NICOLA BELLER CARBONE soprano
Nicola Beller Carbone, who is celebrating her 30 years on the stage, is not an ordinary operatic performer.
Born in Germany, Beller Carbone grows up in Spain. She is distinguished by a particularly artistic profile, giving equal weight to acting and music. Her experience as a dancer, instrumentalist and actress enrich the manner in which she works out how to portray her operatic figures, making her one of the outstanding and authentic performers on the modern operatic stage.
In her childhood, she dances classical ballet, in her teenage years she gives piano concerts, and after she leaves school she becomes member of street theatre and cabaret ensembles. As well as singing in jazz and rock bands, she is a percussionist, a bass player.
She starts her drama training in Zaragoza and later decides to study classical singing at the Escuela Superior de Canto in Madrid. Her first steady engagement took her in 1991 to Germany, where she joins the opera studio of the Bavarian State Opera in Munich. Then she moves to the city’s Gärtnerplatztheater, and after that she receives the offer to have a permanent engagement at Nationaltheater in Mannheim. Since 2001 she works as a freelance soprano.
Her particular affinity to the 20th-century repertoire emerges at an early stage. Her parts include Katerina Ismailova in Lady Macbeth of Mtsensk by Dimitri Shostakovich, and Marie in Alban Berg’s Wozzeck. Parts in Richard Strauss operas include, alongside Salome, Chrysotemis, Ariadne and the Färberin, and most recently, the difficult role of Elektra; in works by Wagner she performs Sieglinde (Die Walküre) and Kundry (Parsifal).
Nicola Beller Carbone is now regarded as a specialist for the complex repertoire of the Second Viennese School, as well as for the contemporary repertoire. She is outstanding as a performer of rarely performed operatic literature, e.g. as Countess de la Roche in Die Soldaten by Bernd Alois Zimmermann, Ophelia in Die Hamletmaschine by Wolfgang Rihm, Die Frau in Erwartung by Arnold Schoenberg and Trommler in Der Kaiser von Atlantis by Viktor Ullmann. At the same time, though, she is also at home in the classical repertoire, with Medea by Luigi Cherubini and Tosca by Giacomo Puccini as her major roles.
In 2016 she is nominated best singer in Spanish opera and zarzuela. Her award-winning Pepita Jiménez by Isaac Albéniz in a production by Calixto Bieito has since been revived three times. She also performs successfully well-known zarzuela roles such as Soleá in El Gato Montés by Manuel Penella at Madrid’s Teatro de la Zarzuela, where she makes a name as a confident performer of this Spanish genre.
In the concert field, Nicola Beller Carbone is active internationally. She performs with Michael Gielen and Bamberg Symphony Orchestra in Berlin Konzerthaus, with Gianandrea Noseda at the Festival di Stresa and with Yannick Nézet-Séguin and Orchestre Metropolitain in Montreal, to name but a few. She's highly individual musical profile is rounded off by lieder recitals with unconventional programmes.
Among those who exercise a lasting influence are Astrid Varnay, under whom she studies, Richard Trimborn, with whom she studies nearly all her German-speaking parts in sessions strongly characterized by their musical humanism, along with fellow singers Hildegard Behrens and Hedwig Fassbender, stage directors Michael Schulz, Robert Carsen, Nicolas Brieger, Gabriele Rech, Arila Siegert, Paul Curran, Uwe Eric Laufenberg, Hugo de Ana, Emma Dante, Calixto Bieito, Marcelo Lombardero, Sebastian Baumgarten and conductors Stefan Blunier, Michael Gielen, Gian Andrea Noseda, Jeffrey Tate, Yannick Nézet-Séguin and Kirill Petrenko, with all of whom she works and all of whom leave their mark on her.
From 2013 to 2018 she is the artistic director of the summer workshop InCanto Tignano – Sing&Act, near Florence. In 2020 she starts a new project as teacher and 'alma mater' of the seminar LiberainCanto, sharing experiences and knowledge with young artists.
In recent years Nicola Beller Carbone focus herself increasingly to teaching, holding regular master classes at acclaimed institutions such as the ‘Theaterakademie August Everding’ in Munich, the Escuela Superior de Canto in Madrid, the Fundación internacional Alfredo Kraus in Las Palmas de Gran Canaria and the Accademia del Maggio Musicale Fiorentino / Opera di Firenze in Florence. In 2020 she becomes part of the teaching staff of the Munich Opernstudio.
Recent commitments include the main role of the new opera Marie by Germán Alonso, in a coproduction between Teatro Real and Teatro de la Abadía, in Madrid and Seville, her debut at Teatro Arriaga in Bilbao singing Weill's Die sieben Todsünden, and her return to Teatro Campoamor in Oviedo to assume once more the rol of Soleá in the opera El Gato Montés by Penella.
She will soon return to the Bayerische Staatsoper in Munich with the opera Bluthaus and to Spain for her debut at Gran Teatro de Córdoba in La voix humaine.
