Lise Lindstrom

© Lisa Marie Mazzucco


American dramatic soprano Lise Lindstrom appears in leading roles in opera houses that include the Metropolitan Opera, New York, San Francisco Opera, Royal Opera House, Covent Garden, Deutsche Oper Berlin, Wiener Staatsoper, San Diego Opera and Arena di Verona, among many others.

Highlights of recent seasons include her debuts with Teatro alla Scala, the Metropolitan Opera and Dallas Opera as Turandot; Salome with the Wiener Staatsoper, Tosca with Glimmerglass Opera, Elisabeth and Venus (Wagner Tannhäuser) with the Greek National Opera, Senta (Wagner Der fliegende Holländer) with San Francisco Opera, Turandot at the Palau de les Arts Valencia, Magda (Menotti The Consul) with Arizona Opera, Ariadne (Strauss Ariadne auf Naxos) with Des Moines Opera and Brünnhilde in her first full Ring Cycle with Opera Australia

Concert performances have included the final scene of Salome with the San Francisco Symphony Orchestra under Michael Tilson Thomas; Strauss Vier letzte Lieder in San Francisco; a concert of Wagner at the Glimmerglass Festival; and Verdi Requiem at the Washington National Cathedral.


Performance Schedule


  • PUCCINI: Turandot More info  

    Label: Opus Arte

    Release Date: 30 Apr 14

    Andrei Serban’s spectacular production of Puccini’s final and grandest opera has long been a classic at the Royal Opera House. This new recording is in stunning HD and makes this famous production available for the first time on DVD and Blu-ray. The cast includes Lise Lindstrom (Turandot); Marco Berti (Calaf) and & Eri Nakamura (Liù).

  • 22 Jul 17 WAGNER Gala concert Ludwigsburg Festival Orchestra / Pietari Inkinen
    Forum am Schlosspark,Ludwigsburg
    More info  

    “Elektra, played by soprano, Lise Lindstrom, uses more than a traditional palette of colors. Onstage for almost the whole hour and forty-five minutes of the opera, she never flags. Each of her major encounters in the field of anguish fills us with both her and her character’s range of emotional power – whispers, shouts, shrieks, cries, growls of desperation, rage, giddy exaltation, exultation, and grief. Remarkably, Lise Lindstrom’s vocal capacity begins to seem infinite. Her voice here is rarely beautiful unless she wants it to be and winds up mostly slicing the shrill by choice, but always a constant hammer, forcing one nail after the other into the coffin that will become her mother’s, and that of Aegisthus. And she is not afraid to use it so. Hell-bent, this Elektra, smiling and mocking, unchecked, desperate and agitated, in her green robe, bedecked with floral neck design, is perfectly at home in the part, its range, its tonality, its violence. Never does she let us out of her grip. From facial variety – eyes staring, glinting, gleaming, closing, flashing, alarming – to hand gestures that cap some of the range and depth of her emotion – as well as body shift and switch, give us a whole woman, wracked by what she is determined to let be known.”
    Lois Silverstein, Operawire, 30 July 2017

  • 08 Jul 17 PUCCINI: 'Turandot'
    Royal Opera House, Covent Garden
    More info  

    “It is a first-rate company, with Lindstrom herself magisterial as the tortured ice queen who needs to get in touch with her emotions. The American soprano’s voice was forthright and steely as befits the part, her every note a 1000-volt shock to the senses.”
    Mark Valencia, Whats On Stage, 12 July 2017

  • 29 Nov 16 WAGNER The Ring
    Opera Australia, The Arts Centre, Melbourne
    More info  

    “Lise Lindstrom beautifully realised the tender vulnerability of Brunnhilde. She, Vinke and Inkinen ensured the long, slow-developing love scene was the climax Wagner intended.”
    Barney Zwartz, Sydney Morning 

    Herald, 27 November 2016 “Lise Lindstrom’s Brünnhilde, her first full Cycle in the role, should install her as one of the greats. … Even though I was well aware of Siegfried and Brünnhilde’s fate, through Vinke and Lindstrom’s raw, generous expressions of their love I found myself clinging to the same false hope that a great performance of Romeo and Juliet stirs in me: maybe this time it will be different! Maybe the magic potions and disguises and interferences will all just be a big misunderstanding!”

