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BIOGRAPHY |
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In 2022 Nadja Stefanoff already succeeded as FEDORA at the Opera Frankfurt and as MARTA in Weinberg's “Die Passagierin" at the Opera Graz.
In autumn 2019 she made her remarkable debut as MARIETTA in “Die Tote Stadt” at the Finnish National Opera Helsinki and also performs this very role in 2023 at the Rheinoper Düsseldorf-Duisburg.
Before, she was celebrated as SIEGLINDE in “Die Walküre” at the State Theatre Kassel, where she returns in the season 2022/23, as NORMA at the Mannheim National Theatre, as ELISABETHA in” Maria Stuarda” and DONNA ELVIRA in “Don Giovanni” at the Gärtnerplatztheater München and as KATJA in “Katja Kabanova” at the Mainz State Theatre.
From 2007 to 2014 the German singer was a member of the Bremen Opera House ensemble. Singing then as Mezzosoprano, she appeared in roles such as CALBO in Rossini's “Maometto”, II IDAMANTE in Mozart's “Idomeneo”, ANGELINA in “La Cenerentola”, ROSINA in “Il Barbiere di Siviglia” or OCTAVIAN in Strauss' “Der Rosenkavalier”. Ms. Stefanoff also knew great success as ADALGISA in Bellini's “Norma”, DONNA ELVIRA in Mozart's “Don Giovanni”, GIULIETTA in Offenbach's “The Tales of Hoffmann” and JUDITH in Bartok's ” Bluebeard's Castle”.
During this period, she also had guest performances with the Bremen Philharmonic Chamber Orchestra, at the Stuttgart State Opera, the Comic Opera Berlin, the Dresden State Operetta , the Bielefeld Theatre and the Opera House Bonn. Moreover, she made CD recordings with the Dresden State Operetta and the NDR Radio Philharmonic Orchestra.
Her triumph as TOSCA in Bremen initiated a change of direction in her career. It was the beginning of her career as a dramatic soprano. In this repertoire, she made her debut in the title role in B. Martinu’s “Juliette” (Bremen) as well as ANNA KARENINA in J.Hubays opera at the Staatstheater Braunschweig.
Since the season 2014/15 Nadja Stefanoff is a member of the Mainz State Theatre ensemble, where she performed such roles as MEDÈE, TOSCA, MADAME LIDOINE in Poulenc’s ”Les Dialogues des Carmélites” or VITELLIA in “La Clemenza di Tito”.
She could also be seen as LISA in “Pique Dame”, FALENA (La Falena) at the Braunschweig State Theatre or MÉDÉE at the Mannheim National Theatre . Guest performances brought her as MANON LESCAUT and SIEGLINDE to the Oldenburg State Opera.
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| REVIEWS |
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| Rheinoper Düsseldorf-Duisburg - Die tote Stadt - MARIETTA |
| The soprano part of Marie and Marietta, which in fact does only exists in Paul’s imagination, is just as difficult. Nadja Stefanoff dances, flirts, desires, dominates, is bitchy and carefully handles the huge part with extremely high. |
Opernmagazin
www.opernmagazin.de |
| Nadja Stefanoff sings Marietta with clarion tones in the high registers and a rich spectrum of sensual values in the middle registers. |
Concerti
www.concerti.de |
| At his side plays Nadja Stefanoff, well-known from Mainz and Frankfurt. Her play is witty. Her huge, noble voice has become somewhat heavier, so she has a little more difficulties in the peaks. But it all works out quite wonderful. |
Frankfurter Rundschau
www.fr.de |
| The attractive Nadja Stefanoff gives a spectacular and seducing portrayal of Marietta : an impressive lady, vivid, intense, with personality and esprit. Vocally, she reaches her exquisite sovereignty in the second act, finding clear lines and clarifying the character in all its facets. Her voice sounds wonderfully natural, reaches true brilliance and lightness. Her high notes enchant by their sensuality and blaze. |
ioco
www.ioco.de |
| Staatstheater Mainz - Manon Lescaut - MANON LESCAUT |
| The title role was splendidly performed by Nadia Stefanoff (soprano). Manon is faithless and constantly alternatig between 2 men. Her adaptability from a catholic monastic life, into a schoolgirl in stockings and finally into a party girl is also vocally expressed. Yet her voice always has the upper hand over the orchestra. |
| Der neue Merker 03/2020, Volker Funk |
