Soprano

Nicole Car

Recent and future engagements include her house debut at the Metropolitan Opera as Mimi La bohème and at the Bayerische Staatsoper as Tatyana, Violetta and Marguerite at the Opera de Marseille, Micaëla Carmen and Donna Elvira Don Giovanni for the Opera de Paris, a recital tour of Australia with Etienne Dupuis, a return to the Deutsche Oper as Tatyana and further returns to Paris, the Royal Opera House and the Metropolitan Opera.

© Georges Antoni

Introduction

Nicole Car is one of the most outstanding young singers to emerge from Australia in recent years, performing at the Royal Opera House Covent Garden, Dallas Opera, Deutsche oper Berlin, Opera Australia and Opera de Paris.

Concert repertoire includes Brahms’ Deutsches Requiem, Das Klagende Lied, Mozart’s Requiem and St John Passion.

Nicole was 2013 winner of Neue Stimmen and was nominated for Best Young Singer at the 2015 International Opera Awards. She won Best Female Performer in an Opera category at the 2018 Helpmann Awards.

Her discography includes her first solo orchestral disc The Kiss.


Contact


Performance Schedule

  • 14:30 23 Dec 2018 Opera de Marseille, MARSEILLE More info  

    GIUSEPPE VERDI La Traviata

    Conductor: Nader Abbassi
    Director: Renée Auphan
    Violetta: Nicole Car
    Flora: Laurence Janot
    Annina: Carine Sechaye
    Alfredo: Enea Scala
    Germont: Etienne Dupuis
    Baron Douphol: Jean-Marie Delpas
    Gastone: Carl Ghazarossian
    Marquis d’Obigny: Frédéric Cornille
    Docteur Grenvil: Antoine Garcin

  • 20:00 26 Dec 2018 Opera de Marseille, MARSEILLE More info  

    GIUSEPPE VERDI La Traviata

    Conductor: Nader Abbassi
    Director: Renée Auphan
    Violetta: Nicole Car
    Flora: Laurence Janot
    Annina: Carine Sechaye
    Alfredo: Enea Scala
    Germont: Etienne Dupuis
    Baron Douphol: Jean-Marie Delpas
    Gastone: Carl Ghazarossian
    Marquis d’Obigny: Frédéric Cornille
    Docteur Grenvil: Antoine Garcin

  • 20:00 28 Dec 2018 Opera de Marseille, MARSEILLE More info  

    GIUSEPPE VERDI La Traviata

    Conductor: Nader Abbassi
    Director: Renée Auphan
    Violetta: Nicole Car
    Flora: Laurence Janot
    Annina: Carine Sechaye
    Alfredo: Enea Scala
    Germont: Etienne Dupuis
    Baron Douphol: Jean-Marie Delpas
    Gastone: Carl Ghazarossian
    Marquis d’Obigny: Frédéric Cornille
    Docteur Grenvil: Antoine Garcin

  • 20:00 31 Dec 2018 Opera de Marseille, MARSEILLE More info  

    GIUSEPPE VERDI La Traviata

    Conductor: Nader Abbassi
    Director: Renée Auphan
    Violetta: Nicole Car
    Flora: Laurence Janot
    Annina: Carine Sechaye
    Alfredo: Enea Scala
    Germont: Etienne Dupuis
    Baron Douphol: Jean-Marie Delpas
    Gastone: Carl Ghazarossian
    Marquis d’Obigny: Frédéric Cornille
    Docteur Grenvil: Antoine Garcin

  • 20:00 02 Jan 2019 Opera de Marseille, MARSEILLE More info  

    GIUSEPPE VERDI La Traviata

    Conductor: Nader Abbassi
    Director: Renée Auphan
    Violetta: Nicole Car
    Flora: Laurence Janot
    Annina: Carine Sechaye
    Alfredo: Enea Scala
    Germont: Etienne Dupuis
    Baron Douphol: Jean-Marie Delpas
    Gastone: Carl Ghazarossian
    Marquis d’Obigny: Frédéric Cornille
    Docteur Grenvil: Antoine Garcin

