Natalya Romaniw

Natalya Romaniw

"fast consolidating her reputation as one of the outstanding sopranos of her generation"

Rupert Christiansen, The Telegraph

Representation: General Management

Credit: Patrick Allen, Opera Omnia


Welsh soprano Natalya Romaniw owes her name to her Ukranian Grandfather who settled in Wales during the Second World War.   This outstanding young singer was winner of the Gold Medal at the Guildhall School of Music and both the first prize and the song prize at the 2012 Kathleen Ferrier award.   Natalya went on to join Houston Grand Opera’s prestigious Young Artists Program.   She is a constant surprise with the repertoire she can sing so early in her career and relishes the demands of the Italian and German romantic operatic repertoire.


Full Biography

Award-winning Welsh soprano Natalya Romaniw was born in Swansea and owes her surname to her Ukrainian grandfather, who settled in Wales during the Second World War.  Natalya studied at the Guildhall School of Music and Drama where she was awarded the prestigious Gold Medal in her final year.

In 2012 Natalya was the first ever recipient of both the Loveday Song Prize and first prize at the prestigious Kathleen Ferrier Awards, also that year Natalya won second prize at the Eleanor McCollum Competition in the USA. Subsequent awards include the Clonter Opera Prize, London Welsh Singer and the Welsh Singers competitions. In 2009 Natalya represented Wales in the BBC Cardiff Singer of the World competition, where she was a Song Prize finalist. Last season Natalya was nominated for the Times Breakthrough category at the South Bank Sky Arts Awards.

Natalya graduated from the Houston Grand Opera Studio in 2014, where her roles included Mimi La Bohème, Ines Il Trovatore, Rosalinde Die Fledermaus, Micaela Carmen and Krystina The Passenger, with performances at the Lincoln Center in New York.   She received unanimous critical acclaim for her outstanding portrayal of Tatyana in Tchaikovsky’s Eugene Onegin for Garsington Opera which was closely followed by her debut as Lisa Queen of Spades in a return to Opera Holland Park. Last season Natalya made her company debut in the title role of Jenufa for Grange Park Opera, for the inaugural season of their new Theatre in the Woods at West Horsley Place. She also stepped in to sing Cio cio San in a performance of Madama Butterfly, her debut in the role and her company debut for Welsh National Opera. Further appearances include Governess The Turn of the Screw for Glyndebourne on Tour, Maliella I Gioielli della Madonna and Fiora in Montemezzi’s  L’amore dei tre re for Opera Holland Park, Woglinde in a concert performance of excerpts from Das Rheingold with the London Philharmonic Orchestra at the Royal Festival Hall, and a return to Houston Grand Opera as Ortlinde in Die Walküre.  Natalya made her European debut as Suzel in L’amico Fritz for Den Jyske Opera, and an impressive company debut with Scottish Opera as the Foreign Princess Rusalka.

In concert, recent engagements include a return to Scottish Opera as Suzel L’amico Fritz as part of their ‘Sunday Series’; Beethoven Symphony No. 9 with the Hallé and Sir Mark Elder, an operatic movie gala – also with the Hallé under Stephen Bell; Glagolitic Mass at the Three Choirs Festival; a performance with the Royal Northern Sinfonia for the Sage Gateshead Summer Prom; a series of Viennese Gala concerts with the Royal Scottish National Orchestra, and opera gala performances for the Hallé and CBSO Orchestras.

In 2017-18 season, Natalya will sing Tatyana Eugene Onegin in her house debut with Welsh National Opera, and in a new production for Scottish Opera.  Concert appearances incude Mahler Symphony No. 2 with the Hallé Orchestra, and  return to the Sage Gateshead for Beethoven Symphony No. 9 and will join the CBSO for a gala concert.

