Elena NEBERA   Soprano


Soprano Elena Nebera, who has already been awarded with numerous competition prizes, was a member of the famous Mariinsky Theatre from 1997 until 1999. She still regularly has guest performances here. Under the musical direction of Maestro Valery Gergiev she performs here such roles as BUTTERFLY, LISA, CHRYSOTHEMIS, SENTA, the EMPERESS, ARIADNE, the Fidelio-LEONORE etc..

Elena began her musical studies at the ‚Rimsky-Korsakov’ Conservatory in St. Petersburg with the famous singing professor Tamara Nowitschenko and continued her studies of Music and Performing Art with professor Loibl in Graz (Austria).

In 2000 the young soprano performed in ‘Iphigenie auf Tauris’ at the Salzburg Festival. In 2001 the Russian artist came to Germany, where she was at first engaged at the Opera House of Krefeld / Mönchengladbach. Afterwards, she became a member of the ensemble of the Opera House Dortmund.

The attractive singer has a very broad repertoire including roles like LUISA MILLER , TATJANA in ‚Eugen Onegin’, CIO-CIO-SAN, TURANDOT, LEONORE in ‚La forza del destino’, ABIGAILLE, JENUFA , LISA in ‚Pique Dame’ or EVA in ‚Die Meistersinger von Nürnberg’.With these roles she had guest performances at the Baden State Theatre Karlsruhe, the Oldenburg State Theatre, the Erfurt Theatre, the German Opera at the Rhine, the Nuremberg State Theatre, the Opera House Bonn and the Baden-Baden Festival.

Her debut as the NAMELESS WOMAN in 'Die Erwartung' at the Teatro La Fenice Venice in spring 2007 was tumultuously celebrated, as a result of which Ms. Nebera also portrayed this very role at the Megaron in Athens and afterwards also at the Stuttgart State Opera under the musical direction of Marc Piollet and at the Teatro Colon Buenos Aires. Moreover, she had a tremendous successes as SIEGLINDE at the Dortmund Opera House, as AIDA at the Eutin Festival, as MADAMA BUTTERFLY under the musical direction of Zubin Mehta in Valencia and as GUTRUNE in ‘Götterdämmerung’ under Gergiev at the Mariinsky Theatre.

Besides, Elena Nebera had guest perormances as SALOME at the Teatro Communale di Bologna, as CHRYSOTHEMIS at the Teatro Bellini in Catania, as TURANDOT at the National Opera of Maribor and as SANTUZZA at the Festival in Savona. Recently she performed LISA in ‘Pique Dame’ at the side of V.Galuzin, once again under Maestro Gergiev. On the occasion of the re-opening of the Teatro de Bellas Artes in Mexico she potrayed LEONORE in ‘Fidelio’ with Francisco Araiza as Florestan and she was very successful as LADY MACBETH OF MZENSK at the Komische Oper Berlin . Besides, she sang the EMPERESS in ‘Frau ohne Schatten’ at the Edinburgh Festival of 2011.

In the season 11/12 the soprano was TURANDOT and LISA in ‘Pique Dame’ at the Warshaw National Opera, CHRYSOSTHEMIS at the Nuremburg State Opera, sang Gala- concerts at the Norway Festival etc.. In 12/13 she returned as TURANDOT to Warshaw, sang ABIGAILLE at the Fribourg Theatre and made her debut as ELEKTRA at the Augsburg Opera House with Dirk Kaftan conducting. In 2014 Elena Nebera portrayed the EMPERESS in ‘Die Frau ohne Schatten’ at the Kassel State Theatre. In the seasons 13/14 and 14/15 she enjoyed great success as the BRUNNHILDEN in the new production of Wagner’s RING at the New Opera House Linz with producer Uwe Eric Laufenberg.


