Heidi Melton

— Soprano

"Melton sang her first monologue with vocal richness of detail. She also sang pianissimi with incredibly lyrical qualities, displaying the diversities of her gorgeous and nuanced soprano. In unusual beauty, the voice unfolded in heartfelt emotion with the passage "Er sah mir in die Augen". Without blemish, flourishing in tone, dynamically dramatic outbursts, overpowering the orchestra with sonorous, stunning volume, coupled with dreamlike piani and in the love duet, she displayed an all-embracing, overwhelming vocal focus. Brimming soft, glowing arches gave Heidi Melton the final Liebestod an almost mystical transfiguration."
Gerhard Hoffmann, Der neue Merker, March 28, 2016 - Isolde in 'Tristan und Isolde' at Badisches Staatstheater Karlsruhe

"Melton, who was outstanding singing Brünnhilde alongside Eric Owen’s Wotan with the New York Philharmonic in January, was superb again. She sang with a ringing, vibrant tone, and a way of phrasing that was natural and ideal. Her characterization was full of human, rather than grandiose, dignity."
George Grella, New York Classical Review, February 28, 2016 - Brünhilde's Immolation Scene with the Vienna Philharmonic at Carnegie Hall

"And so it went with the rest of the weekend’s Wagner: compelling excerpts from “Götterdämmerung” on Saturday, with the soprano Heidi Melton giving full, rich voice to Brünnhilde’s Immolation Scene."
James Oestreich, New York Times, March 2, 2016 - Brünhilde's Immolation Scene with the Vienna Philharmonic at Carnegie Hall

“Nagano had surrounded himself with seasoned singers. The most surprising was Heidi Melton, who had obviously worked her Sieglinde with a director or a particularly inspiring leader. She knows every corner of the character's mood, she sings with an impressive chest voice, but also a rare intelligence. This is a major incarnation, certainly one of the top three in the world currently.”
Christophe Huss, Le Devoir, May 28, 2015 - Act 1 of 'Die Walküre' with the Montreal Symphony Orchestra

"Isolde is hard because you have to make yourself heard over the full orchestra, and lots of singers approach it by simply pumping out sound. Melton, instead, treated it simply like beautiful music, and made the aria work with her voice rather than shoehorning her voice into a conception of what the aria requires. What made her singing wonderful was not volume — though her voice is by no means small — but freshness and feeling. From the moment she opened her mouth, she was artlessly moving, actually communicating what the words meant, so that all of the encrusted expectations around the role fell away to remind you that this scene depicts not a Pinnacle of the Repertory but a woman who is finally reunited with her true love, only to see him dead."
Anne Midgette, Washington Post, February 17, 2013 - Isolde's Liebestod with the Baltimore Symphony Orchestra


The young American dramatic soprano Heidi Melton has been called “the Wagnerian voice we have been waiting for since Flagstad and Nilsson” (La Presse), a voice that is “big, gleaming and tonally resplendent” (San Francisco Chronicle).

In the 2017/2018 season, dramatic soprano Heidi Melton will make her role debut as Brünnhilde in a new production of Götterdämmerung at Badisches Staatstheater Karlsruhe followed by performances of the complete Ring Cycle later in the spring. Ms. Melton will also return to the New York Philharmonic as Sieglinde in Act 1 of Die Walküre and with . . .

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    • Photo: Simon Pauly
      Photo: Simon Pauly
    • Photo: Simon Pauly
      Photo: Simon Pauly
    • Photo: Simon Pauly
      Photo: Simon Pauly
    • Photo: Simon Pauly
      Photo: Simon Pauly

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