Soprano
Pauliina Linnosaari

Reviews
On Stage


  BIOGRAPHY  

 

In the 2026/27 season, Pauliina Linnosaari will make her debuts with the SWR Radio Symphony Orchestra and at the Bregenz Festival, among others. She will sing ORTLINDE in Die Walküre at the ABAO Opera in Bilbao and will debut as ROXANA in King Roger at the Theater Regensburg.

In the summer of 2026, she thrilled audiences as SALOME at the Richard Strauss Festival in Garmisch-Partenkirchen.

Most recently, she enjoyed great success at the Badisches Staatstheater Karlsruhe in a wide range of roles. These included ELSA in Lohengrin, ELISABETH in Tannhäuser, the MARSCHALLIN in Der Rosenkavalier, TATIANA in Eugene Onegin, ROSALINDE in Die Fledermaus, CHRYSOTHEMIS in Elektra, and the title roles of TOSCA and SALOME.

She also recently made a successful debut at the Deutsche Oper am Rhein Düsseldorf-Duisburg as TSCHANG-HAITANG in Zemlinsky's Der Kreidekreis (The Chalk Circle), a role she had also performed at the Staatstheater Karlsruhe. She portrayed MADAME LIDOINE in Dialogues des Carmélites at the Finnish National Opera in Helsinki.

In 2024, she was awarded the Gottlob Frick Medal on the occasion of a Puccini Gala with the Heilbronn Symphony Orchestra.

Guest appearances have already taken the soprano to Theater Basel as CHRYSOTHEMIS in Elektra, to Theater Bremen as the MARSCHALLIN in Der Rosenkavalier, to the Chemnitz Opera House as LEONORE in Fidelio, to the Salzburg State Theater as ARIADNE in Ariadne auf Naxos, and to the Savonlinna Opera Festival as DESDEMONA in Otello.

From 2017 to 2023, the Finnish singer was a member of the Saarländisches Staatstheater ensemble. Here, she won over both the press and audiences with her interpretations of MATHILDE in Rossini's Guillaume Tell, ROSALINDE in Johann Strauss’s Die Fledermaus, LEONORA in La forza del destino, MIMÌ in Puccini's La Bohème, the title role in Strauss’s SALOME, the MARSCHALLIN in Der Rosenkavalier, MARIETTA in Korngold's Die tote Stadt, and MEDÉE in Luigi Cherubini's opera of the same name. Furthermore, she performed HANNA GLAWARI in Franz Lehár's Die lustige Witwe (The Merry Widow), LEONORA in Verdi's Il trovatore, ARIADNE in Strauss's Ariadne auf Naxos, LIÙ in Puccini's Turandot, and MICAËLA in Bizet's Carmen.

The native Finn began her musical education with piano and violin lessons at the tender age of five. In addition to her training in classical music, Pauliina Linnosaari was a member of various bands throughout her youth, where she primarily played the drums. She later completed her music and vocal studies at the Sibelius Academy in her hometown.

The artist completed her studies at the Metropolia University of Applied Sciences (Finland) and at the Indiana University Jacobs School of Music (USA). From 2008 to 2010, she was a scholarship holder of the Matti Salminen Foundation at the Finnish National Opera in Helsinki, and in 2010, she was a member of the Weimar Opera Studio.





 
 