    Clem Bastow, The Guardian, 29 November 2016

    “Soprano Lise Lindstrom lit the stage with an outstanding and intensely nuanced Brünnhilde. Everything in Lindstrom’s persona from the joy of love’s security to the vulnerability of sexual violation, grief in hopelessness and nobility in death was a touching masterpiece of portraiture rendered in untiring vocal radiance.”
    Herald Sun, November 29, 2016 

    “Lindstrom is glorious as Brünnhilde, headstrong and mercurial but also pensive and supple. There is a ringing, exalted aspect to her performance, and her voice is winningly warm and penetrating. It bodes well for the long journey to come.”
    Time Out, November 25, 2016 

    “Of course, all are eager for Brünnhilde and soprano Lise Lindstrom burst from on high as a renegade young paratrooper in that unworldly vocal power and assuredness one hopes for. Notably, the same command characterised her more tender depiction of Brünnhilde’s turmoil and the pathos-filled final farewell to Wotan.”
    Herald Sun, 27 November 2016

    “Lise Lindstrom is exactly the type of Brunnhilde this production needs. Vocally piercing, she brings lyrical expression to the lovers’ scenes and is an exceptional actress: crucial in this production, where it is Brunnhilde rather than Wotan or Siegfried who leads us to catharsis, through her downfall and redemption.”
    The Australian 30 November 2016

    “The staging is also blessed with a fine cast of singing actors, crowned by the intensely moving Brünnhilde of Lise Lindstrom, and the magnificent playing of the Melbourne Ring Orchestra under Pietari Inkinen.”
    Limelight Magazine, 29 November 2016

    “As the representation of humanity in its most sublime state, Lindstrom is again a knockout. Her awakening is protracted, to say the least, but when she finally stands and delivers her first note it is thrilling beyond compare. Her subsequent doubts and vacillations – the natural response of a god stepping down into mortality, one would imagine – are fascinating and painful to watch.”
    Time Out, 28 November 2016

    “Lise Lindstrom goes from strength to strength in this panoply of character traits which defines her role. Her acting skills are consummate and we are totally drawn into her portrait and enthralled by the luscious beauty of her singing. Brünnhilde becomes at once fragile and mortal while maintaining her memories of godliness……Brünnhilde’s Immolation” is deftly handled by Ms. Lindstrom. Understated staging allows no distraction from the power of words and music depicting her tumult of passion. Her old world is dying from its own over-indulgence and her new world is torn apart by
    that most human of traits: self-interest. Lise Lindstrom is triumphant as she rekindles the spirit of nobility and courage to achieve redemption. She unleashes a powerful torrent of sound elegantly capturing the many emotions of this final part of the story.”, 29 November 2016 

    “Lise Lindstrom beautifully realised the tender vulnerability of Brunnhilde. She, Vinke and Inkinen ensured the long, slow-developing love scene was the climax Wagner intended.”
    The Sydney Morning Herald, 27 November 2016 

    “Lindstrom was passionate and immediate, investing Brünnhilde’s many attributes with riveting, believable intensity and intelligence, and it didn’t hurt that her willowy figure and cool beauty made her an unusually credible object of desire. The awakening scene in Siegfried was very, very sexy.”
    Deborah Jones, Opera Magazine, February 2017

  • 20 Oct 16 ARTICLE Opera Magazine November 2016
    People 448: Lise Lindstrom
    More info  

    Please click here for full article
    Patricia Maunder, Opera Magazine, November 2016

  • 04 Jun 16 Strauss Saolme
    Detroit Symphony Orchestra/Leonard Slatkin, Orchestra Hall Detroit
    More info  

    “Ironically, soprano Lise Lindstrom, who assumed the title role, would require less suspension of disbelief than most in the opera house. She is unusually svelte for a power singer, and she certainly revealed the vocal goods on Friday. Lindstrom married a silvery lyricism with the pure muscle needed to compete with the orchestra. The long closing scene was a marvel as she ranged very high and very low, soaring above the orchestra and then singing sweetly and chillingly to the severed head of Jochanaan, the prophet whom Salome herself had condemned.”
    Mark Stryker, Detroit Free Press, 4 June 2016

