© Reka Choy
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)
Miah Persson sings Berlioz The Death of Cleopatra
Miah Persson joins the Tapiola Sinfonietta at the Espoo Cultural Center, Finland, for a performance of Berlioz' The Death of Cleopatra, a Lyrical Scene for Soprano and Orchestra. Under the leadership of Tapiola Sinfonietta's Artistic in Association - American conductor Ryan Bancroft, the programme will also consist of Thomas Adès' Shanty - Over the Sea and Sibelius Symphony No. 5 in E-flat Major.
The concert will take place on Thursday 31 August 2023. Following her time in Finland, Miah will open the 2023-24 season with more Berlioz - performing song cycle Les Nuits d’eté alongside the Norrbottens Kammarorkester, for a tour of Sweden.
For further information of Miah's performance in Espoo, visit the Tapiola Sinfonietta website here.
Mass in B minor
St John Passion
St Matthew Passion
Cantata for the Death of Emperor Joseph II
Symphony no. 9
Des Knabens Wunderhorn
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)
Le nozze di Figaro (Countess)
Zaide (title role)
Les Contes d’Hoffmann (Antonia/Giulietta)
Dialogues des Carmelites (Blanche)
La Voix Humaine
Arabella (title role)
Der Rosenkavalier (Marschallin)
The Rake’s Progress (Anne Trulove)
VAN DER AA
Sunken Garden (Iris)
Miah Persson joins Gustavo Gimeno and the Orchestre Philharmonique de Luxembourg Pentatone 2 Feb 2018
Robin Blaze, Hana Blažíková, Peter Kooij, Miah Persson, Susanne Rydén, Carolyn Sampson, Gerd Türk, Bach Collegium Japan, Masaaki Suzuki, conductor BIS Records March 2012
In this celebrated Glyndebourne Festival production, David Hockney's designs for director John Cox reinterpret the Hogarth etchings that inspired the operas libretto, written for Stravinsky by W.H. Auden and Chester Kallman. Topi Lehtipuu (Tom Rakewell); Miah Persson (Anne Trulove); Matthew Rose (Nick Shadow) London Philharmonic Orchestra Vladimir Jurowski, conductor Opus Arte 2011
Songs by Clara and Robert Schumann Miah Persson, soprano Joseph Breinl, piano BIS Records 1 Jan 2011
Miah Persson, Jeremy Ovenden, Andrew Foster-Williams London Symphony Chorus, London Symphony Orchestra Sir Colin Davis LSO Live 2011
Kirstin Chávez, Christoph Genz, Manfred Hemm, Iván Paley, Miah Persson, Bernard Richter, Haydn Sinfonietta Wien Manfred Huss, conductor BIS Records December 2009
Miah Persson & Christianne Stotijn Chicago Symphony Chorus & Chicago Symphony Orchestra, Bernard Haitink CSO Resound 30 Nov 2009 Gramophone Magazine Editor's Choice, Feb 2010
David McVicar's spellbinding production of Le nozze di Figaro is set in 1830s post-revolution France. Erwin Schrott (Figaro); Miah Persson (Susanna); Gerald Finley (Count Almaviva); Dorothea Röschmann (Countess Almaviva); Rinat Shaham (Cherubino) Antonio Pappano, conductor Opus Arte 2009
Songs and duets by Rossini Miah Persson Stella Doufexis Bruce Ford Roger Vignoles, piano Hyperion 2008
Nicholas Hytner's beautiful production for the Glyndebourne Festival in 2006 Topi Lehtipuu (Ferrando); Luca Pisaroni (Guglielmo); Nicolas Rivenq (Don Alfonso); Miah Persson (Fiordiligi); Anke Vondung (Dorabella); Ainhoa Garmendia (Despina) Orchestra of the Age of Enlightenment Ivan Fischer, conductor Opus Arte 2007
Mozart opera & concert arias Swedish Chamber Orchestra, Sebastian Weigle BIS Records June 2006
Miah Persson (soprano), Malena Ernman (mezzo-soprano), Olle Persson (baritone), Mattias Wager (organ) Swedish Radio Choir, Fredrik Malmberg BIS Records 3 Jan 2006
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)