Heidi Stober

Recent: Cleopatra Giulio Cesare debut for Houston Grand Opera; Micaëla Carmen and Donna Elvira Don Giovanni for the Deutsche Oper Berlin; title role Esther in Chicago; Adina L’Elisir d’amore for Semperoper Dresden

Forthcoming: Bernstein White House Cantata with the Netherlands Radio Philharmonic; Zdenka Arabella for San Francisco Opera; Antigone Oedipe for Dutch National Opera; Dalinda Ariodante for Chicago Lyric Opera and Stravinsky’s Oratorio with the LA Philharmonic

© Simon Pauly


Stunning audiences with her sterling lyric soprano voice and incisive stage personality, American soprano Heidi Stober has established herself as a house favourite at leading companies on both sides of the Atlantic. Since her critically acclaimed debut at Deutsche Oper Berlin in the autumn of 2008 Heidi has cultivated a long-standing relationship with the company, appearing in a variety of leading roles including Micaëla Carmen, Susanna Le nozze di Figaro, Adina L’elisir d’amore, Gretel Hänsel und Gretel, Oscar Un ballo in maschera, Nannetta Falstaff, Donna Anna Don Giovanni and Princess Ninette L’Amour des Trois Oranges. She also performs frequently at the Lyric Opera of Chicago, San Francisco Opera, Houston Grand Opera, Metropolitan Opera, Opera Philadelphia and Semperoper Dresden.

Heidi’s professional training took place at the Houston Grand Opera Studio, and she holds degrees from Lawrence University and the New England Conservatory.

Performance Schedule


Online Performances

  • More info  
    06 May 18 VERDI 'Un ballo in maschera' (Oscar)
    Semperoper Dresden

    “Soprano Heidi Stober, as Oscar, was excellent. She was a true Puck, darting around the stage while singing and smiling and conning and coining a fresh thread among the others. She did the job the libretto asked for and more, mainly because her presence on the stage kept us aware of the structural cohesion. She sustained the narrative in the first act by convincing Gustavo not to banish Ulrica, and then in the final act by providing the clue to Gustavo’s disguise. Her voice reached high amplitude, and she came across as cherished.”
    Lois Silverstein, Opera Wire, 8 May 2018


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    26 Jan 18 BIZET 'Carmen' (Micaëla)
    Deutsche Oper Berlin

    “American soprano Heidi Stober is a self-confident Micaëla, with dulcet tones.”

    Zenaida des Aubris, Backtrack, 23 January 2018 

    “The remainder of the cast reflected the high standards of the house.  Heidi Stober was a very musical Micaëla, phrasing her music with love and affection. ”

    Opera Traveller, 21 January 2018 


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    27 Oct 17 HANDEL 'Giulio Cesare' (Cleopatra)
    Houston Grand Opera

    “There may not be an exact vocal parallel to platinum blonde, but soprano Heidi Stober’s mix of silvery gleam and a tinge of warmth came close. The sleekness and lilt she gave “V’adoro, pupille” projected the temptress’s allure beyond the footlights. And the surges of fervor Stober lavished on the serious moments–such as Act 3’s “Piangerò”–showed that Cleopatra had a heart.”
    Steven Brown, Texan Classical Review, 29 October 2017

    “As Cleopatra, soprano Heidi Stober reigned supreme with a strapping timbre you can obsess over but wouldn’t want to cross. … In this lead role, she does not disappoint.”
    Sydney Boyd,, 30 October 2017

    “But our honors and huzzahs must fall on soprano Heidi Stober, as Cleopatra. If this isn’t a star turn, I don’t know what is. This HGO Studio alumna has been a favorite since her feisty Norina in HGO’s Don Pasquale (2006) and her Lucille Ball blond in Abduction from the Seraglio (2008). We knew she had it in her to do almost anything, but who knew she had Cleopatra in her? Not only is she a knock-out in those inspired Travis Banton dresses and that Jean Harlow marceled hair, but she sings like a dream come true. Not since Joyce DiDonato, another HGO alumna who’s gone on to international acclaim, has there been such a major discovery. Like the Astros, I predict a complete victory.”
    D L Groover, Houston Press, 28 October 2017


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    01 Jun 17 HANDEL 'Semele' (title role)
    Garsington Opera

