Amira ELMADFA  Mezzosopran


With her debut as CLORINDE in Lucia Rochetti’s world premiere of ‘Rivale’ on the occasion of the reopening of the Berlin State Opera in autumn 2017 AMIRA ELMADFA was internationally noticed. For her interpretation she was awarded the German Theatre Prize Faust 2018. She also played this very role at the Braunschweig State Theatre.

Since 2015 the mezzo soprano regularly sings at the German Opera Berlin. She repeatedly portrayed FLORA in ‘La Traviata’ and sang ANNA KENNEDY in concertant performances of ‘Maria Stuarda’ with Diana Damrau in the title role. In 2020 she returns here for DORABELLA in ‘Cosi fan tutte’.

From 2015 until 2017 she could be seen as ROSINA, HÄNSEL, the FOX in ‘The Cunning Little Vixen’, MERCEDES in ‘Carmen’, GIUNONE in ‘La Calisto’ and DORABELLA at the Darmstadt State Theatre.

Before she made her successful debut as OCTAVIAN in “Der Rosenkavalier” at the Altenburg Theatre in Gera.
"Amira Elmadfa’s classy appearance complies with the ideal of a 17-year-old man from a respectable family, equipped with a soft, flexible mezzo voice." Opernwelt

From 2009 to 2013 Amira Elmadfa was a member of the Theatre Kiel ensemble and could be seen here in such roles as ROSINA in ‘Il barbiere di Siviglia’, NICLAUSSE /MUSE in ‘Les Contes d‘Hoffmann’, PAGE in ‘Salome’, HÄNSEL in ‘Hänsel und Gretel’, 2nd DAME in ‘Die Zauberflöte’, DORABELLA in ‘Cosi fan tutte’, SESTO in ‘Giulio Cesare’ or NERONE in ‘Agrippina’, SIEBEL in ‘Faust’, ZERLINA in ‘Don Giovanni’, FLORA in ‘La Traviata’, OTTILIE in ‘Im Weissen Rössl’, ROSETTE in ‘Manon’ and ZENOBIA in ‘Radamisto’.

Amira started her musical education at the University of Vienna, where she studied Music and Theatre Sciences. In parallel, she obtained singing lessons with KS Hilde Zadek. In 2003, she started her singing studies at the Karlsruhe Conservatory of Music, which she completed with diploma in 2009.
Amira Elmadfa attended master classes with KS Brigitte Fassbaender, KS Dietrich Fischer-Dieskau and KS Julia Varady.While still studying at the Karlsruhe Conservatory, the singer could be seen in such roles as Händel’s LUCREZIA, L’ENFANT in ‘L’enfant et les Sortileges’, and PAULINE in ‘Pique Dame’.

Amira Elmadfa wan the 1st Prize in DAS LIED, the International Song Competition in Berlin, the Lied Special Prize for Lied interpretation at the Bergheim Singer Prize and the Advancement Award at the Competition of the Freiburg Academy. She gave Liederabende at the Lucerne Festival, the Austrian Cultural Forum New York, the Arnold Schönberg Center, the Theatre Kiel and on the MS Europa.

Concert engagements brought the attractive artist to the Music Days Franken, the Thüringen Bach Weeks, the Händel Festival in Karlsruhe, to the Darmstadtium, to the Concert Houses in Vienna and Basle, to Spain with Thomas Hengelbock and to the International Baroque Festival in Gran Canaria.
In 2016 she sang Bach’s Passion of St. John in Darmstadt and the Mass in B minor in Zurich.

Since 2017 the attractive artist is a regular guest at the Volksoper Vienna and the State Operetta Dresden. In Vienna she performed CHERUBINO, HENRI ( in Heuberger’s ‘The Opera Ball) and ROBIN (Kind Carrot 19/20) and in Dresden she succeeded as CHERUBINO and HÄNSEL (2017 and 2019). At the National Theater Weimar she made her successful debut as DIDO in ‘Dido and Aeneas’.

Recently, Amira Elmadfa enjoyed great successes as DORABELLA in ‘Cosi fan tutte’ at the Weimar National Theatre and at the Nuremburg State Opera. In Nuremburg she also was GIUNONE in ‘La Calisto’, at the Innsbruck Municipal Theatre she sang DONNA ELVIRA in ‘Don Giovanni and with the Jena Philharmonic Orchestra, she sang a gala concert. ’.

Her future engagements include ROBIN in ‘King Carrot’ at the Vienna Popular Opera and GIULIETTA in ‘Un giorno di Regno’ a the Danish National Opera.

