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Nikki Einfeld Westedge

"Diana gets the most daunting assignment — including a pair of electrifying bravura
showcases and a series of delicate emotional shifts — and soprano Nikki Einfeld rose superbly
to the challenge, negotiating both the grueling coloratura and the expressive nuances of the role with ease."

- - Joshua Kosman, SF Gate

"Nikki Einfeld took on Diana with grace and fine comic timing. The role requires a fair bit of coloratura,
particularly in an Act I aria where she lays down the law (sounding just a bit like the Queen of the Night),
and Einfeld had the goods to bring it off. Her last aria, and the most emotionally freighted of the show,
“Teco porta, o mia speranza” (Take my soul with you, O my hope), was beautifully done."

- - Michael Zwiebach, San Francisco Classical Voice

 


Nikki Einfeld in Flight

" Nikki Einfeld is an established wizard of the too-high-to-sing repertoire,
and her performance was a taut masterpiece of vocal and emotional clarity."

— Joshua Kosman, San Francisco Chronicle (Controller ~ Flight)

Nikki Einfeld Of Mice and Men

"Einfeld’s attention-starved, aspiring Hollywood starlet is simply named Curley’s Wife.
Her slinky, nuanced portrayal brought prismatic colour to her tarty role, her wheedling the lusty
chorus of ranch hands for sex made the bunkhouse hotter than a July heatwave. Her well-controlled, flexible
soprano voice impressed as she artfully shaded her dynamics on razor-thin, uppermost notes."

— Winnipeg Free Press (Curly's Wife ~ Of Mice and Men)


"None, I think, could have foreseen the blazing intensity or ferocious artistry that Einfeld brought to her assignment.
There are words to the piece, but they are hard to make out at the stratospheric pitches Ligeti requires from the soloist,
and in any case logic is both scarce and beside the point. This is music that is at once gestural and arcane, with an emotional
fervency that seems to well up from some deep source in the body. Einfeld tapped into that source to produce a surge of
vocal energy that was nothing short of galvanizing. It was an extraordinary display of theatrical commitment and vocal
sophistication."

— Joshua Kosman, San Francisco Chronicle
(SF Symphony Soundbox - Soprano Soloist ~ Mysteries of the Macabre)

“based on a novel by the Nobel Prize-winning Portuguese writer José Saramago, is a sort of love story between
Death (here depicted as a woman and superbly sung by soprano Nikki Einfeld) and the cellist in question."

— Joshua Kosman, San Francisco Chronicle

“Cilli and Einfeld and Baker were all superb, with excellent diction, unforced beautiful voices, and a rueful sexiness
to their performances.”

— Michael Strictland, SF Civic Center

(Death with Interruptions ~ Death)

Nikki Einfeld - Don Pasquale - Review

"high notes were the highlight with the plucky soprano Nikki Einfeld
rendering the beautiful singing part of bel canto while handily hitting all the comic notes, too."

— CBC News (Norina ~ Don Pasquale)

Her crystal-clear, lyric coloratura soprano has only grown stronger and more confident, with the perky
performer flouncing about the stage during her opening cavatina Quel guardo il cavliere/So anch'io la virtù magica
before her wheedling Via, caro sposino, replete with gravity-defying runs. Plus, she swings a mean lasso."

— Winnipeg Free Press (Norina ~ Don Pasquale)

Nikki Einfeld - Daugther of the Regiment - Review

Trim and petite in her becoming military outfit, she was enchanting as the rough and tumble young woman
raised by 23 "fathers" -- soldiers of the 21st Regiment of the Grenadiers. Her voice was pure feminine lightness,
possessing a subtle buoyancy that while not overpowering, had underlying strength and confidence."

— Winnipeg Free Press (Marie ~ Daughter of the Regiment)

"Nikki Einfeld, in her Vancouver Opera debut, is so right for the part of Susanna that it almost seems like typecasting.
With a pert presence, a fresh voice, and a real flair for comedy, she is a delightful singing actress with a
rock-solid understanding of the ins and outs of her character."

— Vancouver Sun (Susanna ~ Marriage of Figaro)

"Einfeld was simply captivating: demanding the attention of the audience with her flawless vocals,
and hypnotizing the masses with her coy aura of confidence and her demure—and yet somehow
completely overwhelming—charisma."

— VU Weekly (Mabel ~ Pirates of Penzance)

"Nikki Einfeld's Rosina demonstrated supreme ease and refinement... her well-crafted notes -- seemingly
plucked out of the air, despite demanding intervals. Her flexible voice floated to dizzying heights and her
patience with tempo was refreshing...A talented actress to boot, Einfeld had us smirking as she went
about sabotaging Dr. Bartolo's home -- gluing his slippers to the floor, oversweetening his tea, etc.
She has a wonderfully expressive face and good comic ability."

— Winnipeg Free Press (Rosina ~ Barber of Seville)

"Soprano Nikki Einfeld sang Ophelia. Her Act II soliloquy, one of the most appealing numbers in the
opera, was beautiful, though outdone by her Act IV mad scene, one of the best such scenes in opera."