Artist Website:

Promoters please note: if you wish to include this biography in a concert programme etc, please contact Hazard Chase to ensure that you receive the most up to date version.
Email: Evie Parker



Wales Theatre Awards 2018

January 22nd, 2018

Hazard Chase artists double success in Wales Theatre Awards 2018

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A Russian Revolution

September 19th, 2017

Khovanshchina, From the House of the Dead and Eugene Onegin dominate the autumn season at Welsh National Opera

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Janacek at the Theatre in the Woods

June 8th, 2017

Natalya Romaniw makes her role debut as Jenufa, joined by Peter Hoare as Laca and Anne-Marie Owens as the Grandmother at Grange Park Opera’s new home at West Horsley Place

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Sky Arts Nomination

May 23rd, 2017

Young Opera Star Nominated for Prestigious Times Breakthrough Award –  South Bank Sky Arts Awards 2017

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Watch Eugene Onegin Online

July 12th, 2016

Critically acclaimed production of Tchaikovsky’s masterpiece available to view online

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Tchaikovsky – EUGENE ONEGIN (Welsh National Opera)

‘Yet there was a major plus in this performance, namely the class and growing stature of the soprano Natalya Romaniw as Tatyana, singing with all the expressivity that had been lauded when she sang the role for Garsington Opera last year. Romaniw’s quarter-Ukrainian blood tinges the voice with an Eastern-European edge, and she blends this with fuller tones and musician sensibilities. In what was effectively her full debut with her national company – Romaniw is three-quarters Welsh – she made the stage her own, finding a way to convey the seriousness of Tatyana the bookworm, but also her suggestibility to the notion of heady romance thanks to the influence of the novels of Samuel Richardson. Even in the throes of Tatyana’s apparently instant infatuation, it is to Romaniw’s great credit that in her colouring and vocal infections she was able to suggest the possibility of absolutely genuine feeling for Onegin. It meant that, in the final act, her admission of continued love – an admission that points to the heart of the tragedy – felt truly like a soul being laid bare.’
Rian Evans, Opera Magazine (December 2017)

“There’s a star singer in  WNO’s companion revival of Tchaikovsky’s Eugene Onegin, directed by James Macdonald. The Welsh-born Natalya Romaniw, who sang Tatyana at Garsington in 2016, confirms her huge promise in her native country with a portrayal of the bookish ingénue turned princess that has deepened since then. She sings her heart out in the famous letter scene, with big bright dramatic soprano tone and subtle musical shading. […] make no mistake, Romaniw shows all the signs of becoming a British Anna Netrebko if she takes her time”
Hugh Canning, The Sunday Times (8 October 2017)

“this is still one of the most affecting Eugene Onegins I have seen. Much of the credit for that belongs to Natalya Romaniw, who’s Tatyana this time round is, if anything, even finer than her startling assumption of the role last summer at Garsington Opera. The Welsh soprano’s ample voice is brilliantly focused, its timbre huge yet vulnerable, and as an actress her characterisation has extraordinary depth as she traces Tatyana’s development from child to woman. It is one of the performances of the year.”
Mark Valencia, Whats On Stage (Sept 2017)

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Janacek – JENUFA (Grange Park Opera at West Horsley Place)

“Natalya Romaniw incarnated a Jenůfa to die for: big-toned, unutterably moving in her prayers to the Virgin and her sad acceptance of the loss of her son, finally exultant as she sees the glimpse of her happier future over the horizon. This was a Covent Garden-ready performance of the role; on this evidence, Romaniw will be a major British singer over the next decade”
Hugh Canning, Opera Magazine (August 2017)

“The best piece of casting, however, is Natalya Romaniw as Jenůfa, and not just because she has the right Slavic looks for the part. Hers is the finest, fullest voice of the evening, surpassed only by her acting ability. Bolstered by the spirited BBC Concert Orchestra under William Lacey, she fleshes out the meek and mild Jenůfa, while also demonstrating that, when it comes to getting an audience’s attention, it can be stillness that counts.”
Hannah Nepil, The Financial Times (13 June 2017)

“This production hinges on Natalya Romaniw’s ardently sung performance of the title role and Susan Bullock’s lacerating portrayal of Jenufa’s stepmother, the Kostelnicka. The balance normally tips towards the latter, but Romaniw sings with such richness that a heroine who can be a bit of a glumbucket shines brightly. The light goes out when Romaniw’s Jenufa is told that her baby has died and the Welsh soprano pares her voice back to a weak thread.”
Neil Fisher, The Times (13 June 2017)