  • 21 Nov 15 STRAUSS Elektra
    Opéra de Montréal
    More info  

    “The American soprano Lise Lindstrom was fiery in the title role but also astute enough to register Elektra’s fleeting migrations from sarcasm to lyricism.”
    Arthur Kaptainis, Montreal Gazette

    “The opera centers totally on Electra, making it one of the most demanding roles in the dramatic soprano repertoire.
    And Lindstrom met those demands powerfully and beautifully, not so surprising as she has sung it at the Hamburg State Opera, as well as the title role in “Turandot” at the Metropolitan Opera. What gave Lindstrom’s performance its power was its unusual range from fierce to tenderly feminine with nary an ugly sound from her rich golden voice. And, no mean feat with Strauss’ difficult intervals, she was accurate throughout.”
    Jim Lowe, Times Argus, 24 November 2015 

    “American dramatic soprano Lindstrom was fiercely good in the demanding title role. An admirable vocal range carried her character from black rage and despair to the deceptive sweetness, even madness, expressed in her shimmering top notes – part of the emotional insight she brought to her powerful yet nuanced singing…Lindstrom, in baggy shirt and trousers, and wild, dirty locks, found all her character’s gravitas within.”
    Patricia Mauder, Bachtrack, 23 November 2015 

  • 22 Oct 15 Puccini Turandot
    Metropolitan Opera, New York
    More info  

    “The title role in the opera calls for an almost Wagnerian sound—it was probably the finest Italian role of Birgit Nilsson—and here was performed by Lise Lindstrom, an American soprano who has made a specialty of the part at the Met and around the world. In fact, it was her debut in this role at the Met in 2009 that brought her international recognition. Her big voice soared over the orchestra in her famous aria “In questa reggia.””
    Barry Bassis, Epoch Times, 24 October 2015 

  • 01 Oct 15 STRAUSS Salome
    Bournemouth Symphony Orchestra
    More info  

    “Lise Lindstrom was Salome, secure and silvery of tone”
    Andrew Clements, The Guardian, 1 October 2015 

    “Lise Lindstrom steals the show as a sensual Strauss anti-heroine in concert”
    Richard Bratby, The Arts Desk, 3 October 2015 “Eclipsing all others, rightly, was the Salome of Lise Lindstrom — an American soprano who has barely worked in Britain but who, on this showing, must be regarded as one of the finest living exponents of this fearsomely taxing role. She has the seductive looks, the cruel half-smile, the mesmerising stage presence and, above all, the vocal range and cutting edge.”
    Richard Morrison, The Times, 2 October 2015 

    “Lise Lindstrom in the title role rose magnificently to its very considerable demands including an extraordinary vocal range from extreme highs to lows, considerable stamina and strong projection. Her ineffective seduction of the Baptist was very well shaped alternating the obsequious with withering scorn. And the final scene of her perverted lovemaking (mimed) to the severed head was truly horrifying.”
    Ian Lace, Seen and Heard, 2 October 2015 

    “All the more horrifying for lacking the hardness of so many Salomes, Lise Lindstrom’s princess was a portrait of curdled privilege. Dancing with Karabits’s responsive tempos, she had the final mad scene in sight from the start, growing from petulant sweetness to power to match the BSO’s gloriously expanded brass section.”
    Alexandra Coghlan, Independent, 1 October 2015 

    “American soprano Lise Lindstrom was mesmerising in the title role, demonstrating her widely-acclaimed dramatic soprano. Her performance was a gripping piece of operatic acting switching smoothly between girlish petulance and an unsettling calm.”
    Will Frampton, Daily Echo, 1 October 2015 

  • 16 Feb 15 Strauss Elektra
    Hamburg State Opera
    More info  

    “The main reason to catch this revival was the debut of Lise Lindstrom as Elektra, and the Californian soprano was extremely impressive at the performance on February 19th. The voice is remarkable: of a properly house-filling size, resilient and tireless. Even in the extremes of this most challenging role, it nevertheless retains an almost lyrical quality throughout the range…the way Lindstrom seemed almost effortlessly to sail through the role was often astonishing. She also proved herself an instinctive actress, creating a willowy, glamorous and febrile portrayal…”
    Hugo Shirley, Opera Magazine, May 2015