Borodin Kniaz Igor Yaroslavna
D. Chostakovitch Lady Macbeth von Mzensk Lady Macbeth
G. Donizetti Maria Stuarda Maria
L. Janácek Jenufa Jenufa
P. Mascagni Cavalleria Rusticana Santuzza
W.A. Mozart Don Giovanni Donna Anna
W.A. Mozart Don Giovanni Donna Elvira
W.A. Mozart Le Nozze di Figaro Rosina
J. Offenbach Les Contes d’Hoffmann Giulietta
S. Prokovief Pique Dame Lisa
S. Prokovief Iolanta Iolanta
G. Puccini Madama Butterfly Cio-Cio-San
G. Puccini Turandot Turandot, Liù
A. Schönberg Die Erwartung Eine Frau
R. Strauss Elektra Chrysothemis
P. Tschaikowsky Eugen Onegin Tatiana
P. Tschaikowsky Pique Dame Lisa
G.Verdi La forza del destino Leonora
G.Verdi Luisa Miller Luisa
G.Verdi Nabucco Abigaille
R. Wagner Das Rheingold Freia
R. Wagner Der Fliegende Holländer Senta
R. Wagner Die Walküre Sieglinde
R. Wagner Die Meistersinger Eva
Linz Municipal Theatre - Ring - BRÜNNHILDE
Lars Cleveman as Siegfried and Elena Nebera (Brünnhilde) had some great moments. In the opening scene they sang sweetly and amorously to each other, while the Bruckner Orchester romantically played music suffused with leitmotifs of their memories. ...Nebera’s Brünnhilde was majestic in her Immolation scene, a soaring soprano full of dignity and poise. Once she had gently removed the ring from Siegfried’s finger, held it on high and fondly gazed at it, she had everyone enthralled. Standing alone on the large stage, she invited the Rhinemaidens to retrieve the ring from her ashes, summoned her faithful horse Grane (in this production ten metres high – which gave new meaning to Siegmund’s question to Hunding when he first arrived at the Gibich castle “Where do I put my horse?”), stood Siegfried’s trusty yellow-framed tablet (displaying a photo of the hero) at her feet, and let her voice soar, in complete control. Behind her on the large screen were projections of fire, war and mayhem – leaving us in no doubt that the world was indeed ending. Yet in the midst of this lingered a full screen depiction of the ring returned to the Rhine, all calm and serene again, and finding its place once more in the universe, her voice soaring with the grandeur of it all.
Linz Municipal Theatre - Die Walküre - BRÜNNHILDE
'...high-heeled Elena Nebera produced a Brünnhilde who was full of fresh delight. Her voice was full of hope and promise, her singing a joy to her father’s ears... and mine.'
Neues Musiktheater Linz - Götterdämmerung - BRÜNNHILDE
'Also Elena Nebera could improve. Her previous tremolo has widely dissapeared. No doubt, on this evening she really was Brünnhilde!'
Der neue Merker Vienna
'With a considerable Wagner voice and a truely convincing role identification, the more so as she looks really Brünnhilde-worthy in her white dress, Elena Nebera dominates the 3rd act.
Sieglinde Pfabigan, Der Neue Merker
'Kudos go to her for even trying to perform this voice looting vocal feat. All the same, Nebera is wonderful in the high peaks to the very end.'
'Elena Nebera as Brünnhilde has an enormous stamina and sings all the high peaks of this terrifying part.'
Linz Music Theatre - Siegfried - BRÜNNHILDE
'In the grand final scene Elena Nebera as Brünnhilde reached real Wagner greatness.'
Salzburger Nachrichten
Opera House Linz - Die Walküre - BRÜNNHILDE
With her small, youthful appearance, Elena Nebera is a real "Maid". A maid with fiery red hair, as usual an intense actress par excellence (hence Elektra in Augsburg). Vocally she is an exceedingly 'interesting' Brunnhilde. Her cheering hojotohos really blow one's mind. What makes Elena Nebera's soprano voice interesting is its unusual, slightly curring timbre in the middle and the lower registers. At the one hand, it gives her singing a certain erotism, a the other hand it turns it into something really unique. At the premiere Ms Nebera gave her debut as Brunnhilde. In the following performances she succeeded in even meliorating her role portrait. In addition the new won vocal surety make Elena Nebera's Brunnhilde extremely special and touching. - Lately I remembered a remark I heared after her performances as Elektra in Augsburg: Finally a heroine who doesn't sing all pungent and akwardly.
DER NEUE MERKER, Dorothea Zweipfennig, München
Elena Nebera, who already sang Turandot and Elektra and at the same time portrayed the emperess in „Frau ohne Schatten“ - not exactly what you call similar roles made her not (yet) fully convincing role debut as Brünnhilde .With her darkish timbre she succeeded in filling her voice with characteristic expression. Also het acting was extremely empathetic. Her high peaks and her long bows consistently turned out good...
Klaus Billand - Der neue Merker
Brünnhilde wonderfully portrayed by Elena Nebera - against the clichés an adorable apprearance -
Neues Volksblatt
Augsburg Theatre - Elektra - ELEKTRA