Konzert - Jenaer Philharmonieball
With five songs by the composer Manuel de Falla and the famous Habanera from the opera “Carmen” the mezzo soprano Amira Elmadfa knew how to put some hailing highlights…
Ostthüringer Zeitung
Volksoper Wien – König Karotte – ROBIN
Amira Elmadfa is an authentic, present good spirit ROBIN.
Der neue Merker, 12/2019 – Sieglinde Pfabigan
In the rather central role of Robin, that used to be one of the highlights of the opera ball desaster, Amira Elmadfa gave an excellent vocal and acting performance.
Online Merker
Staatstheater Nürnberg – Cosi fan tutte - DORABELLA
Amira Elmadfa is an equally passionate and lively Dorabella with a richly timbred, agile mezzo voice.
Süddeutsche Zeitung
Absolutely leasing this evening the vocal qualities:… with her enchantingly dark mezzo voice Dorabella’s “Smanie implacabili”, in perfect vocal harmony also in the duets credible sisters.
Together with the vivacious, vocally no less convincing Amira Elmadfa they built a perfectly harmonizing pair of sisters, also in their vocal colors.
Juan Martin Koch
And when the Julia Grüter and Amira Elmadfa as the sister Fiordiligi and Dorabella nimbly swng on Mozart’s love pirouettes, you can’t do bu one thing: listen.
Amira Elmadfa is a girlish, refreshingly non-dramatical Dorabella, working with plenty of little nuances.
Nationaltheater Weimar – Cosi fan tutte – DORABELLA
Amira Elmadfa, who jumped in on short notice as Dorabella. Which was not at all noticed. She acts securely, she has the cheeky tone of pertness but also an sensibility of velvet mezzo sounds in her withdrawal.. In her role interpretation she leaves it open, whether she can cope with her sister setting the tone in the erotic schedule.
Opernglas (3/2019)- B. Gruhl
Amira Elmadfa as her delightfully flexible sister Dorabella.
Deutsche Oper Berlin - Maria Stuarda -ANNA KENNEDY
…with her intimate Anna (excellent: Amira Elmadfa)…
Der neue Merker 06/2018 - Käthe Wegler-Heinze
Amira Elmadfa sang the part of Anna Kennedy with warm and round vocal tones.
Der Opernfreund
Mezzo soprano Amira Elmadfa’s portrayal of Anna Kennedy was earthy and extremely secure.
ioco Kultur im Netz
Amira Elmadfa as Anna Kennedy enriched the ensembles with her harmonious, very strong mezzo voice.
Der Opernfreund
Amira Elmadfa as Maria’s court lady was extremely present but at the same time she sang the role with soft tones.
Casting the mezzo soprano Amira Elmadfa for the role of Anna Kennedy was a carefully considered decision.
Opera Lounge
…also Nicolas Testé, Dong-Hwan Lee and Amira Elmadfa gave excellent performances in the minor roles.
Klassik begeistert
Amira Elmadfa escorts her mistress to the scaffold with a softly conforting voice.
Online Merker
Volksoper Wien - Der Opernball - HENRI
Amira Elmadfa’s play (Henri) had a boyisch effect, which perfectly suited the role. Besides, she pleased with her pastose mezzo voice.
Der neue Merker 04/2018 Gerhard Ottinger
The role of Henri suits Elmadfa ( mezzo soprano) perfectly well. She is very convincing as Henri, the Schachtelhuber's nephew, who takes glances at Helene. Elmadfa never makes an androgyn impression and doesn't play with exaggerated gender stereotyping. Her entire behavious on stage, her body language and facial expressions is masculinely scurlish. She is defenitively the best actress of the evening. Hats off to so much pubescent, youthful charms!
Klassik begeistert
Sympathetic, youthfully fresh, the nephew Henri (Amira Elmadfa)
Kronen Zeitung
Amira Elmadfa as Henri, who sang with a beautiful mezzo voice and played enhtusiastically.
Online Merker
Among the soloists Amira Elmadfa as Henri with her beautiful mezzo voice and her enthusiasm are particularly worth mentioning.
Mottingers Meinung
...and Amira Elmadfa filled the stage on her own and caught the listener's attention with her warm timbred mezzo voice..
Die Presse
Except for Sieglinde Feldhofer (Helene) and Amira Elmadfa (Henri) there is mostly vocal dullness.
Wiener Zeitung
Nationaloper Weimar - Dido und Aeneas - DIDO
Amagnificent, even world class performance. Above all by Amira Elmadfa (Dido). Her beautifully softly timbred mezzo voice, nuancedly enduring all emotional states , is a voice to be kept in mind.
Frankfurter Allgemeine - CHRISTIANE WIESENFELDT
With the mezzo soprano Amira Elmadfa as Dido....who has a warm timbred voice with grounded depth. Her authentic singing, a kind of deeply touching pureness, creates islands of musical art midst all shallows of Dido’s struggle with her memories.
Opernglas – 1/2018
Staatsoper Unter den Linden Berlin – Rivale - CLORINDE
"There she is. Amira Elmadfa standing on a platform marked out by iron rods."

"With her dark brown eyes and her charming smile she looks the audience right into the eyes. Being just a arm’s length away from the spectators, she cannot hide anything nor does she want to. Unsparing of herself she reveals her emotions little by little… With only her melodious mezzo voice and astounding physical play, Amira Elmadfa illustrates her current situation and the upcoming tragic development in this chamber opera for a female voice by Lucia Ronchetti…"

"A mysterious, psychologically meant event, sung by Amira Elmadfa in all variations. Overall this is an extremely demanding part, but Amira’s voice does more than sing in this 60 minutes solo work. It is able to scrape, slide, scream, soundfully whisper and sing coloraturas, never sounding unpleasant. (Amira Elmadfa made her debut at the Vienna Popular Opera in the season 2016/17 with Mozart’s Cherubino)"

"One can hear ove and hate, fear and determination. Everyone understands what is happening and how she is feeling even without the translation. Besides because of her convincing play, one cannot get one’s eyes off of her."