REVIEWS
 
Richard-Starauss-Tage Garmisch-Partenkirchen - SALOME - Salome
The title role was performed by Finnish soprano Pauliina Linnosaari—a permanent ensemble member in Karlsruhe who also performs internationally—having added the role to her repertoire in the original language in 2023. She possesses a technically flawless, fundamentally lyrical soprano voice that expands with brilliant power in the upper register. She articulates in refined German and delivers a moving portrayal of a girl—no older than seventeen—who discovers the violence and cruelty of love and sensuality, only to be shattered by them.
DrehPunktKultur
drehpunktkultur.at
Badisches Staatstheater Karlsruhe – Lohengrin - ELSA
Entsprechend verkörpert Pauliina Linnosaari eine eher gereifte Elsa und keine jugendliche Unschuld. Sie hat eine starke, selbstbewusste Stimme…
OPERNWELT 01/2026 Bernd Künzing
Pauliina Linnosaari impressed as Elsa with her clear, bright soprano voice and was in strong contrast to Ks. Barbara Dobrzanska’s strong Ortrud, both with a strong stage presence.
Der Opernfreund
deropernfreund.de
Pauliina Linnosaari achieved for Elsa an increasingly touching sound: initially cautious, still tentative, later with a warm lyrical core that outgrew itself and radiated ardently in the second and third act.
Badische Neueste Nachrichten
bnn.de
Appropriately cast also Pauliina Linnosaari as a matured Elsa in the power structure rather than the portrayal of a youthful, dreamy innocence. She has a powerful, self-secured voice.
SWR Kultur am Morgen – Bernd Künzig, 17.11.2025
swr.de
Pauliina Linnosaari, a member of the Karlsruhe ensemble, convincingly performed Elsa. She persuades above all in the dramatic passages.
Bachtrack
bachtrack.com
In this role Pauliina Linnosaari, with her warm and yet brilliantly articulated soprano voice, gives the figure more and more character in the course of the evening.
Pamina Magazin – Christine Gehringer, 20.11.2025
pamina-magazin.de
From the musical point of view, the new Karlsruhe “Lohengrin” production is tremendous. Just like in the “Tannhäuser” production on Eastern 2024 here, the most brilliant among the singers are two members of the Karlsruhe ensemble: the soprano Pauliina Linosaari, this time as the “good” Elsa and the mezzo soprano Dorothea Pilger, this time as the “wicked” Ortrud. Pauliina Linnosaari singing is expressive, nuanced and clear and consequent in the text declaration.
Die Rheinpfalz - Karl Georg Berg
rheinpfalz.de
Elsa herself – Pauliina Linnosaari as nuanced clear singing, cigarettes smoking emancipated person.
DIE deutsche BÜHNE
die-deutsche-buehne.d
Staatstheater Karlsruhe – Eugin Onegin - TATJANA
On the other hand, Pauliina Linnosaari as Tatjana convinced with a intelligently guided, lyrical dramatic soprano voice, that knew how to fascinate both in the soft passages and in the exposed high tones. Especially in the final scene with Onegin, she showed the whole range of her expressive power – a touching, vocally and scenically profound portrayal of a matured woman.
Das Opernglas 7-8/2025 J.-M.Wienecke
Splendid however is Pauliina Linnosaari as Tatjana. The way she masters the scene with the letter is simply ravishing, strongly supported by Johannes Willig at the conductor desk. The result is an exceedingly subtle musical soul portrayal in the character’s emotional confusion with its ups and downs, rather parlaying in her self-revelation yet in a marvelous flow in phrasing the text of the letter onto the breakthrough of her brave determination. The following musical sunset is the highlight of this almost sole bright moment of the opera.
Bachtrack – Christhop Wurzel
bachtrack.com
Pauliina Linnosaari gives a touching portrayal because she sings and plays without any pathos. Her singing has depth and feeling...
Die Rheinpfalz – Karl Georg Berg
rheinpfalz.de
Pauliina Linnosaari is a Tatjana with heart, attitude and a olden voice.
Badische Neuste Nachrichten
bnn.de
Künstlertreffen der Gottlob-Frick Gesellschaft in Pforzheim-Niefern und Ölbronn-Dürrn "Verachtet die Meister nicht!"
Pauliina Linnosaari who sang Mimi’s aria enthralled with a charming and emotionally thrilling „Si, mi chiamano Mimi“.
...with an outstanding vocal and acting presence. Just like Pauliina Linnosaari in Tosca’s aria „Vissi darte, vissi d’armore“, that she impressively performed with plenty of intimacy and painful intensity. …

