March 15, 17, 20, 23, 29, 31, 2019
Described as “one of today’s most exciting new operatic voices” (Independent), South African soprano Pumeza Matshikiza is one of today’s rising opera stars. Being an exclusive Decca Classics recording artist, her debut album “Voice of Hope” was released in 2014, featuring arias and traditional and popular African songs. Her second album “Arias” was released in May 2016.
Pumeza Matshikiza kicks off the 18/19 season with her role and house debut in the title role of Dvořák’s Rusalka at the Stadttheater Klagenfurt and her US debut performing one of her signature roles, Mimì in Puccini’s La Bohème, with Dallas Opera. Besides that, the soprano is also heard on the concert stage: she sings solo concerts with Bilkent Symphony Orchestra, under Vladimir Fanshil’s conducting, and with Folkwang Kammerorchester, under the baton of Johannes Klumpp, and gives a solo recital with Simon Lepper at Opera North in Leeds. Closing the season, she joins stage with Rolando Villazón at the renowned Grafenegg Festival and the Klassik am Dom Festival Linz.More
In the 17/18 season the South African soprano gave recitals in Rio de Janeiro, at the Opéra national du Rhin Strasbourg, participated in Dmitry Korchak’s Festival at Novosibirsk, Russia, and sang solo concerts with the Württembergische Philharmonie Reutlingen, the Ensemble Conductus and Windkraft at SONORA 701 Festival. The soprano also made her debut with the Staatstheater Wiesbaden, singing Mimì (La Bohème). She also shared the stage with tenor Rolando Villazón under the baton of Duncan Ward, giving an open-air concert at Schloss Salem in July 2016.
Recent engagements include Pumeza Matshikiza’s debut as Eve in the world premiere of Giorgio Battistelli’s CO2 at Teatro alla Scala in Milan. The highly acclaimed production was staged by one of the most renowned contemporary opera directors – Robert Carsen, and libretto written by famous British dramatist Ian Burton. She also was singing world premiere of Luca Francesconi’s Bread, Water and Salt, based on the famous speech by Nelson Mandela, together with the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome the; followed by the role of Dido in Dido and Aeneas with the English Concert Orchestra at the Bristol Old Vic as part of the Bristol Proms series and a CD release concert with the Aarhus Symphony Orchestra in Denmark. She appeared at the BBC Proms in the Park and a concert tour with Rolando Villazón that took her to Vienna’s Konzerthaus, Paris’ Théâtre des Champs-Elysées, Laeiszhalle Hamburg, Gasteig Munich, Kuppelsaal Hanover, Tonhalle Düsseldorf and Helsinki. As a five-year ensemble member of the Staatsoper Stuttgart, Pumeza Matshikiza could be heard as Micaёla (Carmen), Mimì (La Bohème), Susanna (Le nozze di Figaro), Ännchen (Der Freischütz), Zerlina (Don Giovanni) and Pamina (Die Zauberflöte).
Pumeza Matshikiza studied at the University of Cape Town College of Music and the Royal College of Music with a full scholarship. Roles at the RCM included Marenka (The Bartered Bride), Fiordiligi (Così fan tutte), Rosalinde (Die Fledermaus), Concepcion (L’heure espagnole), Poppea (L’incoronazione di Poppea) and Contessa (Le nozze di Figaro). The young soprano also participated in masterclasses with renowned artists such as Dame Kiri Te Kanawa, Sir Thomas Allen, Renata Scotto, Joan Rogers, Paul Farrington, Philip Langridge and Ileana Cotrubas. She has worked with accompanists Paul Montag, Malcolm Martineau, Julius Drake, Simon Lepper.
Pumeza Matshikiza was a member of the Jette Parker Young Artists’ Programme at the Royal Opera House from 2007-2009 and could be heard as Blumenmädchen in Wagner’s Parsifal, Slave in Strauss’ Salome, Innocent (The Minotaur), Witch in Dido and Aeneas, Sandmann (Hänsel und Gretel) and Tebaldo in Verdi’s Don Carlo, conducted by Antonio Pappano. 2010 Pumeza Matshikiza was awarded with the 1st Prize in the Veronica Dunne International Singing Competition and became an Associate Artist of the Classical Opera Company, singing the title role in Mozart’s Zaidefor which she was awarded with the Patrick Fyffe-Dame Hilda Brackett Prize.
Last updated: October 2018
March 15, 17, 20, 23, 29, 31, 2019
Briefly – Pumeza Matshikiza’s early life was very much influenced by struggle violence in South African townships in the last decades of apartheid – From an accidental introduction to the artform, flowed an...
“Das “weiße Reh”, das der Prinz in Rusalka sieht, wird von der Südafrikanerin Pumeza Matshikiza berührend innig verkörpert; mühelos und mit großer Natürlichkeit deutet sie die im Detail durchaus komplexe...
This upcoming season, Pumeza Matshikiza stars as the water nymph in Dvořák’s Rusalka at the Stadttheater Klagenfurt. The Prince is Robert Watson and Ursula Hesse von den Steinen sings Ježibaba.The performances take...
Pumeza's second Decca release showcases her operatic roles from Purcell to Puccini and newly arranged songs by Faure, Hahn & Tosti.
This is Pumeza's first Decca album release, highlighting arias by Puccini and Mozart as well as traditional South African songs.
I think I've found the new Maria Callas . . . What initially arrested me, and went on fascinating me, was not only the beauty of her singing, one of the loveliest lightish lyric sopranos I have heard in the flesh, but also her commitment to the role she was performing.
With her luscious lyric voice and her superb presence and acting she will certainly be a star.
Her voice is smooth, rich, flexible, her manner open and unaffected, her dramatic instinct keen.
With her remarkable combination of qualities she should be appearing in major roles in all the world's great opera houses.
Matshikiza sang gorgeously . . . the distinctive beauty of a special voice.
Dusky, overtone-rich, abundantly sensuous, the timbre has fullness, freshness and purity alloyed to the darker tones of an almost-Callas like palette.
Pumeza's Mimi is lovingly sung, her line to Rodolfo about keeping her pink bonnet as a souvenir of their love a touching moment in her interpretation. Liù's aria is well sustained, with nice portamento . . . There's no mistaking the great care with which these performances have been prepared, and the technique is all there. ('Voice of Hope' review)