    “Stober’s final showdown with Murray really grips with its tension and irony. There’s some beautiful singing. Stober, all creamy tone and gleaming high notes … Oh Sleep, Why Dost Thou Leave Me sounds exquisite”
    Tim Ashley, Guardian, 2 June 2017

    “even more effective are the strong characterisations of Semele and Juno (Christine Rice). Far from being reduced to putty by Jupiter’s godliness, Semele is guided by her own desires, and Juno – amid the decidedly mortal bloating and wincing – is a force to be reckoned with. Both sing brilliantly, Stober bright-toned and ever-agile, and Rice luscious and effortlessly resonating.”
    Edward Bhesania, The Stage, 2 June 2017

    “Heidi Stober looks delectable in a wardrobe of spangled trousers, gowns and dresses, spinning a silky line to match … a splendidly sung performance”
    Barry Millington, Evening Standard, 2 June 2017

    “The soprano taking the title role needs huge stamina as Handel gives her aria after aria, on top of which Miskimmon demands a fair amount of stage movement, “Endless pleasure” sung from a constantly spinning bed. Heidi Stober threw herself into the part with tremendous vigour, coloratura runs dispatched athletically and bringing great colour to her trills … “Myself I shall adore”, Semele convinced by Juno’s magic mirror that she really is the most gorgeous creature on earth – or above it – was suitably glitzy in its vocal fireworks.”
    Mark Pullinger, Bachtrack, 2 June 2017

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    10 Nov 16 DONIZETTI 'Don Pasquale' (Norina)
    San Francisco Opera

    “Heidi Stober: A Break-Through Performance as ‘Norina’ at San Francisco Opera

    Soprano Heidi Stober springs to new heights as Norina in Don Pasquale at San Francisco Opera. With her opening night performance Stober marked a smashing entrance into bel canto opera and sparked what looks like a long-term association with composer Gaetano Donizetti and friends.”
    Sean Martinfield, Huffington Post, 11 October 2016

    “Norina … was Heidi Stober, who has become a familiar face here for soubrette roles. Since her 2010 San Francisco Opera debut as Sophie in Werther, she’s been busy: Susanna in Le nozze di Figaro, Atalanta in Xerxes, Pamina in The Magic Flute, Nannetta in Falstaff, Magnolia in Show Boat, Oscar in Un ballo in Maschera, and Johanna in Sweeney Todd …
    Her creamy soprano rose to secure high notes at the climax of arias. She was at her best, however, in the lovely duet, “Tornami a dir che m’ami,” her lyric sound weaving seamlessly with Brownlee’s.”
    Harvey Steiman, Seen and Heard International, 18 October 2016

    “In the only female role, soprano Heidi Stober was far from outnumbered by the gentlemen. Her clear, honeyed, weighty voice sounded great as Norina transformed from demure single gal to alpha bride (wearing a Pelly-designed strapless black-and-tangerine cocktail dress) bossing around the hapless Don Pasquale.”
    James Ambroff-Tahan, San Francisco Examiner, 29 September 2016

  • More info  
    27 Mar 15 Recital with Craig Terry Weill Recital Hall
    New York

    “Soprano Heidi Stober’s Weill Recital Hall program on March 27 gave a glimpse into the artistry of one of today’s most exciting singers. With pianist Craig Terry, Stober compiled a program of songs by Haydn, Schubert, Strauss and Debussy that on the surface seemed run-of-the-mill but proved to be a rich display of Stober and Terry’s talents.

    Stober’s middle voice sounded velvety and luxurious in the folk-like melodies of three English songs by Haydn, with her radiant top blossoming in the songs’ most dramatic moments. Before the five Schubert songs, Stober explained that the set was crafted around Schubert’s “Der Zwerg,” a dramatic ballad in which a jealous dwarf murders the woman he loves after she abandons him for the king. The songs preceding “Der Zwerg” showed the development of the dwarf’s obsession that led to his crime, while the final song acted as a celestial epilogue for his victim. Stober’s “Gute Nacht” was gripping and vividly specific and Terry’s dynamic range encompassed the song’s impassioned, unpredictable Romantic temperament. In the context of the set, “Auf dem Wasser zu singen” became a siren song with Stober assuming the role of fatal seducer in a voice sinister and inviting. For “Der Zwerg,” Stober unleashed a dramatic edge to her voice and descended daringly into the lowest regions of her soprano for theatrical effect. The calm of “Im Abendrot,” with its final wish of “good night,” gave resolution to the tumultuous story.