— Ottawa Citizen (Ophelia ~ Hamlet)

"...soprano Nikki Einfeld exuded sweet ecstasy in A Little Bit in Love (and) "jumped the acrobatic
hurdles of Glitter and Be Gay (from Candide)"


— Orange County Register (In Concert with Pacific Symphony - Carl St. Clair Conducting)


"Nikki Einfeld, as Télaïre, is the strongest singer here. She sang with a seductive passion in the first act,
and with a melting beauty and purity of tone in both Castor’s funeral scene and the finale."


— New York Times (Télaïre ~ Castor et Pollux)


"...dazzling...", "Nikki Einfeld demonstrated high-flying virtuosity in an aria from Donizetti's "Linda di Chamounix."


— New York Times (Metropolitan Opera Grand Finals Concert)

"...a soprano of considerable range and clarity of voice..." "Her emphatic performance as Lucia is striking."
(Lucia ~ Lucia di Lammermoor)

— The Post-Standard

"... Adele, sung by gifted coloratura Nikki Einfeld, was a clear standout. Her rendition of the famous "Laughing Song" (Mein Herr Marquis) was flittingly light, with notes floating to the top balcony, clear and purely crafted. Accompanied by her amusing body language and facial expressions, it was truly delightful." (Adele ~ Die Fledermaus)

— Winnipeg Free Press

 

"...her power and security in stratospheric high notes are without comparison. She nailed "A vos jeux, mes amis," from Thomas' Hamlet, in diction, accuracy, dramatic impact ... every way. The soprano also has It, the charisma that passeth mere attention-getting effort. When she sings, you listen, and root for her."

— San Francisco Classical Voice




 

Nikki Einfeld

 

 

"...with the landmark performance of Nikki Einfeld in the title role...blazing, rock-solid, effortless bel canto - most impressive.” (Rita ~ Donizetti)

— San Francisco Classical Voice

Nikki Einfeld

 

 

 

"Nikki Einfeld, a soprano who had previously sung this set* on CBC radio, gave a sophisticated and polished account of these songs. She has a fine, full soprano, well-controlled, and she showcased a perfect messa di voce."

— San Francisco Classical Voice

*Six Elizabethan Songs, by Dominick Argento, a contemporary American composer best known for his operas.

Nikki Einfeld

 

 

 

"...light and lyrical with well turned phrases...she handled the brisk runs and difficult intervals with impressive vocal agility." (Adina ~ Elixir of Love, Donizetti)

— Winnipeg Free Press



 

 

 

“...Her strongest performance to date, at once precise and nuanced.” (Serpina ~ La Serva Padrona, Pergolesi)

— San Francisco Chronicle

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“…Her performance has major career stamped all over it…Einfeld raced around Strauss’ cruel Zerbinetta aria, which she tossed off, seemingly without effort.”

— San Francisco Classical Voice

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“Pretty and petite, this lovely soprano was marvelous to watch and wonderful to hear. Her second scene aria ,Una Voce Poco Fa, is a Barber of Seville highlight, and she sang it not just flawlessly but gorgeously.” “Rosina” in The Barber of Seville.

— The Star Phoenix

Additional Reviews

"Soprano Nikki Einfeld brought an irresistible air of vulnerability." (Barbarina ~ Le Nozze di Figaro, Mozart)
— San Francisco Chronicle

"...a remarkable display of stratospheric pointillism"
(Queen of the Night ~ The Magic Flute, Canadian Opera Company)
— The Globe and Mail

 

“Combining a bright lithe tone, pinpoint accuracy and a saucy stage demeanor, Einfeld sashayed through the aria’s fearsome roulades (O Legere Hirondelle - Gounod). She faced the ever-growing thicket of ornamentation without blinking, in a witty performance that seemed to invite the audience to laugh at the difficulties with her.”
— San Francisco Chronicle

“She is impressively accurate in her sense of pitch and rhythm, and makes any text clear throughout her range. She has an ability to focus the audience’s attention on the words she’s singing, whatever their content might be, without dominating the proceedings. Einfeld also controls a wide range of vibrato, dynamics, attacks and vocal colors, and seems able to choose any point on these spectra at will.”
— San Francisco Classical Voice


“Soprano Nikki Einfeld tossed off Rossini’s coloratura Una voce poco fa with an accuracy and musicality that made all the aria’s florid runs sound easy.”
— Jack Neals Music Reviews, Nevada Opera


"Soprano Nikki Einfeld's dramatic performance of Dallapiccola's difficult "Divertimenti" seemed almost second nature as she worked with the ensemble,”
— Sacramento Bee

“ Her take on this flirtatious persona was innocent yet manipulative, and fit in perfectly with the rest of the ensemble” “Zerlina” in Don Giovanni. Manitoba Opera.
— Winnipeg Free Press


“.. “You like me, you really like me” was also the expression of genuine delight, mercifully without the speech, when the house exploded after amazing vocal fireworks from Nikki Einfeld.”
— San Francisco Classical Voice

 

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