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 from the operatic stage include the title role in the world premiere of Death with Interruptions by Kurt Rhode and Curley’s Wife in Carlisle Floyd’s Of Mice and Men. Other notable appearances 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; 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 Delores 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 Alumnus with the San Francisco Opera, and also received acclaim as a Grand Finalist in the 2006 Metropolitan Opera National Council Auditions.
Upcoming engagements include appearances with Left Coast Chamber Ensemble and as the Controller in Flight with Opera Parallele.
"Soprano Nikki Einfeld's dramatic performance of Dallapiccola's difficult "Divertimenti" seemed almost second nature as she worked with the ensemble,”
— Sacramento Bee
“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
“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
"...a remarkable display of stratospheric pointillism"
(Queen of the Night ~ The Magic Flute, Canadian Opera Company)
— The Globe and Mail
“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
“…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
"...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
"...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
"...a soprano of considerable range and clarity of voice..." "Her emphatic performance as Lucia is striking." (Lucia ~ Lucia di Lammermoor)
— The Post-Standard
"...dazzling...", "Nikki Einfeld demonstrated high-flying virtuosity in an aria from Donizetti's "Linda di Chamounix." (Metropolitan Opera Grand Finals Concert)
— New York Times
"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)
"...soprano Nikki Einfeld exuded sweet ecstasy in A Little Bit in Love (and) "jumped the acrobatic hurdles of Glitter and Be Gay (from Candide)" (In Concert with Pacific Symphony - Carl St. Clair Conducting)
— Orange County Register
"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)
"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, 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)
"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)
“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
“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
"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
"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, the production’s Gilda, gave a very strong performance, beautifully capturing the girlishness of Rigoletto’s love-smitten daughter. Vocally, she has exactly the right type of voice for the role — sweet, silvery, and with an ability to easily soar to the heights and project well into a large hall. “Caro nome” is one of the best-known arias in all opera, and she made the most of it here, giving the entire scene a playful, adolescent element frequently missing where other performances are merely sentimental. There was sentiment enough in her singing, but the humorous, playful element, frequently missed, gave the moment a dimension it often lacks. She was also a fine partner in the many duets this opera contains, especially the duet with oboe accompaniment in the third act.
— Kenneth Delong, Calgary Herald