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 was a member of the Houston Grand Opera Studio, from which she graduated in 2014 and where her roles there 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 returned to Houston Grand Opera as Ortlinde in Die Walküre. Natalya has appeared at Opera Holland Park as Maliella I Gioielli della Madonna and Fiora in Montemezzi’s L’amore dei tre re, and more recently as Lisa in Pique Dame.  She received unanimous critical acclaim for her outstanding portrayal of Tatyana in Tchaikovsky’s Eugene Onegin for Garsington Opera in 2016 and the following summer made her debut in the title role of Jenufa for Grange Park Opera, during the inaugural season of their new Theatre in the Woods at West Horsley Place. She stepped in to sing Cio cio San in a performance of Madama Butterfly in her company debut for Welsh National Opera, followed by Tatyana in Eugene Onegin. Further appearances include Governess The Turn of the Screw for Glyndebourne on Tour, Suzel L’amico Fritz in concert, the Foreign Princess in Rusalka and Tatyana in Oliver Mears new production of Eugene Onegin for Scottish Opera. Natalya made her European debut as Suzel in L’amico Fritz for Den Jyske Opera, followed by performances of Lisa Pique Dame at the National Theatre Brno.

On the concert platform engagements include Woglinde in a performance of excerpts from Das Rheingold with the London Philharmonic Orchestra and Vladimir Jurowski, Beethoven Symphony No. 9 with the Hallé and Sir Mark Elder, and with the Royal Northern Sinfonia at the Sage Gateshead, Mahler Symphony No. 2 with the Hallé and Glagolitic Mass at the Three Choirs Festival.  Natalya has appeared in operatic gala performances for the Royal Scottish National Orchestra, the City of Birmingham Symphony Orchestra, the Royal Northern Sinfonia, the Manchester Camerata and the Hallé Orchestra.

In the 2018/19 Natalya makes her debut in the title role of Tosca at the Festival Lyrique International de Belle-Ile en Mer, and at English National Opera as Mimi in La Bohéme.  In summer 2019 she returns to Garsington Opera as Marenka The Bartered Bride.  Also this season she will make her first solo recital recording in a collaboration with the pianist Lada Valesova, featuring repertoire by Dvořák, Janáček, Novák and Rachmaninov.

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



Artist of the Month

August 6th, 2018

Natalya Romaniw in Musical America

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Opera Now: Artist of the Month

April 6th, 2018

Soprano Natalya Romaniw features in the April edition

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Concerts across the Easter Period

March 23rd, 2018

Hazard Chase artists performing across Holy Week and Easter

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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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Puccini  – TOSCA (Festival Lyrique International de Belle-Ile en Mer)

“Opposite him (Tyler Simpson: Cavaradossi) blossomed the formidable Tosca of Natalya Romaniw, with heart-breaking presence and great accuracy, a full voice with beautiful legato, colour and a seriously silky top, broad, powerful and solar. She will confirm her convincing portrayal when she repeats the role for Scottish Opera next season. We would have liked to have heard her as Tatyana or Jenůfa, two roles she has recently performed across the channel.”
Tania Bracq, Forum Opera (August 2018)

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Henley Festival (English National Opera)

“Natalya Romaniw proved Roland Wood’s equal in terms of power, range and dramatic portrayal. She could sing wittily, as in the “Drinking Song” from Verdi’s La Traviata with Peter Auty, and in the Don Giovanni seduction scene with Roland Wood. Her rendition of “One fine day” from Puccini’s Madam Butterfly was sensational.”
Trevor Howell, Henley Standard (July 2018)

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Tchaikovsky – EUGENE ONEGIN (Scottish Opera)

“By now, the Welsh soprano Natalya Romaniw virtually owns Tatyana, with her big, bright Slavic tone and exquisite phrasing. […] Make no mistake, this is a Tatyana in a thousand, a challenge to her colleagues in this opera of big emotions and an almost unbearable sense of loss.”
Hugh Canning, The Sunday Times (May 2018)

“Natalya Romaniw is stunning in the role of Tatyana. She sings of her character’s newly discovered love and longing for Onegin with a teetering balance of chaste, blissful innocence and deep sensuality, with supple vocal control.”
Miranda Heggie, The Arts Desk (April 2018)

“Romaniw’s performance is gloriously sung from the start”
Andrew Clements, The Guardian, (April 2018)

“Shining above everybody was Natalya Romaniw, reprising a Tatyana that so impressed at Welsh National Opera and Garsington, performances that won her a Critics’ Circle award (presented that night in Glasgow) and a nomination in the International Opera awards. This is a standout portrayal, from hurt innocence to steely resolve, sung with rare musicality and touching fragility. Don’t miss her when she sings Mimì in a revival of Jonathan Miller’s La bohème at English National Opera later this year.”
Stephen Pritchard, The Guardian (May 2018)

“If you missed Radio 3’s broadcast of Scottish Opera’s Eugene Onegin last Saturday, catch up on iPlayer.  Natalya Romaniw, as Tchaikosvky’s heroine Tatyana, is simply sensational”.
Stephen Pritchard, The Observer (June 2018)


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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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Artist Manager

Sue Nicholls (Cambridge)
01223 706023

Assistant Artist Manager

Evie Parker (Cambridge)
01223 706414