NICOLA BELLER CARBONE soprano
Nicola Beller Carbone, soon to celebrate her 30th birthday on stage, is not just a performer. She is distinguished by a particularly artistic profile, giving equal importance to acting and music. Her experience as a dancer, instrumentalist and actress enriches her way of portraying her operatic roles, making her one of the most outstanding and authentic performers on the stage today.
Born in Germany and raised in Spain, she studies drama and later singing at the Escuela Superior de Madrid. She is a member of the studio opera of the Bavarian State Opera, and of the casts of the Gärtnerplatztheater in Munich and the Mannheim National Theatre.
From the beginning of her career as a soloist, her affinity with the 20th century repertoire is evident. Among other titles she performs Wozzeck (Santa Fe, Graz), Lady Macbeth of Mzensk (Toronto, Berlin, Weimar, Monte Carlo), Mahagonny (Berlin, Buenos Aires), Senso, Die tote Stadt and Der König Kandaules in Palermo, Der Zwerg (Opera National of Paris) and Elektra (Chrysothemis, Montreal). In addition to Salome, which she sings in fourteen different productions, her roles in operas by Richard Strauss include Diemut, Elektra, Ariadne, Färberin and the Marschallin; and in works by Wagner, Gutrune (Götterdämmerung), Sieglinde (Die Walküre) and most recently Kundry (Parsifal).
Today she is considered a specialist in the complex repertoire of the Second Viennese School, but also in contemporary repertoire. She excels in rarely performed operas such as Zimmermann's Die Soldaten, Rihm's Die Hamletmaschine, Ginastera's Bomarzo, Krenek's Karl V and Der Diktator, Schoenberg's Erwartung and Ullmann's Der Kaiser von Atlantis.
She makes her debut in Spain with Pepita Jiménez at Teatros del Canal, followed by La Gran Duquesa de Gerolstein, La Villana and El Gato Montés at Teatro de la Zarzuela in Madrid. She debuts at Teatro Real with Bomarzo and the world premiere of the opera Marie by Germán Alonso, a co-production between Real and Teatro de la Abadía.
She works with conductors such as Yannick Nézet Séguin, Pinchas Steinberg, Asher Fisch, Daniele Callegari, Jeffrey Tate, Gianandrea Noseda, Gabriele Ferro, Oleg Caetani, Will Humburg, Stefan Blunier, Stefan Soltesz, Michael Gielen... and stage directors such as Carsen, Paul Curran, Nicolas Brieger, Moshe Leiser & Patrick Courier, Giancarlo del Monaco, Calixto Bieito, among others.
In the field of concerts she collaborates with ensembles and festivals such as the Bamberg Symphony Orchestra, the BBC Manchester, the Stresa Festival, Macerata Festival and the Berlin Symphony Orchestra, among others. Her lied repertoire ranges from Wolf, Strauss, Berg, Weill to Spanish composers.
Her latest engagements include her debut at Teatro Arriaga in Bilbao in Weill's Die Sieben Todsünden, followed by Poulenc's La voix humaine in Cordoba, Seville and most recently, in the Bilbao opera season.
She will soon return to the Bayerische Staatsoper in Munich with the opera Bluthaus.
Website Nicola Beller Carbone
Born in Germany and raised in Spain, she studies drama and later singing at the Escuela Superior de Madrid. She is a member of the studio opera of the Bavarian State Opera, and of the casts of the Gärtnerplatztheater in Munich and the Mannheim National Theatre.
From the beginning of her career as a soloist, her affinity with the 20th century repertoire is evident. Among other titles she performs Wozzeck (Santa Fe, Graz), Lady Macbeth of Mzensk (Toronto, Berlin, Weimar, Monte Carlo), Mahagonny (Berlin, Buenos Aires), Senso, Die tote Stadt and Der König Kandaules in Palermo, Der Zwerg (Opera National of Paris) and Elektra (Chrysothemis, Montreal). In addition to Salome, which she sings in fourteen different productions, her roles in operas by Richard Strauss include Diemut, Elektra, Ariadne, Färberin and the Marschallin; and in works by Wagner, Gutrune (Götterdämmerung), Sieglinde (Die Walküre) and most recently Kundry (Parsifal).
Today she is considered a specialist in the complex repertoire of the Second Viennese School, but also in contemporary repertoire. She excels in rarely performed operas such as Zimmermann's Die Soldaten, Rihm's Die Hamletmaschine, Ginastera's Bomarzo, Krenek's Karl V and Der Diktator, Schoenberg's Erwartung and Ullmann's Der Kaiser von Atlantis.
She makes her debut in Spain with Pepita Jiménez at Teatros del Canal, followed by La Gran Duquesa de Gerolstein, La Villana and El Gato Montés at Teatro de la Zarzuela in Madrid. She debuts at Teatro Real with Bomarzo and the world premiere of the opera Marie by Germán Alonso, a co-production between Real and Teatro de la Abadía.
She works with conductors such as Yannick Nézet Séguin, Pinchas Steinberg, Asher Fisch, Daniele Callegari, Jeffrey Tate, Gianandrea Noseda, Gabriele Ferro, Oleg Caetani, Will Humburg, Stefan Blunier, Stefan Soltesz, Michael Gielen... and stage directors such as Carsen, Paul Curran, Nicolas Brieger, Moshe Leiser & Patrick Courier, Giancarlo del Monaco, Calixto Bieito, among others.
In the field of concerts she collaborates with ensembles and festivals such as the Bamberg Symphony Orchestra, the BBC Manchester, the Stresa Festival, Macerata Festival and the Berlin Symphony Orchestra, among others. Her lied repertoire ranges from Wolf, Strauss, Berg, Weill to Spanish composers.
Her latest engagements include her debut at Teatro Arriaga in Bilbao in Weill's Die Sieben Todsünden, followed by Poulenc's La voix humaine in Cordoba, Seville and most recently, in the Bilbao opera season.
She will soon return to the Bayerische Staatsoper in Munich with the opera Bluthaus.
Website Nicola Beller Carbone