| Nadja Stefanoff masterly portrays the role of Manon with all its facets and acts ardently. Her gentle bows and her interpretation of the lieder-like melodies in the first two acts were just as convincing as her appearance in the second part of the evening, where she approaches the verismo with total physical dedication and heart-warming singing, striking the very core of one’s heart. She proved to be a brilliant artist, not only acoustically but also as an actress. |
Der Opernfreund
www.deropernfreund.de |
| Staatstheater Mainz - Armide - ARMIDE |
| Nadja Stefanoff is a godsend for the role of Armide. Expressively and with secure high notes, she interprets this part, that is in no way easy. |
Opern Loderer
www.opernloderer.blogspot.com |
| Nadja Stefanoff’s portrayal is sensationally impressive – her powerful voice goes up to an exquisite line, grows according to the developing of the drama until the very end, where she offers a concentrated, expressive interpretation. Even in the recitatives she achieves highly dramatic moments. |
| Opernwelt 3/2017 |
| The phenomenal actress in the title part, the soprano Nadja Stefanoff is a powerful mainstay for Steier’s production, in this story which is streamlined on clear outlining. The more so as Stefanoff’s dramatically perfect performance on stage excellently goes with her outstanding vocal presentation. Performing darkly but never flatly, passionately but never superficially, she sensitively illuminates portrays the character of the unanswered lover, always remaining splendid and technically sovereign. A real godsend for any theatre to have such an artist in the ensemble! |
Rhein-Zeitung
www.rhein-zeitung.de |
| Staatstheater Braunschweig - Anna Karenina - ANNA KARENINA |
| The success of the evening crucially depends on the two main characters: with initially passionate, then more and more desperate dedication, Nadja Stefanoff throws herself into the emotional conflicts of the title part, which she convincingly portrays with intense acting engagement and an assertive voice. |
| Das Opernglas/April 2014 |
| And in spite of the ambivalence of the musical language, this curio at the Braunschweig Theatre developed a captivating effect, mainly due to the protagonists: Nadja Stefanoff as Anna Karenina has a fantastic stage presence and expression of great dramatic quality, … Her dark timbred, smooth soprano voice captivated by her relaxed, agile voice leading and her precise intonation. |
| Opernwelt - Uwe Schweikert |
| With Nadja Stefanoff as Anna the role is ideally casted. Her dark timbre perfectly suits the brooding fundamental attitude of the character and its manifold dynamic differentiations Her soprano voice has great dramatic reserves and clearly focused high peaks, which melt into melodious passion. |
| Die deutsche Bühne – Andreas Berger |
| All the soloists mastered their difficult and power-taking parts – above all the soprano Nadja Stefanoff in the title role with her brilliant soprano voice, which was securely guided, also in the high registers. |
Cellsche Zeitung
www.cellesche-zeitung.de |
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| ON STAGE |
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Staatstheater Mainz - Manon Lescaut - MANON LESCAUT
Photo: Andreas Etter |
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Staatstheater Mainz - Manon Lescaut - MANON LESCAUT
Photo: Andreas Etter |
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Staatstheater Mainz - Armide - ARMIDE
Photo: Andreas Etter |
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Staatstheater Mainz - Armide - ARMIDE
Photo: Andreas Etter |
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Staatstheater Mainz - Medea - MEDEA
Photo: Andreas Etter |
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Staatstheater Mainz - Norma - NORMA
Photo: Andreas Etter |
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Staatstheater Mainz - Norma - NORMA
Photo: Andreas Etter |
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Staatstheater Braunschweig - Anna Karenina - ANNA KARENINA
Photo: Jenö Hubay |
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