Heidi Stober

Heidi Stober

SOPRANO
"Stober’s instrument is the type of distinctly American lyric soprano that makes the rest of the world listen."

Opera News


Representation: General Management

Photo: Simon Pauly

Overview

Stunning audiences with her sterling lyric voice and incisive stage personality, 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 cond. Christopher Moulds.

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Full Biography

Operatic highlights of the 2019-20 season include Gretel Hansel and Gretel for San Francisco Opera, Despina Così fan tutte for the Metropolitan Opera and Musetta La bohème for the Komische Oper Berlin. On the concert platform Heidi will return to the Grand Teton Music Festival to sing Mahler Symphony No.2 with Donald Runnicles, sing Die Schöpfung at Teatro Regio di Torino cond. Ben Gernon, and Mass in B minor, St John Passion and St Matthew Passion at the 2020 Oregon Bach Festival.

Last season Heidi appeared as Zdenka Arabella and Angelica Orlando for San Francisco Opera, Dalinda Ariodante for the Lyric Opera of Chicago, made her house debut at Dutch National Opera as Antigone in Enescu’s Oedipe, and returned to the Deutsche Oper Berlin as Pamina Die Zauberflöte, Micaëla Carmen and Donna Elvira Don Giovanni. Her concert appearances included Stravinsky’s Cantata for the LA Phil cond. Esa-Pekka Salonen and Mahler Symphony No. 4 for the Grand Teton Music Festival.

Heidi made her Metropolitan Opera debut in the 2011/12 season as Gretel Hansel and Gretel conducted by Robin Ticciati, returning to the company in recent years in this role and as Pamina Die Zauberflöte, Una voca dal cielo Don Carlos and Oscar Un ballo in maschera. Forthcoming she will return to the Met as Musetta La Boheme. Heidi also holds strong relationships with Houston Grand Opera, where she has performed Cleopatra Giulio Cesare, Susanna Le nozze di Figaro, Musetta La bohème, Atalanta Xerxes, Blondchen Die Entführung aus dem Serail, Miss Thompson/Helen Milla/Adelaide Mills in the world premiere of Ricky Ian Gordon’s The House without a Christmas Tree, Drusilla L’incoronazione di Poppea and Norina Don Pasquale, and with Santa Fe Opera, where her roles have included Sandrina La finta giardiniera, La Folie Platée, Tigrane Radamisto, Musetta La bohème, Zdenka Arabella and Ada in the world premiere of Theodore Morrison’s Oscar. Other notable operatic engagements include Norina in Laurent Pelly’s production of Don Pasquale and Johanna Sweeney Todd for San Francisco Opera, Valencienne The Merry Widow at the Lyric Opera of Chicago conducted by Sir Andrew Davies and Ada in Theodore Morrison’s Oscar for Opera Philadelphia, title role Semele for Garsington Opera, title role Alcina, Micaëla Carmen and Adina L’elisir d’amore for Semperoper, Dresden, and Adina L’elisir d’amore for the Wiener Staatsoper,

Highlights on the concert platform include Messiah with the New York Philharmonic, for the Los Angeles Philharmonic Mozart Requiem and the world premiere of Stephen Hartke’s Symphony No. 4 conducted by Gustavo Dudamel, Mahler Symphony No. 4 with the Milwaukee Symphony Orchestra conducted by Edo de Waart, Anne Trulove The Rake’s Progress with the St. Paul Chamber Orchestra, Barber’s Knoxville: Summer of 1915 with the Oslo Philharmonic and with the Rundfunk-Sinfonieorchester Berlin, Beethoven Symphony No. 9 with the Baltimore Symphony, Brahms  Requiem with the Houston Symphony; Handel Messiah with the Hong Kong Philharmonic, Carmina Burana with the Houston Ballet, Mahler Symphony No. 4 with the Rundfunk-Sinfonieorchester Berlin conducted by Mark Wigglesworth, and a solo recital at Carnegie Hall.

Heidi Stober’s professional training took place at the Houston Grand Opera Studio, and she holds degrees from Lawrence University and the New England Conservatory.

This biography is valid for use until January 2020. We update our biographies regularly and ask that they are not altered without permission. For updated versions, please e-mail Elin Jones

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News

Hazard Chase signs Heidi Stober

November 22nd, 2019

We are delighted announce the signing of this sterling American lyric soprano to the vocal roster.

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Reviews

Stravinsky CANTATA – Los Angeles Philharmonic

“The Master Chorale gave poignant point to Stravinsky’s Mass, while soprano Heidi Stober and tenor Andrew Staples were compelling soloists in a brilliant performance of the 1952 Cantata, based on 15th and 16th century English texts.”

Mark Swed, LA Times (April 2019)

Handel ARIODANTE – Chicago Lyric Opera

“The best singing among the women in the cast came from Heidi Stober as Dalinda. She was a compelling dramatic presence throughout and brought some much-needed verve and panache to her showy arias, tossing off the coloratura in fleet, vivacious style while bringing expressive depth to the conflicted character.”