"This exceptional performance was rewarded by a big, long applause"

Ursula Wiegand
"…with the inauguration of the new work shop, the state opera celebrated a big success, due in the first place to the wonderful singer-actress Amira Elmadfa. With her dark, brilliant mezzosoprano voice she doesn’t just sing, she also currs, whispers and hisses. Breathtakingly perfect she changes between recitative and melody. The performance started with a long silence and also ended with one, due to the audience’s emotions and it’s admiration for the soloist."
Der Opernfreund
Staatstheater Darmstadt - Konzert
In Dorabella’s aria, Amira Elmadfa developed glowing voice volume.
Echo Online
Staatsoperette Dresden - Figaros Hochzeit - CHERUBINO
Amira Elmadfa’s Cherubino is a pubescent boy, who lets his destructive drives run wild. The singer pleases with her flexible and rich voice.
Der neue Merker - Christoph Suhre
Vienna Popular Opera - Figaros Hochzeit - CHERUBINO
Cherubino, as resiliently sung and acted by Amira Elmadfa, embodies the fresh air that runs through this production.
Staatstheater Darmstadt - Carmen - MERCEDES
Also vocally excellent Jana Baumeister (Frasquita) and Amira Elmadfa (Mercédès).
Berlin - Deutsche Oper: La traviata
Buono il resto dei comprimari, in particolare la Flora di Amira Elmadfa.
Staatstheater Darmstadt - La Calisto - JUNO
'Also Juno (vocally beautiful and impressive : Amira Elmadfa) the jelaous wife has some different facets. One moment, she sovereignly guides a revenge campain and the next she suddenly covers her face with her hands, crying over Jupiter's repetitive cheatings. Her crying really gets under one's skin..'
'Or the mezzosoprano Amira Elmadfa, who dominates the stage like no other.'
St.John Passion - Darmstadtium
The aria "It is fulfilled" was seldom sung wich such impressiveness. The interpretor, alto singer Amira Elmadfa, made a large pause before her first prformance.
Darmstadt State Theatre - The Cunning Little Vixen - FOX
'...and with her warmly shining, unforced mezzosoprano voice AMIRA ELMADFA as the little vixen is remarkale, especially in the high registers. Their duet is the musical highlight.'
Stadttheater Darmstadt - Il barbiere di Siviglia - ROSINA
'High praise for the ensemble, in this staging carried by two pillars: the young Amira Elmadfa, a new member of the Darmstadt ensemble, giving her brilliant debut as Rosina...'
Darmstädter Tageblatt
A new member of the ensemble is the Lich-born soprano Amira Elmadfa, who plays the role of the moody Rosina with a crystal-clear voice, nimble coloraturas and enormous enthusiasm.
Theater Altenburg/Gera - Peter Grimes - AUNTIE
'Amira Elmadfaa, member of the Altenburg/Gera since this season, is not only an excellent actress, she also has a beatiful, flexibly guided voice.'
Der neue Merker Vienna, Christoph Suhre, 03/2015
Altenburg Gera Theatre - Der Rosenkavalier - OCTAVIAN
‚Amira Elmadfa is a passionately singing t Octavian with a enchantingly beautiful dark mezzo soprano vcoice and „great“ tone.‘
Volksoper Wien – König Karotte – ROBIN
Landestheater Innsbruck – Don Giovanni – DONNA ELVIRA
Staatstheater Nürnberg – Cosi fan tutte – DORABELLA
Staatstheater Nürnberg – Cosi fan tutte – DORABELLA
Deutsche Oper Berlin - Maria Stuarda - final applause
Volksoper Wien - Der Opernball - HENRI
Nationaloper Weimar - Dido und Aeneas - DIDO
Volksoper Wien - Figaros Hochzeit - Cherubino
Volksoper Wien - Figaros Hochzeit - Cherubino
Theater Kiel - Giulio Cersare - SESTO
Theater Kiel - Agrippina - NERONE
Staatstheater Darmstadt - Das schlaue Füchslein - FUCHS
Staatstheater Darmstadt - Der Barbier von Sevilla - ROSINA
Staatstheater Darmstadt - Der Barbier von Sevilla - ROSINA
Staatstheater Darmstadt - La Calisto - JUNO
Theater Altenburg - Martha - NANCY
Theater Altenburg - Martha - NANCY
Theater Kiel - Don Giovanni - ZERLINA
Theater Altenburg-Gera - Der Rosenkavalier - OCTAVIAN
Theater Altenburg-Gera - Der Rosenkavalier - OCTAVIAN
Theater Kiel - Radamisto - ZENOBIA
Theater Kiel - Cosi fan tutte - DORABELLA
"Barock oder Moderne - alles ist mir lieb."