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

Credit: Patrick Allen, Opera Omnia

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 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 sings Tatyana Eugene Onegin in her house debut with Welsh National Opera, and for Scottish Opera in a new production by Oliver Mears. She returns to the role of Lisa Pique Dame at the National Theatre Brno, Czech Republic, as well as making her debut in the title role of Tosca at the Festival Lyrique International de Belle-Ile en Mer. Concert appearances include Mahler Symphony No. 2 with the Hallé Orchestra, a return to the Sage Gateshead for Beethoven Symphony No. 9 and CBSO for a gala concert. Looking further ahead Natalya will make her debut with English National Opera as Mimi La Bohéme.

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: Evie Parker

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News

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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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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Reviews

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)

 

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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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Artist Manager

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

Assistant Artist Manager

Evie Parker (Cambridge)
evie.parker@hazardchase.co.uk
01223 706414