  • 14:30 10 Feb 2019 Opera de Marseille, MARSEILLE More info  

    CHARLES GOUNOD Faust

    Conductor: Lawrence Foster
    Director: Nadine Duffaut
    Marguerite: Nicole Car
    Marthe: Jeanne-Marie Levy
    Faust: Jean-François Borras
    Vieux Faust: Jean-Pierre Furlan
    Méphistophélès: Nicolas Courjal
    Valentin: Etienne Dupuis
    Siebel: Kevin Amiel
    Wagner: Philippe Ermelier

  • 20:00 13 Feb 2019 Opera de Marseille, MARSEILLE More info  

    CHARLES GOUNOD Faust

    Conductor: Lawrence Foster
    Director: Nadine Duffaut
    Marguerite: Nicole Car
    Marthe: Jeanne-Marie Levy
    Faust: Jean-François Borras
    Vieux Faust: Jean-Pierre Furlan
    Méphistophélès: Nicolas Courjal
    Valentin: Etienne Dupuis
    Siebel: Kevin Amiel
    Wagner: Philippe Ermelier

  • 20:00 16 Feb 2019 Opera de Marseille, MARSEILLE More info  

    CHARLES GOUNOD Faust

    Conductor: Lawrence Foster
    Director: Nadine Duffaut
    Marguerite: Nicole Car
    Marthe: Jeanne-Marie Levy
    Faust: Jean-François Borras
    Vieux Faust: Jean-Pierre Furlan
    Méphistophélès: Nicolas Courjal
    Valentin: Etienne Dupuis
    Siebel: Kevin Amiel
    Wagner: Philippe Ermelier

  • 20:00 19 Feb 2019 Opera de Marseille, MARSEILLE More info  

    CHARLES GOUNOD Faust

    Conductor: Lawrence Foster
    Director: Nadine Duffaut
    Marguerite: Nicole Car
    Marthe: Jeanne-Marie Levy
    Faust: Jean-François Borras
    Vieux Faust: Jean-Pierre Furlan
    Méphistophélès: Nicolas Courjal
    Valentin: Etienne Dupuis
    Siebel: Kevin Amiel
    Wagner: Philippe Ermelier

  • 20:00 21 Feb 2019 Opera de Marseille, MARSEILLE More info  

    CHARLES GOUNOD Faust

    Conductor: Lawrence Foster
    Director: Nadine Duffaut
    Marguerite: Nicole Car
    Marthe: Jeanne-Marie Levy
    Faust: Jean-François Borras
    Vieux Faust: Jean-Pierre Furlan
    Méphistophélès: Nicolas Courjal
    Valentin: Etienne Dupuis
    Siebel: Kevin Amiel
    Wagner: Philippe Ermelier

Discography

 
  • More info  
    The Kiss

    Label: ABC Classics

    Release Date: 05 Feb 16

    Conductor: Andrea Molino
    Soprano: Nicole Car
    Australian Opera and Ballet Orchestra

  • More info  
    BRAHMS A German Requiem

    Label: ABC Classics

    Release Date: 03 Feb 12

    Conductor: Johannes Fritzsch

    Soprano: Nicole Car
    Bass-baritone: Teddy Tahu Rhodes

    Melbourne Symphony Orchestra Chorus
    Melbourne Symphony Orchestra

    Catalogue No. 476 4811

  • More info  
    24 Oct 18 Concert Australian Chamber Orchestra
    Barbican Centre

    “Car’s soprano glowed and glinted through the mood swings of Beethoven’s concert aria Ah! Perfido and the wrenching Ave Maria from Verdi’s opera Otello.”
    Erica Jeal, The Guardian, 27 October 2018

    “… Car was the surprise here, to anyone who hadn’t seen how her teenage Tatyana in Eugene Onegin could mature into a more tormentedly impassioned woman. Looks as if butter wouldn’t melt, but this is the genuine lirico spinto article, as her track record in the opera houses of the world so far attests.”
    David Nice, The Arts Desk, 25 October 2018

     

  • More info  
    25 Sep 18 PUCCINI La Bohème
    Metropolitan Opera

    “The Australian soprano Nicole Car brought fine-grained tone and nuanced acting to the role of Mimì. There was a light, linear quality to her singing in the first act that opened up to a richer palette as renunciation and terminal illness darkened her character’s life.”
    Corinna da Fonseca-Wollheim, New York Times, 26 September 2018