Website Nicola Beller Carbone
Born in Germany, Beller Carbone grows up in Spain. She is distinguished by a particularly artistic profile, giving equal weight to acting and music. Her experience as a dancer, instrumentalist and actress enrich the manner in which she works out how to portray her operatic figures, making her one of the outstanding and authentic performers on the modern operatic stage.
In her childhood, she dances classical ballet, in her teenage years she gives piano concerts, and after she leaves school she becomes member of street theatre and cabaret ensembles. As well as singing in jazz and rock bands, she is a percussionist, a bass player.
She starts her drama training in Zaragoza and later decides to study classical singing at the Escuela Superior de Canto in Madrid. Her first steady engagement took her in 1991 to Germany, where she joins the opera studio of the Bavarian State Opera in Munich. Then she moves to the city’s Gärtnerplatztheater, and after that she receives the offer to have a permanent engagement at Nationaltheater in Mannheim. Since 2001 she works as a freelance soprano.
Her particular affinity to the 20th-century repertoire emerges at an early stage. Her parts include Katerina Ismailova in Lady Macbeth of Mtsensk by Dimitri Shostakovich, and Marie in Alban Berg’s Wozzeck. Parts in Richard Strauss operas include, alongside Salome, Chrysotemis, Ariadne and the Färberin, and most recently, the difficult role of Elektra; in works by Wagner she performs Sieglinde (Die Walküre) and Kundry (Parsifal).
Nicola Beller Carbone is now regarded as a specialist for the complex repertoire of the Second Viennese School, as well as for the contemporary repertoire. She is outstanding as a performer of rarely performed operatic literature, e.g. as Countess de la Roche in Die Soldaten by Bernd Alois Zimmermann, Ophelia in Die Hamletmaschine by Wolfgang Rihm, Die Frau in Erwartung by Arnold Schoenberg and Trommler in Der Kaiser von Atlantis by Viktor Ullmann. At the same time, though, she is also at home in the classical repertoire, with Medea by Luigi Cherubini and Tosca by Giacomo Puccini as her major roles.
In 2016 she is nominated best singer in Spanish opera and zarzuela. Her award-winning Pepita Jiménez by Isaac Albéniz in a production by Calixto Bieito has since been revived three times. She also performs successfully well-known zarzuela roles such as Soleá in El Gato Montés by Manuel Penella at Madrid’s Teatro de la Zarzuela, where she makes a name as a confident performer of this Spanish genre.
In the concert field, Nicola Beller Carbone is active internationally. She performs with Michael Gielen and Bamberg Symphony Orchestra in Berlin Konzerthaus, with Gianandrea Noseda at the Festival di Stresa and with Yannick Nézet-Séguin and Orchestre Metropolitain in Montreal, to name but a few. She's highly individual musical profile is rounded off by lieder recitals with unconventional programmes.
Among those who exercise a lasting influence are Astrid Varnay, under whom she studies, Richard Trimborn, with whom she studies nearly all her German-speaking parts in sessions strongly characterized by their musical humanism, along with fellow singers Hildegard Behrens and Hedwig Fassbender, stage directors Michael Schulz, Robert Carsen, Nicolas Brieger, Gabriele Rech, Arila Siegert, Paul Curran, Uwe Eric Laufenberg, Hugo de Ana, Emma Dante, Calixto Bieito, Marcelo Lombardero, Sebastian Baumgarten and conductors Stefan Blunier, Michael Gielen, Gian Andrea Noseda, Jeffrey Tate, Yannick Nézet-Séguin and Kirill Petrenko, with all of whom she works and all of whom leave their mark on her.
From 2013 to 2018 she is the artistic director of the summer workshop InCanto Tignano – Sing&Act, near Florence. In 2020 she starts a new project as teacher and 'alma mater' of the seminar LiberainCanto, sharing experiences and knowledge with young artists.
In recent years Nicola Beller Carbone focus herself increasingly to teaching, holding regular master classes at acclaimed institutions such as the ‘Theaterakademie August Everding’ in Munich, the Escuela Superior de Canto in Madrid, the Fundación internacional Alfredo Kraus in Las Palmas de Gran Canaria and the Accademia del Maggio Musicale Fiorentino / Opera di Firenze in Florence. In 2020 she becomes part of the teaching staff of the Munich Opernstudio.
Recent commitments include the main role of the new opera Marie by Germán Alonso, in a coproduction between Teatro Real and Teatro de la Abadía, in Madrid and Seville, her debut at Teatro Arriaga in Bilbao singing Weill's Die sieben Todsünden, and her return to Teatro Campoamor in Oviedo to assume once more the rol of Soleá in the opera El Gato Montés by Penella.
She will soon return to the Bayerische Staatsoper in Munich with the opera Bluthaus and to Spain for her debut at Gran Teatro de Córdoba in La voix humaine.
Website Nicola Beller Carbone