Miah Persson


Swedish soprano Miah Persson is in great demand with the major opera houses and orchestras of the world. 

Throughout her distinguished career Ms Persson has appeared at the Vienna State Opera, Metropolitan Opera New York, Royal Opera House Covent Garden, Aix-en-Provence Festival, Berlin State Opera, Bayerische Staatsoper Munich, Théâtre de la Monnaie in Brussels, Frankfurt Opera, De Doelen hall Rotterdam, New Zealand Festival, Théâtre des Champs-Elysées Paris, Opera du Rhin in Strasbourg, New National Theatre Tokyo, Theater an der Wien, and at the Gran Teatro del Liceu in Barcelona, among many others.

Miah’s solo recordings include "Soul & Landscape" with Roger Vignoles (Hyperion), "Mozart: Un moto di gioia: Opera and Concert Arias " (BIS) with Sebastian Weigle conducting the Swedish Chamber Orchestra, and “Portraits – songs by Clara and Robert Schumann” (BIS) with pianist Joseph Breinl.

Engagements in 16/17 include Governess Turn of the Screw at Teatro alla Scala; Donna Elvira Don Giovanni with Opera de Lyon at the Royal Opera House Muscat; Haydn Nelson Mass at the Internationale Stiftung Mozarteum Salzburg; Mahler 2 at the Philharmonie Luxembourg; title role L’incoronazione di Poppea with Concerto Italiano at Carnegie Hall; Beethoven Missa Solemnis in Ann Arbor; a US recital tour with Florian Boesch and Malcolm Martineau, at venues including Spivey Hall, the Schubert Club of St Paul, Carnegie Hall,  Cal Performances at Berkeley and for Vancouver Recital Society; and Donna Elvira Don Giovanni at the Liceu Barcelona.

This is for information only. Please contact Camilla Wehmeyer for an up-to-date biography.

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News & Features


Operatic Repertoire

BERLIOZ - Beatrice and Benedict, Hero
BRITTEN - The Turn of the Screw, Governess
GLUCK - Orfeo ed Euridice, Euridice
HANDEL - Giulio Cesare, Cleopatra
HANDEL - Orlando, Dorinda
HANDEL - Rodelinda, Rodelinda
HUMPERDINCK - Hansel und Gretel, Gretel
MONTEVERDI - L'incoronazione di Poppea, Poppea
MOZART - Cosi Fan Tutte, Fiordiligi
MOZART - Die Zauberflote, Pamina
MOZART - Don Giovanni, Zerlina + Donna Elvira
MOZART - La Finta Giardiniera, Sandrina
MOZART - Le Nozze di Figaro, Susanna + Countess
MOZART - Mitridate, Sifare
R. STRAUSS - Der Rosenkavalier, Sophie
STRAVINSKY - The Rake's Progress, Anne Trulove
VERDI - Falstaff, Nannetta

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    The Turn of the Screw



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Turn of the Screw, Governess

Teatro alla Scala, Milan

"La Scala has fielded the finest casts for Britten since the tenure of former Superintendent Stéphane Lissner. Ian Bostridge, a regular recitalist here in recent years, makes his operatic debut with music he has made his own. Yet it is Swedish soprano Miah Persson’s eloquently fraught Governess that makes this production tick. She does so without once leaving the stage."

James Imam, Financial Times, 18 September 2016

"Miah Persson’s Governess was pivotal to the success of the performance, with her bright, gleaming soprano able to find the multi-faceted emotions asked of her in this production."

Michael Sinclair, Opera Critic, 17 October 2016

"Miah Persson presents a compelling Governess, whose ringing, precise interpretation and luminous expression contain the hint of zealotry that will lead her to inhabit the dark secret revealed by Mrs Grose."

Katherine Syer, Bachtrack, 19 September 2016

Van der Aa

'Blank Out', March 2016

Netherlands Opera, Muziekgebouw Amsterdam

"the live performance is an astonishing tour de force for Persson, meticulous in its detail, and perfectly controlled." Andrew Clements, Guardian, 22 March 2016
"The Woman, who is almost constantly on stage, makes or breaks this opera, and Miah Persson gave a riveting, superbly sung performance. Blind panic, rationalisation, tenderness, disassociation – she cast and recast the molten metal of her voice into the ever-changing feelings of the mother." Jenny Camilleri, Backtrack, 22 March 2016
"The Woman, who is almost constantly on stage, makes or breaks this opera, and Miah Persson gave a riveting, superbly sung performance. Blind panic, rationalisation, tenderness, disassociation – she cast and recast the molten metal of her voice into the ever-changing feelings of the mother." Jenny Camilleri, Backtrack, 22 March 2016


Le nozze de Figaro: 13 August 2015

Budapest Festival Orchestra, Usher Hall

“The strongest elements were Miah Persson, previously an enchanting Susanna, here a finely poised, silver-faced Countess, and Hanno Müller-Brachmann, whose Figaro radiated a nicely Tiggerish combination of the gormless and bumptious.” Rupert Christiansen, Telegraph, 14 August 2015
“Performances throughout are superb. The Budapest Festival Orchestra perform a flawless rendition of Mozart’s full four-act score, and the cast are uniformly excellent. If standouts must be highlighted, then Miah Persson’s Countess Almaviva provides some spine-tingling moments of vocal splendour” Keith Dumble, Edinburgh Spotlight, 14 August 2015
“Miah Persson’s Countess is glamorous and crestfallen” Kate Molleson, Guardian, 14 August 2015