    “Her singing and vocal characterization were deeply artistic, full of feeling while always unadorned, never showy or indulgent…. her phrases simply going from start to finish with great beauty and elegance. One’s attention was drawn directly to the character, what she was thinking and feeling. This was especially striking throughout the Act III scenes with her beloved, the painter Rodolfo (tenor Vittorio Grigolo) and Marcello. Her legato lines in “Dunque è prioprio finita!” were exceptionally musical.”
    George Grella, New York Classical Review, 26 September 2018

  • More info  
    01 Mar 18 VERDI La traviata
    Opera Australia

    “The vocal fluency and dramatic expressiveness we associate with the great dames of this role — Sutherland, yes, but fellow Australians from Deborah Riedel to Emma Matthews, hell those scratchy Maria Callas recordings — was there for all to hear.”
    Jason Whittaker, Daily Review, 4 March 2018

    “A host of operatic superstars have showcased their talents as Verdi’s doomed heroine; now Nicole Car has proved she is up there with the best of them. In an extraordinary role debut, this talented performer dominated the production from the first exuberant scene, her clear and versatile soprano ringing out over the chorus with effortless charm.”
    Tom Pillans, Daily Telegraph, 5 March 2018

    “Her voice, strong across its entire range, has a luscious creaminess at the top, and a darker, glowing middle register. Allied with a warm stage presence, an intuitive sense of drama and an ability to convey subtle shifts of emotion, she is the complete performer, equally seductive both vocally and dramatically.”
    Jo Litson, Limelight Magazine, 2 March 2018

    “In the 5th iteration of this timeless Elijah Moshinsky production…Car sang with such faultless ease, with pure sounding notes you knew from the start that this was going to be a very special evening.”
    Victor Grynberg, J-Wire, 2 March 2018

    “Nicole Car’s eloquent dramatic instincts and blossoming lyric soprano made her debut as Violetta a captivating highlight of the Opera Australia Summer summer season. As her voice gets bigger the colours are more intense and complex, particularly in the lower reaches, without any sacrifice of youthful flexibility and agility.”
    Deborah Jones, Opera, May 2018

  • More info  
    06 Dec 17 PUCCINI La bohème
    Opera de Paris

    “Une vraie Mimì, au grave peu sonore, certes, mais dotée d’un médium plein et d’un aigu chaleureux. Et une vraie présence.”
    Pierre Flinois, Avant-Scène Opéra, 7 December 2017

  • More info  
    11 Sep 17 PUCCINI La Bohème
    Royal Opera House

    “…only Nicole Car’s touching, genuinely aware Mimi comes across as a three-dimensional character.”
    Andrew Clements, The Guardian, 12 September 2017

    “The star turn is undoubtedly Car, who touchingly conveys the joy, naivety, then growing panic of the doomed heroine, with a surge of lustrous timbre ready for the big moments.”
    Richard Morrison, The Times, 13 September 2017

    “With Antonio Pappano in the pit, and Michael Fabiano and Nicole Car as the fated lovers, the musical portents for Covent Garden’s new Bohème were excellent…charmingly offset by her silvered sound.”
    Michael Church, The Independent, 12 September 2017

    “… she created a totally authentic sense of that quintessential Bohème magic together with Pappano…”
    John Allison, Opera Magazine, November 2017

    “The evening’s exceptional vocal performance was Nicole Car’s Mimi, a character to whom the Australian soprano brought more strength of tone and personality than is now usual. As with her previous local assumptions – Micaela and Tatiana- Car’s long-breathed, assured Mimi suggested a star in the making.”
    George Hall, Opera News, December 2017

  • More info  
    22 Jul 17 MASSENET Thaïs
    Sydney Town Hall

    “As Thais, soprano Nicole Car gave another magnificent performance. Displaying impressive agility across her range and a curvaceous sense of line, she astutely varied her timbre to reflect her character’s change of heart: creamy and voluptuous as the seductive pleasure-seeker, pure-toned and unembellished as a devoted believer.”
    Murray Black, The Australian, 24 July 2017

