Upcoming recording: Paul Reade’s Chants du Roussillon
On June 27 and 28, Pumeza MAtshikiza recorded Chants du Roussillon by Paul Reade with The English Chamber Orchestra. Stay tuned for the release of the album!
South African lyric soprano Pumeza Matshikiza is one of today’s rising opera stars. An exclusive Decca Classics recording artist, her debut album ‘Voice of Hope’ was released in 2014. Her second album ‘Arias’ was released in May 2016.
South African soprano Pumeza Matshikiza, an exclusive Decca Artist since 2014, has performed at many of the leading opera houses across Europe and the United States and has released two solo recordings with Decca: “Voice of Hope,” her debut album combining well-known arias with traditional and popular African songs, and “Arias.” Throughout her career Pumeza has championed numerous contemporary operatic works.
This summer Pumeza performed in a concert in Paris’s Olympia Hall under the auspices of Le Festival de Paris and a world premiere of Jake Heggie’s “Good Morning, Beauty” at the Barbican in London as part of Classic Pride UK.
MoreSouth African soprano Pumeza Matshikiza, an exclusive Decca Artist since 2014, has performed at many of the leading opera houses across Europe and the United States and has released two solo recordings with Decca: “Voice of Hope,” her debut album combining well-known arias with traditional and popular African songs, and “Arias.” Throughout her career Pumeza has championed numerous contemporary operatic works.
This summer Pumeza performed in a concert in Paris’s Olympia Hall under the auspices of Le Festival de Paris and a world premiere of Jake Heggie’s “Good Morning, Beauty” at the Barbican in London as part of Classic Pride UK.
Upcoming engagements include a concert with Anna Netrebko and Yusif Eyvazov in Bucharest, a Christmas tour around the UK with Bryn Terfel and her role debut in the title role of Tosca at the Staatsoper Hannover.
In recent seasons Pumeza has won critical acclaim in the title role of Aida (a role debut) at the Staatsoper Hannover, as Mařenka in Smetana’s The Bartered Bride at Garsington Opera and as the Fox in Janáček’s The Cunning Little Vixen at the English National Opera. Further highlights of her recent career have included her debuts as both Bess and Serena in a new production of Gershwin’s Porgy and Bess at the Theater an der Wien, as well as concerts in London, Germany, South Africa, and a European tour with Rolando Villazón. Dvořák’s Rusalka has quickly become one of her signature roles: after her acclaimed debut at Stadttheater Klagenfurt, in 2018, she performed the part in new productions in Strasbourg and Antwerp. In another favorite role, Mimì in Puccini’s La bohème, she made her first US appearance, with The Dallas Opera, and her debuts at both Semperoper Dresden and Hessisches Staatstheater Wiesbaden. She made her debut at the Teatro alla Scala in the world premiere of Giorgio Battistelli’s CO2, staged by Robert Carsen.
Pumeza Matshikiza spent five years as an ensemble member of Staatsoper Stuttgart, where her numerous lead roles have included Micaёla (Carmen), Susanna (Le nozze di Figaro), Ännchen (Der Freischütz), Zerlina (Don Giovanni), and Pamina (Die Zauberflöte).
On June 27 and 28, Pumeza MAtshikiza recorded Chants du Roussillon by Paul Reade with The English Chamber Orchestra. Stay tuned for the release of the album!
Pumeza Matshikiza will sing two recitals in Johannesburg in November: at the Roodepoort Theatre on November 2 and at The Rand Club on November 12. Paul Ferreira accompanies her at the piano.
Daily Maverick She has survived lockdowns, travel bans and a bout with the coronavirus to triumph in two roles in the same opera – ‘Porgy and Bess’ – in Vienna. Like so many performing artists around the world this year,...
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.
Pumeza Matshikiza plays her with an endearing attitude while singing with gorgeously rich tone...
Naturally Marenka is a standout—and in this case the beautiful Pumeza Matshikiza simply makes me want to see her in more roles. She has a luscious, captivating voice that I want to hear in Verdi and Puccini and Janacek; her acting is totally convincing.
Leading from the front as the restless, discontented Marenka was South African soprano Pumeza Matshikiza who has all the makings of a great diva. Her voice has great power with a warm, creamy texture that envelops the words to great effect.
Pumeza Matshikiza is a creamy-toned Mařenka... who creates a well–defined portrait of dreamy youthfulness, disbelief and petulance...
As Mařenka, Pumeza Matshikiza reveals a full yet nuanced soprano that possesses a great flexibility so that all of the required sounds are shaped extremely well.
Most touching of all was South African soprano Pumeza Matshikiza. Her soft, tender voice floated effortlessly over the massed choral and orchestral sound and went straight to the heart.
Notable moments were delivered by the creamy voiced Pumeza Matshikiza as the mother, melting into two of the spirituals with devastatingly moving effect.
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.
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)
La voix est chaude, vibrante, sonore, le jeu dramatique toujours juste. Elle sait se faire angoissée « Petit papa, Ondin, sauve-moi », comme désespérée « Je ne suis ni morte, ni vivante », douloureuse « J’ai perdu ma jeunesse » , et chargée d’une émotion sincère dans son ultime duo avec la Prince.
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