'What the title heroine is expected to achieve in these 2 1/2 hours is absolutely enormous. For many years Elena Nebera enjoyed huge successes as Chrysothemis, also at the Mariinski Theatre, not least on account of her tremendous heights, which a yourhful dramatic Strauss singer just needs to have. Now she goes for the title role. Not just figuratively: with her rich, dark timbred soprano voice, Elena Nebera really completely devotes herself to the portrayal of her role. That's why it's thanks to her that one fully concetrates on the role interpretation and not on the dreadful ambience. Vocally she entirely lives up to the role,...And some of her powerful highest peaks - not at the least crisp - really knocked you off your heels. After the performance, many a visitor said to be pleased having finally heard a youthful dramatic Elektra, contrary to a heavy highly dramatic soprano with sharp high peaks, one often hears.'
Dorothea Zweipfennig / Munich – Der Neue Merker, Vienna
Nationaltheater Mannheim - Elektra - ELEKTRA - March 2013
'With her securely guided, great dramatic voice Elena Nebera gave her role debut in the title role... without doubt she has what it takes - the voice so to say - to become a magnificent Elektra'
Der Neue Merker
Fidelio - LEONORE - Teatro de Bellas Artes Mexico-
performance on the occasion of the re-opening of the Opera – December 2010
„Speaking of the vocal aspect of the opera, russian soprano Elena Nebera was a wonderful Leonore, with a rich, full tone, lovely phrasing and good acting skills.”
„... his faithful wife Leonora-Fidelio ( vocally perfectly fitting, the Russian soprano Elena Nebera, who makes her debut in Mexico)... „
„Also brillant the soprano Elena Nebera with her dark timbred soprano voice. Her interpretation of a dauntless, passionately loving Fidelio-Leonore was extremely thrilling.”
La Cocterela
„If there is anyone, who deserves the title 'relevation of the evening', it's the soprano Elena Nebera. With her dark, colored timbre, her singing sounded at the same time measured and solemn (which is extremely difficult to achieve). For her interpretation of "Abscheulicher! Wo eilst du hin?" she earned warm applause. Her acting was equally brillant!„
Opera Omnia
Die Erwartung –WOMAN – Stuttgart State Opera
„Here, a woman (singing brilliantly Elena Nebera) is looking for her lover...”
Wiener Zeitung
“Molto bene, si diceva sopra, le voci, tutte, a partire da Elena Nebera che, in Erwartung, ha regalato emozioni a non finire.Nebera possiede una voce imponente per volume, morbida nel timbro, solida quanto a tecnica, autorevole nel fraseggio, voce alla quale si aggiungono avvenenza fisica e doti interpretative notevolissime. Per lei un successo pieno e assolutamente meritato.”
Operaclick - Alessandro Cammarano
“Il magnifico soprano drammatico russo Elena Nebera caratterizza con intatta precisione i la certi di una vocalità frantumata e dispersa, che comunque si organizza in periodiche eccitazioni cantabili.”
Mario Messinis Il Gazzettino
“La regia di Italo Nunziata pone la protagonista di Erwartung in uno scenario che evidenzia la natura psicoanalitica del testo: brava Elena Nebera a muoversi tra le porte di un luogo che dall'originario bosco diventa più che altro una clinica dove la scoperta dell'amante ucciso (da lei stessa?) è immersa in un onirismo lucido, ma a tratti un po' statico – è il problema principale della messa in scena di Erwartung – e vagamente didascalico.”
Enrico Bettinello Il giornale della musica
Nabucco – ABIGAILLE - Magdeburg City Theatre
„Elena Nebera, who sings the part of Abigaille, didn't arrive in Magdeburg until in the afternoon. Yet, it was amazing how brilliantly she moved throughout the performance. Her voice never got schrill or angular. She knows how to attack but can also be extremely supple. When the singer entered the canteen after the performance, she was hailed once again by her collegues.“
Der neue Merker
“La regia di Italo Nunziata pone la protagonista di Erwartung in uno scenario che evidenzia la natura psicoanalitica del testo: brava Elena Nebera a muoversi tra le porte di un luogo che dall'originario bosco diventa più che altro una clinica dove la scoperta dell'amante ucciso (da lei stessa?) è immersa in un onirismo lucido, ma a tratti un po' statico – è il problema principale della messa in scena di Erwartung – e vagamente didascalico.”
Enrico Bettinello Il giornale della musica
Neues Musiktheater Linz - Götterdämmerung - BRÜNNHILDE
Linz Music Theatre - Siegfried - BRÜNNHILDE
Linz Music Theatre - Siegfried - BRÜNNHILDE
Staatstheater Kassel - Frau ohne Schatten - KAISERIN
Staatstheater Kassel - Frau ohne Schatten - KAISERIN
Staatstheater Kassel - Frau ohne Schatten - KAISERIN
Landestheater Linz - Die Walküre - BRÜNNHILDE - March 2014
Palacio de belas artes Mexico - Fidelio - LEONORE
Teatro Colon Buenos Aires - Die Erwartung - 2012
Theater Augsburg - Elektra - ELEKTRA - März 2013
Theater Augsburg - Elektra - ELEKTRA - March 2013
Theater Augsburg - Elektra - ELEKTRA - March 2013
Mariinsky Theater - Götterdämmerung - GUTRUNE
Theater Dortmund - Madama Butterfly- CHO-CHO-CHAN
Theater Dortmund - Hoffmanns Erzählungen - GIULIETTA
Theater Dortmund - Jenufa - JENUFA