    “As anticipated, it provided a glorious vehicle for the coloured vocal freshness and fluid expressivity of Nicole Car as Thais, particularly as her voice opened out in the third act.
    In the first act she created a sound of haunting lonely beauty and quiet warmth and the second created gorgeous colours in passages of seductive exoticism.”
    Peter McCallum, Brisbane Times, 24 July 2017

    “The evening belonged to the two leads…the easy lyricism of her glorious soprano with its easy high notes…”
    David Larkin, BachTrack, 25 July 2017

    “Nicole Car has form in the role – Thaïs’ aria, Dis-moi que je suis belle, where the glamorous courtesan worries Marschallin-like about getting old, is a centrepiece of her brilliant debut disc. She proves equally charismatic essaying the complete role, her voice even across the full range giving her attention to text’s full play.”
    Clive Paget, Limelight Magazine, 22 July 2017

    “Nicole Car made a luscious debut as Thaïs…”
    Deborah Jones, Opera Magazine, November 2017

  • More info  
    03 Jun 17 TCHAIKOVSKY Eugene Onegin
    Opera de Paris

    “…Nicole Car a su s’appuyer sur la poignante évidence scénique, vocale et orchestrale de cette production, ainsi que sur sa connaissance de l’œuvre : c’est dans ce rôle de Tatiana que la soprano australienne a percé sur la scène internationale, pour ses débuts au Royal Opera House de Londres il y a deux ans. Elle se plonge éperdument dans son livre d’amour, annonçant sa terrible désillusion. Ses phrases parfaitement homogènes, généreuses en vibrato et intentions, passent aisément la rampe de l’orchestre y compris dans les plus douces intensités. Par le seul jeu des nuances, et sans varier en rien le tempo, elle retient et anime les lignes selon les émotions. La prosodie est aussi admirable, cette Tatiana susurre du bout des lèvres les chauds sons slaves chuintants.”
    Charles Arden, Olyrix, 3 June 2017

    “.. elle est parvenue à émouvoir le public grâce à d’autres atouts et non des moindres, à commencer par un physique juvénile qui fait d’elle une Tatiana tout à fait crédible dès le début de l’ouvrage et une aisance scénique agrémentée d’un jeu subtil qui captent durablement l’attention. Enfin la cantatrice dispose d’une voix claire et bien projetée couronnée par un aigu brilliant… Au rideau final, elle a paru très touchée par l’accueil chaleureux que lui a réservé le public.”
    Christian Peter, Forum Opera, 4 June 2017

  • More info  
    11 Feb 16 VERDI Luisa Miller
    Opera Australia

    “Soprano Nicole Car’s star is rising with her knockout Verdi debut in Opera Australia’s Luisa Miller…Since then, Nicole’s star has ascended rapidly, thanks mainly to her likeable presence on stage and a versatile soprano that manages to project considerable power combined with elegant phrasing, impressive colour and, when needed, a finely judged delicacy of tone…Nowhere was this more evident than in this rarely-seen production of Luisa Miller, one of Verdi’s lesser works but one of choral grandeur, a mesmerising set and stellar supporting singers…Fresh from her Covent Garden debut last year, singing Tatyana in Eugene Onegin, Nicole’s first Verdi role must rank as one of the highlights of her career…As Luisa, she brought an innocence and purity to the title role, matched with a light spirit and that convincingly warm soprano.”
    Tom Pillans, The Daily Telegraph, 14 February 2016

    “This production features some of the best vocal performances you’re likely to see on any stage this year, and there’s not a weak link amongst the principal cast…Out front is Nicole Car as the tragic figure of Luisa. Like most operatic sopranos, she’s subjected to a hell of a lot of abuse and, at the very least, this production finds the truth and full weight of that abuse…Car unleashes the full extent of her vocal power — it’s a unique instrument with the perfect balance of darkness and a ringing, bright resonance…In fact, it was probably Car’s star power which tempted Opera Australia’s Artistic Director Lyndon Terracini to program the work. It’s a role which seems both vocally and dramatically tailor-made for the young soprano.”
    Ben Neutze, Daily Review, 12 February 2016

    “Nicole Car was greeted ecstatically in her debut as Luisa – her first Verdi role. Still only 30, she looked the part and her acting was unaffected and sympathetic. Her soprano had a lovely glow, soaring easily to the top of the range and rising above the orchestra without strain.”
    Deborah Jones, Opera, June 2016