Lawrence A. Johnson, Chicago Classical Review (March 2019)

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Strauss ARABELLA – San Francisco Opera

“Von Hofmannstahl twisted the swain from pastoral poetry into a cross dressed soprano, here San Francisco Opera house soubrette Heidi Stober who gave a quite effective account of Zdenka who loves Arabella’s rejected suitor Matteo, however Zdenka is first known as the boy Zdenko who is Matteo’s best friend (you had to be there). Mme. Stober’s charming trouser role presence abetted by fine singing well matched the maestro’s need for a big house, tongue-in-cheek shepherd/ess. ”

Michael Milenski, Opera Today (October 2018)

Verdi UN BALLO IN MASCHERA – Semperoper Dresden

“Soprano Heidi Stober, as Oscar, was excellent. She was a true Puck, darting around the stage while singing and smiling and conning and coining a fresh thread among the others. She did the job the libretto asked for and more, mainly because her presence on the stage kept us aware of the structural cohesion. She sustained the narrative in the first act by convincing Gustavo not to banish Ulrica, and then in the final act by providing the clue to Gustavo’s disguise. Her voice reached high amplitude, and she came across as cherished.”
Lois Silverstein, Opera Wire (May 2018)

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Bizet CARMEN – Deutsche Oper Berlin

“American soprano Heidi Stober is a self-confident Micaëla, with dulcet tones.”
Zenaida des Aubris, Backtrack (January 2018 )

“The remainder of the cast reflected the high standards of the house.  Heidi Stober was a very musical Micaëla, phrasing her music with love and affection. ”
Opera Traveller (January 2018)

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Handel GIULIO CESARE – Houston Grand Opera

“There may not be an exact vocal parallel to platinum blonde, but soprano Heidi Stober’s mix of silvery gleam and a tinge of warmth came close. The sleekness and lilt she gave “V’adoro, pupille” projected the temptress’s allure beyond the footlights. And the surges of fervor Stober lavished on the serious moments–such as Act 3’s “Piangerò”–showed that Cleopatra had a heart.”
Steven Brown, Texan Classical Review (October 2017)

“As Cleopatra, soprano Heidi Stober reigned supreme with a strapping timbre you can obsess over but wouldn’t want to cross. … In this lead role, she does not disappoint.”
Sydney Boyd, Houstoniamag.com (October 2017)

“But our honors and huzzahs must fall on soprano Heidi Stober, as Cleopatra. If this isn’t a star turn, I don’t know what is. This HGO Studio alumna has been a favorite since her feisty Norina in HGO’s Don Pasquale (2006) and her Lucille Ball blond in Abduction from the Seraglio (2008). We knew she had it in her to do almost anything, but who knew she had Cleopatra in her? Not only is she a knock-out in those inspired Travis Banton dresses and that Jean Harlow marceled hair, but she sings like a dream come true. Not since Joyce DiDonato, another HGO alumna who’s gone on to international acclaim, has there been such a major discovery. Like the Astros, I predict a complete victory.”
D L Groover, Houston Press (October 2017)

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Handel SEMELE – Garsington Opera

“Stober’s final showdown with Murray really grips with its tension and irony. There’s some beautiful singing. Stober, all creamy tone and gleaming high notes … ‘Oh Sleep, Why Dost Thou Leave Me’ sounds exquisite”
Tim Ashley, The Guardian (June 2017)

“Even more effective are the strong characterisations of Semele and Juno (Christine Rice). Far from being reduced to putty by Jupiter’s godliness, Semele is guided by her own desires, and Juno – amid the decidedly mortal bloating and wincing – is a force to be reckoned with. Both sing brilliantly, Stober bright-toned and ever-agile, and Rice luscious and effortlessly resonating.”
Edward Bhesania, The Stage (June 2017)

“Heidi Stober looks delectable in a wardrobe of spangled trousers, gowns and dresses, spinning a silky line to match … a splendidly sung performance”
Barry Millington, Evening Standard (June 2017)

“The soprano taking the title role needs huge stamina as Handel gives her aria after aria, on top of which Miskimmon demands a fair amount of stage movement, “Endless pleasure” sung from a constantly spinning bed. Heidi Stober threw herself into the part with tremendous vigour, coloratura runs dispatched athletically and bringing great colour to her trills … “Myself I shall adore”, Semele convinced by Juno’s magic mirror that she really is the most gorgeous creature on earth – or above it – was suitably glitzy in its vocal fireworks.”
Mark Pullinger, Bachtrack (June 2017)

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Artist Manager

Camilla Wehmeyer (Cambridge)
camilla.wehmeyer@hazardchase.co.uk
01223 706416

Associate Artist Manager

Elin Jones (Cambridge)
elin.jones@hazardchase.co.uk
01223 706026