    The theme of motherhood threaded together five songs by Richard Strauss. “Junghexenlied,” with its jaunty rhythms, onomatopoeic motifs and unexpected harmonies, brought out the playful side of Stober’s personality. She was passionate in a gorgeous reading of Strauss’s “Ich trage meine Minne,” soaring up and over the song’s climaxes, and then bared her soul completely, refreshingly, in “Mein Auge.”

    In Claude Debussy’s song cycle Ariettes oubliées, Stober and Terry immersed themselves in the enigmatic poetry of Paul Verlaine and the gossamer harmonies of Claude Debussy, giving a delicate, nuanced interpretation without shying away from the exuberant energy of “Cheveaux de Bois”.

    For Jake Heggie’s From the Book of Nightmares, Stober and Terry were joined by cellist David Heiss. Heggie’s cycle of four songs on poetry by Galway Kinnell is an example of the American composer’s talent for storytelling through melody, texture and rhythmic energy. The tension in “You Scream” was shown in an introduction for piano and cello that lay in the instruments’ upper registers and gave impetus to the vocal line. Stober’s humor shined above the syncopation of “In a Restaurant,” before the trio dove into the exquisite melodies “My Father’s Eyes” and “Back You Go.”

    The final set was titled “On Wisconsin” and comprised four songs that each represented something from Stober’s home state. The most interesting was “Of Cheese” by Henry Leland Clark, a love song to cheese for soprano and cello. Stober ended the recital with Alec Wilder’s jazzy “Milwaukee”, which she sang with a beautiful musical theater mix and an abundance of personality.”
    Steven Jude Tietjen, Opera News, June 2015


‘La Sonnambula’ (Lisa)

‘Les Troyens’ (Ascagne)

‘Les pêcheurs de perles’ (Leila)
‘Carmen’ (Micaëla)

‘Il matrimonio segreto’ (Carolina)

‘The Tender Land’ (Laurie)

‘Don Pasquale’ (Norina)
‘L’elisir d’amore’ (Adina)

‘Roméo et Juliette’ (Juliette)
‘Faust’ (Marguerite)

‘27’ (Alice B Toklas)

‘Agrippina’ (Poppea)
‘Alcina’ (Alcina, Morgana)
‘Giulio Cesare’ (Cleopatra)
‘Radamisto’ (Tigrane)
‘Semele’ (Semele)
‘Xerxes’ (Atalanta)

‘Hänsel und Gretel’ (Gretel)

‘Showboat’ (Magnolia)

‘The Merry Widow’ (Valencienne)

‘Werther’ (Sophie)

‘The Old Maid & The Thief’ (Laetitia)

‘L’incoronazione di Poppea’ (Drusilla)

‘Oscar’ (Ada Leverson)

‘Le nozze di Figaro’ (Susanna, Donna Elvira)
‘Die Zauberflöte’ (Pamina)
‘La finta giardiniera’ (Sandrina)
‘Don Giovanni’ (Countess)
‘Il re pastore’ (Aminta)
‘Cosi fan tutte’ (Despina)

‘L’amour des trois oranges’ (Ninette)

‘La bohème’ (Musetta)

‘Platée’ (La Folie/Thalie)

‘Le Comte Ory’ (Comtesse Adele)

‘Sweeney Todd’ (Johanna)

‘The Rake’s Progress’ (Anne Trulove)

‘Arabella’ (Zdenka)

‘Falstaff’ (Nannetta)
‘Un ballo in maschera’ (Oscar)
‘Don Carlo’ (Voce dal cielo)


‘St John Passion’
‘St Matthew Passion’

‘Knoxville: Summer of 1915’

Symphony No.9
‘Choral Fantasy’

‘Ein Deutsches Requiem’

‘Poème de l’Amour et de la Mer’



Symphony no.4 ‘Organ’
‘The Creation’
Symphony no.2
Symphony no.4

‘Coronation Mass’
‘Exsultate Jubilate’

‘Carmina Burana’




Mass no.5 in Ab Major