Pauliina Linnosaari thrillingly fascinated in the aria of Butterfly „Un bel di, vedremo“ from „Madama Butterfly with her exceptional versatility and her highly musical vocal artistry. ...
....tumultuous jubilation. Standing ovations and bravos led to three encores. Pauliina Linnosaari enthralled with a wonderful, soulful „O mio babbino caro“ from „Gianni Schicchi”.
Der Neue Merker 11/2024 – Marisa Altmann-Althausen
Badisches Staatstheater Karlsruhe – Der Kreidekreis - HAITANG
Pauliina Linnosaari succeeds as Tschang Haitang. With her flexible soprano voice , with its lyrically supported naivety, she does not only succeed in convincingly performing the desperate struggle for her child and her own life but also the power to present an emphatic otburst in a Richard Strauss way. t.…-Pauliina Linnosaari‘s s brilliant soprano voice. …
PZ News
pz-news.de
Badisches Staatstheater Karlsruhe – Tannhäuser - ELISABETH
...and the virginally pure Elisabeth. Pauliina Lannosaari succeeded in the role with her secure, brilliant soprano voice and her intense pervasion of the role. This was the case in the dramatic passages, like the hall aria, but also in the challenging lyric of the prayer.
OPERNGLAS 7/8 - 2024, J.-M. Wienecke
With her dramatical interpretation of the hall aria the soprano definitively rose above the lyrical repertoire.
OPERNWELT 6/24 – Alexander Dick
The Finnish Pauliina Linnosaari is quierte impressive in this role: with her light, perfectly focussed soprano voice of polished steel, she holds her ground against the choir masses.
FAZ
faz.de
…to the brilliant Pauliina Linnosaari as Elisabeth , who is a vocally attractive counterpart.
Online Merker
onlinemerker.com
Saarländisches Staatstheater Saarbrücken - Die Tote Stadt – MARIETTA
With Pauliina Linnosaari in the double role of the dancer „Marietta“ and the Marian Apparition the Saarbrücken State Theatre has succeeded in landing a major casting coup. One has seldom seen and heard this role being sung so spiritedly and played so sovereignly . The mere effortlessness with which she sings the well-known song „Glück, das mir verblieb“ , integrating each and every high peak in the singing line without any sharpness, deserves great admiration. The young soprano has just the right juicy tone which is needed to play the seductress. At the same time, her voice is so stunningly flexible, that the sirenlike calls of the in her dream appearing Marie have something fascinatingly otherworldly narcotic.
Der Opernfreund
deropernfreund.de
The Finnish Soprano Paulina Linnosaari is the star of the evening. Her Marietta is human, harm-hearted, sympathetic, but little femme fatale.
SR2 Kulturradio/SR3, 7. Oktober 2018 Reingart Sauppe
Badisches Staatstheater Karlsruhe – Salome - SALOME
Outstandingly, Pauliina Linnosaari portrays the evil yet dramatical for innocent child, vocally enhancing unto a breathtaking final monologue.
SWR
swr.de
Saarländisches Staatstheater Saarbrücken – Médee - MÉDEE
But the vocally most brilliant singer was the soprano Linnosaari.
Opus Kulturmagazin
opus-kulturmagazin.de
 
 
ON STAGE
Badisches Staatstheater Karlsruhe – Dialogues des Carmélites - MADAME LIDOINE
© Felix Grünschloß
 
Badisches Staatstheater Karlsruhe – Dialogues des Carmélites - MADAME LIDOINE
© Felix Grünschloß
 
Badisches Staatstheater Karlsruhe – Dialogues des Carmélites - MADAME LIDOINE
© Felix Grünschloß
 
Badisches Staatstheater Karlsruhe – Lohengrin - ELSA
© Badisches Staatstheater Karlsruhe
 
Badisches Staatstheater Karlsruhe – Lohengrin - ELSA
© Badisches Staatstheater Karlsruhe
 
Badisches Staatstheater Karlsruhe – Eugen Onegin - TATIANA
© F. Grünschloß
 
Badisches Staatstheater Karlsruhe – Eugen Onegin - TATIANA
© F. Grünschloß
 
Badisches Staatstheater Karlsruhe – Der Rosenkavalier - MARSSCHALLIN
© F. Grundschlos
 
Badisches Staatstheater Karlsruhe – Die Fledermaus - ROSALINDE
© F. Grundschlos
 
Badisches Staatstheater Karlsruhe – Die Fledermaus - ROSALINDE
© F. Grundschlos
 
Badisches Staatstheater Karlsruhe – Tosca - TOSCA
© Christian Kleiner
 
Badisches Staatstheater Karlsruhe – Tosca - TOSCA
© Christian Kleiner
 
Badisches Staatstheater Karlsruhe – Tosca - TOSCA
© Christian Kleiner
 
Badisches Staatstheater Karlsruhe – Der Kreidekreis - HAITANG
 
Badisches Staatstheater Karlsruhe – Der Kreidekreis - HAITANG
 
Badisches Staatstheater Karlsruhe – Tannhäuser - ELISABETH
 
Staatstheater Karlsruhe – Salome – SALOME
 
Staatstheater Karlsruhe – Salome – SALOME
 
Staatstheater Karlsruhe – Salome – SALOME
 
Theater Basel – Elektra – CHRYSOTHEMIS

 
Saarländisches Staatstheater – MIMI

 
Staatstheater Karlsruhe – Tannhäuser - ELISABETH

 
Saarländisches Staatstheater – Guillaume Tell – MATHILDE

 
Finnish National Opera – Der Fliegende Holländer – SENTA

 
Saarländisches Staatstheater Saarbrücken - Die Tote Stadt – MARIETTA

Saarländisches Staatstheater Saarbrücken - Die Tote Stadt – MARIETTA