  • 30 Oct 14 Classical Singer magazine Classical Singer magazine
    October 2014
    More info  

    Classical Singer magazine – Lise Lindstrom interview by Brian Manternach.
    Classical Singer magazine 

  • 30 Jun 14 Puccini Turandot - DVD
    Royal Opera House, Covent Garden
    More info  

    “Most attention will probably be directed to Lise Lindstrom, an experienced Turandot (this was her hundredth performance), who was nonetheless making her Royal Opera House debut in the role.  She’s a commanding presence, combining accuracy and tonal focus with a resilience of phrasing. As you hear how well she controls the tension in ‘In questa reggia’, it’s easy to understand why Calaf is enthralled despite her inhumanity. True, she’s more memorable for the precision of her icier moments than for any sheer beauty of tone when she finally melts (the acerbic cruelty of the riddle scene is especially incisive and unforgiving); still, her reputation in the role is certainly supported by this performance.”
    International Record Review, Peter J. Rabinowitz , July/August 2014

  • 09 Sep 13 Puccini Turandot
    Royal Opera House, Covent Garden
    More info  

    “The stage presence and immensely powerful voice of the American soprano Lise Lindstrom made the elusive Turandot the magnetic force that she needs to be.… Lindstrom is a fast-rising star of the dramatic soprano repertory and absolutely one to watch.”
    The Independent, Jessica Duchen, 10 September 2013 

    “As Turandot, Lise Lindstrom seizes attention with the first notes of In Questa Reggia and then never lets go.”
    The Guardian, George Hall, 10 September 2013 

    “The house debut of the astonishing Lise Lindstrom as Turandot, Nilsson reborn voice-wise – rock-steady, air-cleavingly powerful, thrillingly accurate – but with the added dramatic advantages of being tall, young and attractive, and with a surprising ability to sing both softly, and plumb in tune.”
    Stephan Jay Taylor, Opera Britannia, 18 February 2014 

  • 16 May 12 R.Strauss Salome
    Wiener Staatsoper
    More info  

    “Lise Lindstrom is a Salome to be reckoned with. Here’s a soprano with a model figure and the ideal deportment to depict Strauss’ teenage princess. Not only has she the capacity to soar over the composer’s most intense orchestration with ease and beauty, but she manages to maintain seemingly endless stamina throughout – and includes a compellingly seductive dance for good measure. It was gratifying to see the well-earned reception at her solo curtain.”
    The Opera Critic, 18 May 2012 

  • 19 Apr 12 Puccini Turandot
    Austin Lyric Opera
    More info  

    “Lise Lindstrom as the stone-cold titular princess – having also recently debuted in the role at the Met, La Scala, and the Deutsche Oper Berlin – reigns supreme with her soaring performance…it’s difficult to tear one’s attention away from Lindstrom. The greatest challenge of donning the infamous headdress of Turandot may be in creating a sympathetic character, a difficult task indeed when one considers her resemblance to the likes of Marie Antoinette. But Lindstrom channels the pathos of Turandot with true grace, and despite the princess’ very bloody hands, we are persuaded to see her motivation.”
    The Austin Chronicle, Adam Roberts, 20 April 2012 



Les Troyens Cassandra

Turandot title role
Tosca title role
La fanciulla del West Minnie
Manon Lescaut Manon

Un ballo in maschera Amelia
Don Carlo Elisabetta di Valois
Macbeth Lady Macbeth

Andrea Chenier Maddalena

Ariadne auf Naxos title role
Salome title role
Elektra title role
Die Frau ohne Schatten Kaiserin

Der fliegende Holländer Senta
Tannhäuser Venus, Elisabeth
Die Walküre Brünnhilde
Siegfried Brünnhilde
Götterdämmerung Brünnhilde

Erwartung The Woman

Der Schatzgräber Els


Vier Letzte Lieder

Rückert Lieder
Symphony No. 8

Symphony No. 9

Gurre-Lieder (Tove)

Wesendonck Lieder