Cosi fan tutte with LA Philharmonic, conducted by Dudamel

Walt Disney Concert Hall, Los Angeles

"Of course, the fact that the costumes were draped on six excellent singers didn't hurt either... This was the real success of Miah Persson's Fiordiligi and Roxana Constantinescu's Dorabella. Both radiated sexuality and sweetness, but their singing (even more than their acting) brought out the different shades of their characters." James C. Taylor, Opera magazine, September 2014

Bach, Handel, Mozart

New York Philharmonic Orchestra, conducted by Bernard Labadie: BACH Cantata No. 51 “Jauchzet Gott in allen Landen!” HANDEL “Let the Bright Seraphim” from Samson and MOZART Requiem

Avery Fisher Hall

"The concert opened with Bach’s Cantata No. 51, “Jauchzet Gott in allen Landen,” followed by Handel’s “Let the Bright Seraphim” from “Samson,” with the Philharmonic trumpeter Matthew Muckey taking the spotlight alongside Ms. Persson. In both works, his bright and vibrant sound proved a lovely foil for her clear and lithe soprano

...Ms. Persson gave a joyful performance that showed great sensitivity to the text, allowing her voice to cave in a little on the word “schwäche” (“weak”) and keeping the melisma in the Bach aria “Höchster, mache deine Güte,” about worshipers as children, playful rather than showy."
Corinna da Fonseca-Wollheim, New York Times, November 2013

Le Nozze di Figaro, Countess

Budapest Festival Orchestra

"The soprano Miah Persson, a lovely and vulnerable Countess Almaviva, brings sumptuous sound and elegant lyricism to her affecting performance." New York Times, Anthony Tommasini, 12 August 2013

Schubert, Sibelius, Grieg Songs CD, Wigmore Hall Live

Wigmore Hall, London

"That elegant Swedish lyric soprano Miah Persson has given British audiences enormous pleasure over recent years, as this live recording at the Wigmore Hall recital demonstrates....it is in her native Scandinavian repertoire that she excels...Grieg songs bubble with character and fun, which Sibelius's Flickan kom brings the programme to an intensely emotional climax."

The Daily Telegraph Review, 22 September 2012
"Persson and Vignoles together deliver a lovely, beautifully balanced recital, recorded in February last year. In an opening Schubert set, Persson, for all the natural brightness of her voice, achieves the right aching heaviness in Lied der Mignon, and a beguiling sense of gentle repose in Du Bist die Ruh. She then turns to Grieg's six Op. 48 songs, mixing charm, depth and romantic ardour. A final Sibelius group, written to texts in Persson's native Swedish, consolidates all that has gone before."

The Sunday Times, July 2012


L'elisir d'amore, Adina

Festspielhaus Baden-Baden

"Charming and confident Miah Persson is confident and quick witted, with several men at once, as the flirtatious Adina. She also stars in the film, which is currently being filmed in a Western setting. Charmingly she keeps Sergeant Belcore busy. This production includes shootouts, fights and daring escape attempts. Full of Action. But for the duets and solos, Villazón keeps a clear stage so that none of the beautiful, flowing, bel canto singing is lost, and no-one is distracted from the sparkling coloratura of Miah Persson."

Pforzheimer Zeitung, June 2012

The Turn of the Screw, The Governess

Glyndebourne Festival Opera

“Miah Persson is compelling as the Governess, a powerful mix of insecurity and manic determination, reflected in her natural and passionate singing.”

The Telegraph, August 2011

“Miah Persson was one of the best acted and sung Governesses I’ve seen. It was only noticeable once or twice that she was not a native English-speaker – she pointed the text fabulously and her diction was superb, and her singing was at turns febrile, determined and abandoned.”

Whatsonstage.com, August 2011

“As for the Governess of Miah Persson, the first thing to say is that this is a highly intelligent, carefully considered performance. Persson is a singer who projects well in solo passages, but who listens to her fellow singers and adjusts her dynamic to blend well in ensembles. She conveyed well the touching vulnerability of the Governess, the love and sympathy she felt for her charges and the mounting horror of the situation she finds herself in (without the voice hardening under stress in the higher tessitura passages, as it sometimes does)… Persson delivered a deeply moving account of the role, and rarely have I gone into the Act One interval feeling so absolutely shattered at the conception of the piece. This was music theatre at its most thrillingly intense.”

Musicalcriticism.com, August 2011
“At the centre of the drama is the young, pretty, vulnerable Governess of Miah Persson. The very picture of 1950s innocence, she inhabits the role absorbingly and…sings with impeccable English and such insight that the nerve-endings of the character are laid bare.”

Financial Times, August 2011

“Yet the real stars of this performance were Miah Persson as The Governess, whose beautiful voice is just perfect for the intimate surroundings of Glyndebourne opera house, and the 12-year-old boy soprano Thomas Parfitt.”

Express.co.uk, August 2011
“Persson’s Governess is flawlessly voiced, her words keenly articulated, the ambiguity of her character - determined saviour of the children in her care, or a fantasist steadily falling apart? - is maintained right to the close.”

The Stage Reviews, August 2011

“Miah Persson certainly plays her without neurotic hysteria, singing with a glorious purity and simplicity that seems indicative of her moral state.”

The Telegraph, August 2011

“Persson’s diction is flawless and her rich lyric soprano is ideally suited to the growing intensity of the character. It is the Governess who has shrill moments, not the singer.”

The Classical Source, August 2011
“Miah Persson, the rising soprano of the moment, is an ideal Governess, as pure in tone as in spirit.”

The Independent, August 2011
"To the role of the Governess, Swedish soprano Miah Persson brings the fresh, wholesome looks of a young Liv Ullmann, the vocal bloom and focus of a young Renee Fleming and unforced emotional transparency all her own." Matthew Gurewitsch, Opera News, March 2013