  • More info  
    21 Dec 15 TCHAIKOVSKY Eugene Onegin
    Royal Opera House, Covent Garden

    “Nicole Car’s Tatyana was superb…What carried this performance is what can carry almost any Onegin…a superb Tatyana. Semyon Bychkov and the orchestra played the score like they were in love: really in love, with a tenderness and an eloquent, unforced ebb and flow that struck home even more deeply than the swooning, string-sliding passion that they deployed at the big climaxes. Car seemed to find exactly the same spirit. Vocally, she sounds as fresh and expressive as Tchaikovsky — who preferred young singers in Onegin — could have hoped, with shadows and gleams of light emerging naturally as she sang.”
    Richard Bratby, The Spectator, 9 January 2016

    “She’s a wonderful Tatyana, among the best ever, inhabiting the role with great dramatic and vocal surety.”
    Tim Ashley, The Guardian, 21 December 2015

    “Car’s passionate Tatyana has a bright and silvery purity…”
    Michael Church, The Independent, 20 December 2015

  • More info  
    20 Oct 15 BIZET Carmen
    Royal Opera House, Covent Garden

    “The opera’s good girl is sung this time around by Australian debutante Nicole Car, in what is the evening’s most complete performance; her luminous soprano proves ideal for Bizet’s soaring lines and she acts with intelligence and immediacy.”
    George Hall, The Guardian, 20 October 2015

    “His fate is particularly tragic in this production as Micaela, the country girl to whom he was betrothed, is played by Australian soprano Nicole Car quite magnificently…Her delightful voice perfectly conveys the innocence, vulnerability and emotion of the part and she fully deserved the huge applause she received from the audience on the first night.”
    William Hartston, The Express, 21 October 2015

  • More info  
    17 Feb 15 GOUNOD Faust
    Opera Australia

    “Nicole Car’s vocal performance as Marguerite is faultless — musically sensitive and effortlessly clear. Her performance of the Jewel Song is a masterclass in how to seamlessly combine operatic voice with a strong acting technique.”
    Ben Neutze, Daily Review, 18 February 2015

  • More info  
    26 Oct 14 MOZART Le nozze di Figaro
    The Dallas Opera

    “The vocal standout is Australian soprano Nicole Car, in her U.S. debut, as Countess Almaviva. With a lustrous shine on a warm core of sound, and generous amplitude and expressivity, she could be a wonderful Straussian, although she never overdoes anything here. She also has a strikingly expressive face, registering the painful emotional ambiguities of her relationship with the Count.”
    Scott Cantrell, The Dallas Morning News, 25 October 2014

  • More info  
    25 Jul 14 MOZART Don Giovanni
    Opera Australia

    “Nicole Car, as the conflicted Donna Elvira, sang the second act aria Mi tradi quell’alma ingrate (roughly “How could I fall for that creep?”) with unifying smoothness, gently thrilling clarity in the upper register and even purity throughout.”

    Peter McCallum, The Sydney Morning Herald, 27 July 2014

    “…Elvira (an entrancing Nicole Car)…”
    Grant Jones, The Daily Telegraph, 28 July 2014

    “Emerging Opera Australia favourite Nicole Car is also riveting. From the moment she strides on stage in her slacks, she gives Donna Elvira the vocal and physical spunk the character needs.”
    Nicole Lee, The Guardian, 28 July 2014

Repertoire

BACH
St John Passion

BELLINI
Norma (Adalgisa)

BIZET
Carmen (Micaëla)
The Pearl Fishers (Leïla)

BRAHMS
Ein Deutsches Requiem

GOUNOD
Faust (Marguerite)

LEHAR
Die lustige Witwe (Valencienne)

MAHLER
Das klagende Lied

MOZART
Die Zauberflöte (Pamina)
Don Giovanni (Donna Elvira and Donna Anna)
Le nozze di Figaro (Countess Almaviva)
Requiem

R.STRAUSS
Capriccio (Italian singer)

PUCCINI
La bohème (Mimi)

TCHAIKOVSKY
Eugene Onegin (Tatyana)