LIEDER / Philharmonia Orchestra, Royal Festival Hall

"I have reviewed several performances of Strauss’s Vier letze Lieder for these pages over the past few years but I don’t think any of them have been finer than this one. [...]
What was notable about this performance was the sheer cleanness of it. The breath control was effortless, the way she moved from one note to the next so beautifully done it was as seamless as silk thread; it was almost as if these songs had just been sewn together into a single, unbreakable strand. ‘Früling’ poses a notable challenge because of its range – its soaring lines, and long upper harmonies can unsettle some sopranos who feel a need to sing forte because of the sumptuous, expressive string writing for the orchestra. Persson was under no pressure whatsoever, the voice never stretched – though I think she was helped by Rouvali’s careful attention to balancing the Philharmonia’s strings. She understood the playful, effervescent joyfulness of ‘September’ but as the mood of the music passes from summer into the autumn Persson darkened just enough to highlight the seasonal shift.
Although ‘September’ may pose perhaps the most technical challenges in this cycle, it is ‘Beim Schlafengehen’ that, in my view, sets the greatest difficulties for the soprano to understand her place within the orchestra. [...] Persson managed a middle ground that was both radiant and honeyed and an A flat that was floated rather than simply hit. Taken at a broader tempo this song felt like a thing of simple beauty. ‘Im Abendrot’ was as luminous and glowing as it was the inevitable sense of resignation – Persson’s voice fading into the shadow of mortality with an imperceptible glow that foreshadowed that of the orchestra. It felt so much more moving than usually happens in these songs; like the final valediction of a metaphysical sonnet.

This had been a concert of wild extremes. Of the very private; and the very dramatic. There were common themes – of nature (if you looked hard enough), and of the power of love, mortality and transfiguration. The quality of the concert was breath-taking in its scale – a performance of Strauss’s Vier letze Lieder that had the rare quality of being both deeply considered and magnificently sung and the Philharmonia Orchestra playing with unrivalled virtuosity and brilliance. This concert will stay long in the memory."

Marc Bridle, Opera Today, (November 2021)

Strauss DER ROSENKAVALIER / Garsington Opera

"Many of us can identify with the Marschallin’s bewilderment at the ageing process in Richard Strauss’ many-layered comic opera Der Rosenkavalier, but we can also learn from her elegant acceptance. “Love and let go,” she counsels. That sophistication and grace is devastating when the Marschallin is sung by a soprano of the quality and presence of Miah Persson: seldom have I seen so many tears of recognition shed among an audience as I did last night at Garsington Opera [...]
She looks and sounds gorgeous. No wonder her young lover Octavian is heartbroken when she tells him that inevitably he will soon fall for another, younger woman... And musically this is a perfect partnership, the warmth and colour of Hipp’s mezzo a delicious complement to Persson’s silvery soprano."
Stephen Pritchard, Bachtrack (7 June 2021)