Nikki Einfeld




Nikki Einfeld


American/Canadian Citizenship

Canadian-American lyric coloratura soprano, Nikki Einfeld, has been widely recognized for her “high flying virtuosity” (New York Times) as well as her “blazing intensity and ferocious artistry” (San Francisco Chronicle).

Recent highlights include the Controller in Dove’s Flight for Opera Parallèle, Messiah with the San Francisco Symphony, and the world premiere of Death with Interruptions by Kurt Rhode. Other notable appearances from the operatic stage include Susanna in Le nozze di Figaro with Vancouver Opera and New Orleans Opera; Konstanze in Die Entführung aus dem Serail with the Mendocino Music Festival and West Bay Opera; Curley’s Wife in Carlisle Floyd’s Of Mice and Men for Manitoba Opera; the title role of Lucia di Lammermoor with Syracuse Opera and Green Mountain Opera Festival; Ophelia in Hamlet with Opera Lyra Ottawa; several roles in the world premiere of Dolores Claiborne by Tobias Picker, Gianetta in The Elixir of Love, Papagena in The Magic Flute, Barbarina in Le nozze di Figaro with San Francisco Opera; Nanetta in Falstaff and as Mabel in The Pirates of Penzance with Edmonton Opera; Rosina in The Barber of Seville, Marie in The Daughter of the Regiment, and Norina in Don Pasquale with Manitoba Opera.

A highly adept interpreter of a wide range of repertoire spanning from the baroque to contemporary music, Ms. Einfeld has made guest appearances on the concert stage with the San Francisco Symphony, Berkeley Symphony Orchestra, the Marin Symphony, Winnipeg Symphony Orchestra New Music Festival, Calgary Philharmonic Orchestra, and the Empyrean Ensemble. As a champion of contemporary music she regularly performs premieres by modern composers and has recently been appointed a member of the Left Coast Chamber Ensemble. Her collaboration with Left Coast, which recently yielded a 2016 Best Chamber Music Performance win from San Francisco Classical Voice, will further explore her love for the concert stage and the pairing of new works with traditional masterpieces.

Ms. Einfeld is a former Adler Fellow and Merola Alumna with the San Francisco Opera, and also received acclaim as a Grand Finalist in the Metropolitan Opera National Council Auditions.

Recent and upcoming engagements include Gilda in Rigoletto for Calgary Opera, Margaret in Howard’s End for Earplay Ensemble, Abraham in Flames for the San Francisco Women’s Project, concert appearances with Left Coast Chamber Ensemble, a New Year’s Day Gala with the Victoria Symphony, La traviata with the Diablo Symphony, the title role in Westedge Opera’s L’arbore di Diana, and Mozart’s Exsultate jubilate and Requiem with the Sacramento Choral Society.

September 2018


Donizetti Norina DON PASQUALE
  Rita RITA
Floyd Curly’s Wife OF MICE AND MEN
Heggie Tatania GREAT SCOTT
Humperdinck Gretel HÄNSEL UND GRETEL
Ligeti Venus/Chief Gepopo GRAND MACABRE
  Königin der nacht/ DIE ZAUBERFLÖTE
Pergolesi Serpina LA SERVA PADRONA
Rameau Télaïre           CASTOR ET POLLUX
Strauss, J. Adele DIE FLEDERMAUS
Tchaikovsky Mascha PIQUE DAME
Thomas Ophelia HAMLET
Verdi Nanetta FALSTAFF
  Violetta LA TRAVIATA


Bach Magnificat
Beethoven Choral Fantasy
  Mass in C Major
Mozart Mass in C minor KV 427
Orff Carmina Burana
Poulenc Gloria

“On this night, the soloist was more than adequate to the task. Nikki Einfeld has been widely recognized for the beauty of her voice and for her ability to sing in a wide range of operatic roles. On this night, she exhibited perfect tonality and a wondrous ability to control her voice in the most demanding of those a cappella segments of Mozart’s great opus. Just to have had the opportunity to hear this great singer made the concert worth attending.” [Sacramento Chamber Society and Orchestra, Exsultate Jubilate]
Meals from the Marketplace, Ed Telfeyan

“…soprano Nikki Einfeld rose superbly to the challenge, negotiating both the gruelling coloratura and the expressive nuances of the role with ease. “ [West Edge Opera, The Chastity Tree]
San Francisco Chronicle, Joshua Kosman

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’ was beautifully done.” [West Edge Opera, The Chastity Tree]
San Francisco Classical Voice, Michael Zwiebach

 “Einfeld’s Diana is energetic and well-performed. Never is she without energy, despite each aria’s demands, her perfect round and exemplary top notes – sometimes surprising us with even more coloratura range – are never lacking…. She acts well, in voice, and in face and body – for such a fragile-appearing coloratura, and exudes substantial stamina. After a couple of hours of allegorical silliness, it is pure pleasure to hear her scale the bright notes with intense lyrical conviction.” [West Edge Opera, The Chastity Tree]
Opera Wire, Lois Silverstein

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.”
[San Francisco Symphony, Mysteries of the Macabre]
San Francisco Chronicle, Joshua Kosman

Einfeld’s attention-starved, aspiring Hollywood starlet is simply named Curly’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 of razor-thin, uppermost notes.”
[Manitoba Opera, Of Mice and Men]
Winnipeg Free Press, Holly Harris

“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.” [San Francisco Symphony, Mysteries of the Macabre]
San Francisco Chronicle, Joshua Kosman

“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 guard oil cavliere/So anch’io la virtù magica before her wheedling Via, caro sposino, replete with gravity-defying runs. Plus she swings a mean lasso.” [Manitoba Opera, Don Pasquale]
Winnipeg Free Press, Holly Harris

“High notes were the highlight of the plucky soprano Nikki Einfeld rendering the beautiful singing part of bel canto while hitting all the comic notes too.” [Manitoba Opera, Don Pasquale]
CBC, Al Rae

“Trim and petite in her becoming military outfit, she was enchanting as the rough and tumble young woman raised by “22 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.” [Manitoba Opera, La fille du régiment]
Winnipeg Free Press, Gwenda Nemerofsky

“…a soprano of considerable range and clarity of voice…her emphatic performance as Lucia is striking.”
[Syracuse Opera, Lucia di Lammermoor]
The Post-Standard

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 Opera, Marriage of Figaro]
Vancouver Sun, David Gordon Duke

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.” [Opéra Français de New York, Castor et Pollux]
New York Times, Allan Kozinn

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…She has a wonderfully expressive face and good comic ability.” [Manitoba Opera, Il Barbiere di Siviglia]
Winnipeg Free Press, Gwenda Nemerofsky

“[Nikki Einfeld] was simply captivating: demanding the attention of the audience with her flawless vocals and hypnotizing the masses with her coy aura and her demure – and yet somehow completely overwhelming – charisma.” [Edmonton Opera, Pirates of Penzance]
Vue Weekly, Bryan Saunders


Soprano Nikki Einfeld brings in the new year with the Victoria Symphony’s annual tradition A Viennese New Year’s; celebrating the works of J. Strauss and his contemporaries. One night only January 1st at The Royal Theatre, Victoria.


Left Coast Chamber Ensemble performs Massenet’s Élégie for Soprano, Cello, and Piano.

“Power is Everywhere” by Kurt Rohde

“L’arbore di Diana Excerpt” from Chastity Tree with West Edge Opera 2017