“Romaniw confirmed her reputation as our most promising dramatic soprano in a touchingly acted and beautifully sung incarnation of the title-role that never lapsed into sentimentality. Fingers crossed, this Swansea girl of Ukrainian descent must be destined for great things in the world’s major opera houses.”
Rupert Christiansen. The Telegraph (21 June 2017)

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Mascagni – L’AMICO FRITZ (Scottish Opera)

“But the star of the performance was Natalya Romaniw, the young Welsh soprano now on every casting director’s wishlist.  Her Suzel showcased her in-command stage temperament as much as her Tebaldi-like timbre, the voice floating on a table of air while soaring in defiance of gravity.  Romaniw’s qualities are indeed a throwback to an earlier generation, and we can only hope she will manage her career as intelligently as she sings”
Andrew Clark, Opera Magazine (Dec’16)

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Tchaikovsky – QUEEN OF SPADES (Opera Holland Park)

“Natalya Romaniw is one of those singers who can just stand and sing – or just stand and listen – with huge effect. The concentrated sense of character she brings is a rare thing, and allied to a voice of some power and great depth of expression and colours, she (like Amanda Echalaz before her, also given her early breaks at OHP) is a major operatic phenomenon.”
Robert Thicknesse, Opera Now (Oct 2016)

“Those of us who heard the young Welsh soprano Natalya Romaniw sing Tatyana in Tchaikovsky’s Eugene Onegin at Garsington last month were hit by a musical coup de foudre: where had this wonderful singer been hiding, and what else could she do? The answer to the second question has come with her performance as Lisa… This is a darker and more psychologically complex role, but she brings to it the same exquisite artistry, and the same luminosity of tone: catch her there before she goes – as she surely soon will – into international orbit.”
Michael Church, The Independent (August 2016)

“Natalya Romaniw caps her success at Garsington this summer with a richly voiced account of the disappointed Lisa… Still in her twenties, she has the inner glow and outer sheen, she has the musical command: if she can continue singing at this level, global stardom is a surety.”
Rupert Christiansen, The Telegraph (August 2016)

“Romaniw’s shy, lonely Lisa is fatally attracted to this “fallen angel” [Herman]. The role pushes her to her limits, but her tone is beautiful and her singing blazingly intense.”
Tim Ashley, The Guardian (August 2016)

“Romaniw’s big, juicy soprano is tremendously exciting.”
Neil Fisher, The Times (August 2016)

“Natalya Romaniw is a fine, strong Lisa with the right Russian-sounding edge to her voice.”
Richard Fairman, Financial Times (August 2016)

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Tchaikovsky – EUGENE ONEGIN (Garsington Opera)

“Garsington Opera’s new production of Tchaikovsky’s Eugene Onegin three weeks ago was one of those star-is-born occasions that happen infrequently in a critic’s life. We all expected the experienced Roderick Williams to make an ­elegant job of the Byronic antihero, but the Tatyana of the young Welsh soprano Natalya Romaniw was less of a known quantity. That she was little short of sen­sational became clear from the moment she opened her mouth to sing a wistful duet with Tatyana’s sister Olga in the opening scene, and it was confirmed by her richly coloured Letter Scene, one of the most demanding and lengthy solos in the soprano repertoire.”
Hugh Canning, The Sunday Times Feature Interview, June 2016

“Natalya Romaniw is a Tatyana in a thousand: a young lyric singer with enough mettle in her big, bright, Slavic-sounding soprano to suggest the painful rite of passage from infatuated teenager to feted pillar of St Petersburg society. You’d have to go back to Galina Gorchakova at Covent Garden in 1993, or Elena Prokina at Glyndebourne in 1994, to recall a Tatyana of such natural promise. For me, during a time when much smaller voices are assigned the role, she passes the potential Tosca test. Her letter scene is a glorious outpouring of the torment of love; she visibly grows in stature in the St Petersburg scenes; and her renunciation of Onegin in favour of the kindly Prince Gremin promises much. Don’t miss her Lisa in Tchaikovsky’s The Queen of Spades in Holland Park in August. She’s born to these roles.”
Hugh Canning, The Sunday Times (June 2016)

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Artist Manager

Sue Nicholls (Cambridge)
01223 706023

Assistant Artist Manager

Evie Parker (Cambridge)
01223 706414