Repertoire

  1. Bellini, I purutani, Elvira
  2. Verdi, La Traviata, Violetta Valery
  3. Verdi, Rigoletto, Gilda
  4. Verdi, Requiem, Soprano solo
  5. Donizetti, Lucia di Lammermoor, Lucia Ashton
  6. Mozart, Le Nozze di Figaro, Contessa Almaviva
  7. Rossini, William Tell, Mathilde
  8. Rossini, Tancredi, Amenaide
  9. Halevy, La Juive, La Prencesse Eudoxie
  10. Massenet, La Sendrillon, La Fee
  11. Offenbach, Les Contes d’Hoffmann, Olympia
  12. Purcell, The Indian Queen, Doña Isabel
  13. Glinka, Ruslan and Ludmila, Ludmila
  14. Glinka, Ivan Susanin, Antonida
  15. Rimsky-Korsakov, The Tsar’s Bride, Marfa
  16. Pascal Dusapin, Medea Material, Medea
  17. Bach, Magnificat, Soprano solo.
  18. Beethoven, The 9th Symphony, Soprano solo
  19. Beethoven, Chirst on the Mount of Olives, Seraphim
  20. Brahms, German Requiem
  21. Haydn, Die Schöpfung, Gabriel
  22. Haydn, Die Jahreszeiten, Hanna
  23. Händel, Dixit Dominus, Soprano solo
  24. Berg, Sieben Frühe Lieder (with orchestra)
  25. Mahler, The 4th Symphony, Soprano solo
  26. Mozart, Requiem, Soprano Solo
  27. Verdi, Requiem, Soprano Solo
  28. Orf, Carmina Burana, Soprano solo
  29. Meyerbeer, Cantata for Soprano and solo clarinett Gli amori de Teolinda.
  30. Stravinsky, Noces, Soprano solo.
  31. Strauss, Vier letzte Lieder

Reviews

Rian Evanswww.theguardian.com
The exceptional technique of Nadine Koutcher, from Belarus, had created the strongest of impressions in her concert round, so it mattered less that her fine, stratospheric soprano betrayed the strain in this final. To borrow diving terms, her arias had carried the highest possible tariff in difficulty and, appropriately, it was for her precision in Olympia’s aria from The Tales of Hoffman by Offenbach that she will be remembered. Her instinctive musicality, meanwhile, shone in the more lyrical context of Marfa’s aria from The Tsar’s Bride by Rimsky-Korsakov. The emotion of winning broke through her steely calm..
Leighton Jonesbachtrack.com
As Gilda, 2015 Cardiff Singer of the World 2015 Nadine Koutcher captured the virginal naivety of her character with childlike-innocence. Throughout her performance she was technically perfect, top notes were executed with complete precision. The chemistry between her and Catana was engaging and intense, which made one feel as if one was intruding on that special relationship between father and daughter. By the final scene this had grown to such a depth, one felt the virtual hammer blows of the curse as she died in his arms.

Social