Miah Persson

Introduction

Swedish soprano Miah Persson is in great demand with the major opera houses and orchestras of the world. She has appeared at the Salzburg Festival, Royal Opera House Covent Garden, Metropolitan Opera New York, Aix-en-Provence Festival, Liceu Barcelona, Netherlands Opera, San Francisco Opera, Deutsche Staatsoper Berlin, Monnaie, Frankfurt Opera, Wiener Staatsoper, Theater an der Wien, Glyndebourne Festival Opera and Paris Opera in roles that include Sophie ('Der Rosenkavalier'), Gretel ('Hansel und Gretel'), Fiordiligi ('Cosi fan tutte'), Zerlina ('Don Giovanni'), Susanna ('Le Nozze di Figaro'), Euridice (Gluck's 'Orfeo ed Euridice'), Sifare ('Mitridate'), Anne Trulove ('The Rake's Progress'), the title role in ‘Poppea’ and Pamina ('Die Zauberflöte'). Miah was appointed a court singer by the king of Sweden in Jan 2011.

Miah Persson made her Metropolitan Opera debut singing Sophie in Der Rosenkavalier in 2009 followed by Gretel in Hansel und Gretel later that season. She sang Anne Trulove in The Rake’s Progress for Glyndebourne Festival Opera in 2010, and returned to the Met to sing Fiordiligi in Cosi fan tutte in November/December 2010. In the summer of 2011 Miah Persson sang Donna Elvira in Don Giovanni and The Governess in The Turn of the Screw for Glyndebourne Festival Opera.

In concert Ms Persson has appeared with the Deutsche Symphonie Orchester Berlin, Chicago Symphony Orchestra, Musiciens du Louvre, Budapest Festival Orchestra, Los Angeles Philharmonic Orchestra and at the BBC Proms. She has given recitals at Wigmore Hall and Frankfurt Opera. Conductors with whom she has performed include Sir Charles Mackerras, Vladimir Ashkenazy, Daniel Barenboim, Ivor Bolton, Pierre Boulez, Ivan Fischer, Sir John Eliot Gardiner, Nikolaus Harnoncourt, Semyon Bychkov, Philippe Herreweghe, Rene Jacobs, Bernard Haitink and Marc Minkowski.

Concerts in the 10/11 included Mahler 4 with the Bayerische Rundfunk Munich, Mozart C Minor Mass at the Accademia Santa Cecilia, Mahler 2 with Simon Bolivar Orchestra and Gustavo Dudamel in Salzburg and London, a concert of Mozart Concert Arias at the Concertgebouw Amsterdam, and recitals at London’s Wigmore Hall, Vienna Konzerthaus, and at the Tonhalle Zurich.

Operatic engagements in the 11/12 season included Fiordiligi in Cosi fan tutte at the Bayerische Staatsoper, the Hamburgische Staatsoper, the Wiener Staatsoper, Adina in L’Elisir d’amore with the Festspielhaus Baden-Baden, Fiordiligi in Cosi fan tutte in concerts and for a Deutsche Grammophon recording at the Festspielhaus Baden-Baden and Sophie in Der Rosenkavalier at the Wiener Staatsoper. Opera engagements in the 12/13 season and beyond include Susanna in Le Nozze di Figaro at the Wiener Staatsoper, Donna Elvira in Don Giovanni at the Theatre Champs Elysees and at the Liceu Barcelona, Fiordiligi in Cosi fan tutte at the New National Theatre Tokyo and her return to the Metropolitan Opera New York. Concerts in the 12/13 season and beyond include Pamina in Die Zauberflote a concert tour of Europe with the Akademie fur Alte Musik Berlin, conducted by Rene Jacobs, Brahms Requiem with the London Philharmonic Orchestra, Mahler 4 with Milwaukee Symphony Orchestra, Peer Gynt at the Grafenegg Festival and with the BBC Symphony Orchestra, and the Countess in concerts of Figaro with the Budapest Festival Orchestra in Berlin and New York.

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Repertoire

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
MOZART - La Finta Giardiniera, Sandrina
MOZART - Le Nozze di Figaro, Susanna
MOZART - Mitridate, Sifare
R. STRAUSS - Der Rosenkavalier, Sophie
STRAVINSKY - The Rake's Progress, A. Trulove
VERDI - Falstaff, Nannetta

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  • BRITTEN
    The Turn of the Screw

Audio

Schedule

Metropolitan Opera, New York

MOZART: Die Zauberflöte


Adam Fischer, conductor
Julie Taymor, director

Pamina: Miah Persson
Queen of the Night: Ana Durlovski
Tamino: Toby Spence
Papageno: Markus Werba
Speaker: Ryan McKinny
Sarastro: Franz-Josef Selig

Metropolitan Opera, New York

MOZART: Die Zauberflöte


Adam Fischer, conductor
Julie Taymor, director

Pamina: Miah Persson
Queen of the Night: Kathryn Lewek 
Tamino: Toby Spence
Papageno: Markus Werba
Speaker: Ryan McKinny
Sarastro: Franz-Josef Selig

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Press

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

Donizetti

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

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