Natalya Romaniw

Natalya Romaniw

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

Rupert Christiansen, The Telegraph


Representation: General Management

Overview

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.

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Full Biography

Award-winning 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.  She recently graduated from the Houston Grand Opera Studio, where she was the second prize winner of the Eleanor McCollum competition in 2012.

Natalya was the first person ever to win both the Loveday Song Prize and first prize at the Kathleen Ferrier Awards in 2012. Subsequent awards include the Clonter Opera Prize, London Welsh Singer and the Welsh Singer’s Competition. In 2009, Natalya represented Wales in the BBC Cardiff Singer of the world competition where she was a Song Prize finalist.

Natalya received outstanding critical acclaim for her recent performances of Tchaikovsky’s heroines Tatyana Eugene Onegin (Garsington Opera) and Lisa Queen of Spades (Opera Holland Park). Previously for Holland Park, she has appeared as Maliella I gioielli della Madonna and Fiora L’amore dei tre re.  Further roles include Ortlinde Die Walküre, Mimi La Bohème, Ines Il Trovatore, Rosalinde Die Fledermaus, Micaela Carmen and Krystina The Passenger, all for Houston Grand Opera; Suzel L’Amico Fritz and Foreign Princess Rusalka (Scottish Opera); Governess The Turn of the Screw (Glyndebourne on Tour); and Woglinde in a concert performance of scenes from Das Rheingold with London Philharmonic Orchestra.

In concert, Natalya has given a series of Viennese Gala concerts with the Royal Scottish National Orchestra, and appeared in Beethoven’s 9th Symphony for Garsington Opera and opera galas with the Hallé and the City of Birmingham Symphony orchestras. Natalya regularly performs with choral societies and orchestras across Wales, including a recent St David’s Day concert with Rhos Male Voice Choir.

This season, Natalya reprises her role as Suzel L’Amico Fritz for Den Jyske Opera and a single performance in Scottish Opera’s “Sunday Series”; and appears with the Hallé and Sir Mark Elder in Beethoven’s 9th Symphony and in a concert featuring operatic arias made famous by films. Natalya makes her role debut as Jenufa for Grange Park Opera in summer 2017.

Artist Website: www.natalyaannaromaniw.com

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: Caroline Challis

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News

Watch Eugene Onegin Online

July 12th, 2016

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

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Natalya Romaniw “outstanding” as Tatyana

June 14th, 2016

Welsh soprano receives stunning critical acclaim in Garsington Opera’s EUGENE ONEGIN

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A Summer of Opera

May 5th, 2016

Hazard Chase singers in UK’s top summer opera festivals

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Wedd and Romaniw in Rusalka

April 1st, 2016

Scottish Opera’s five-star production includes Peter Wedd as Prince, and Natalya Romaniw as Foreign Princess.

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Natalya Romaniw makes her Danish debut

October 1st, 2015

Soprano sings Suzel in L’amico Fritz at Den Jyske Opera

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Reviews

Tchaikovsky – QUEEN OF SPADES (Opera Holland Park)

“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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“Natalya Romaniw, still in her twenties, is fast consolidating her reputation as one of the outstanding sopranos of her generation: the voice is full, warm and even throughout her range… Her acting is sensitive, responsive and engaging… Her Tatyana is beautifully done: her account of the Letter Scene doesn’t throw caution to the winds as the composer imagined, but in the final showdown with Onegin, she is by turns vulnerable, imperious and thrilling. This is an interpretation that could grow to greatness.”
Rupert Christiansen, The Telegraph (June 2016)

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“Boyd has found, in Natalya Romaniw, a Tatyana as dignified as she is passionate. This young Swansea-born soprano has a mesmerising stillness, a face full of expression and a glowing voice capable of astonishing power: it pays off particularly in her exhilarating Letter Scene.”
Hannah Nepil, Financial Times (June 2016)

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“At the centre of it all was the wonderful Tatyana of Natalya Romaniw.  She presented an ideally youthful creature of wide eyes and deep sighs at the start, and the production’s focus on her for the opera’s first half was almost unstinting, emphasizing her awkwardness as she was unwillingly but repeatedly made the centre of attention.  In Act 3 she embodied steeliness borne of experience, as well as offering still some poignant hints of that early bookish Romantic idealism.  And she sang with a glorious freedom, the sound vibrant, with the occasional hint of welcome wildness – this is a singer who has thrown herself into the extremes of the verismo repertoire at Opera Holland Park, where she also tackles Tchaikovsky’s Lisa this summer – and her Letter Scene was profoundly affecting and memorable”
Hugo Shirley, Opera Magazine (August 2016)

“Natalya Romaniw may hail from Swansea, but she’s the Tatyana of my dreams, with a rare combination of power, richness, and purity of tone. The marathon nocturnal aria in which she pours out her feelings and condenses them into a girlish letter is exquisitely delivered.”
Michael Church, The Independent (June 2016)

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Artist Manager

Sue Nicholls (Cambridge)
sue.nicholls@hazardchase.co.uk
01223 706023

Assistant Artist Manager

Caroline Challis (Cambridge)
caroline.challis@hazardchase.co.uk
01223 706414