Covered Covered & Performed Scenes Premiere of New Work Concert
Grabowsky Connell Prize at the Royal Academy of Music (2018)
Josephine Baker Trust Young Artist at the Royal Academy of Music (2017)
Opera Prelude Young Artst (2017)
The Mario Lanza Educational Foundation: Grant to study at Royal Academy of Music (2017)
Aldeburgh Music with an anonymous donor: Britten Pears Young Artist Programme: Supporting Bursary (2016)
Lyric Opera Studio Weimar: Full Scholarship (2016)
Lyric Opera Studio Weimar: Scholarship (2015)
The John Wates Charitable Trust: Grant to train with ENO Opera Works (2015)
The Kathleen Trust: Grant to train with ENO Opera Works (2015)
Cambridge University: Sir Rudolph Peters' Prize for Music (2009)
Winner - Third Prize: Joan Chissell Schumann Lieder Prize at the Royal Academy of Music (2018)
“In this performance of Cavalleria Rusticana, there was no questioning who is at the centre: Nina Kanter as Santuzza dominated the stage both vocally and with acting presence. Her voice was full, rich, intense and she was compelling to watch and listen to… These performances are double cast, so I can’t speak for the other cast, but this one absolutely needs to be seen.” (Bachtrack, David Karlin, May 2016) (2016)
“Kanter also particularly impressed as the vulnerable Tatiana, and her sung love letter to Onegin was a particular highlight.” (The Tab, Mark Danciger, February 2015) (2015)
“Tatiana (Nina Kanter) did real justice to Pushkin’s potential to portray heart-wrenching human emotion. In a climax of her love-sickness, she paints Onegin’s name and a heart on a piece of the set, totally reinforcing the emotional intensity of the scene alone on stage… Kanter’s acting is matched by her vocal talent.The vocal power and control were exceptional from all the leads.” (Varsity, Alex Sorgo, February 2015) (2015)
“Nina Kanter could not have been more impressive in her role of Giulietta, the courtesan. It was a glorious sound from a beautiful woman.” (Spotlight, Stella Masters, November 2014) (2014)
Nina’s performance in Hampstead Garden Opera’s L‘Orfeo was previewed by Sebastian Taylor in the Camden New Journal: http://www.camdennewjournal.com/reviews/music/2012/nov/classical-and-jazz-monteverdi%E2%80%99s-l%E2%80%99orfeo-hampstead-garden-opera-upstairs-gateh (2012)
British soprano Nina Kanter has just graduated from the Royal Academy of Music’s Intensive Masters Programme, where she was awarded Distinction and the Grabowsky Connell Prize for consistent high achievement. During her studies Nina was a Josephine Baker Trust Artist and a prizewinner in the Joan Chissell Schumann Lieder Prize.
Nina is a Britten-Pears Young Artist, an Opera Prelude Artist and was an ENOA Artist at Teatr Wielki, Polish National Opera. She also trained with English National Opera’s Opera Works programme, with Lyric Opera Studio Weimar and with the Glyndebourne Academy young singers programme. Previously Nina read Music at Gonville and Caius College, Cambridge, graduating with first class honours and the Sir Rudolph Peters’ Prize for Music .
Whilst at the Academy, Nina studied with Professor Kate Paterson and Professor Joseph Middleton. Her previous teachers have included Jacqueline Bremar, Michael Lloyd and Professor Richard Stokes. In recent masterclasses Nina has worked with Helmut Deutsch, Bernarda Fink, Graham Johnson, Ewa Podleś, Amanda Roocroft and Neil Shicoff.
Recent operatic appearances include Norma in Bellini’s Norma for RAM Vocal Faculty Opera Scenes; Santuzza in Mascagni’s Cavalleria Rusticana for Hampstead Garden Opera (nominee: Best Opera Production, Off West End Theatre Awards) and in excerpts for the Italian Cultural Institute, London.
Other appearances include Erste Dame in Mozart’s Die Zauberflöte; Clorinda in Rossini’s La Cenerentola and opera galas with the Thüringer Symphoniker Saalfeld-Rudolstadt for Lyric Opera Studio Weimar; Erste Dame in Mozart’s Die Zauberflöte for the ENO Opera Works showcase at the Bloomsbury Theatre; Countess in Mozart’s Le nozze di Figaro and Alcina in Handel’s Alcina, both for ENO Opera Works scenes; First Woman/Chorus in Mussorgsky’s Boris Gudunov with the Philharmonia Orchestra under Jakub Hrůša at the Royal Festival Hall; Tatiana in Tchaikovsky’s Eugene Onegin for Cambridge University Opera Society; Giulietta in Offenbach’s The Tales of Hoffmann and opera gala performances for the first annual Enfield Choral and Orchestral Festival with Southgate Opera; Donna Elvira in Mozart’s Don Giovanni, and the Countess in Mozart’s Le nozze di Figaro, both for Glyndebourne Academy scenes at Glyndebourne’s Ebert Room; Zweite Dame in Mozart’s Die Zauberflöte for Brent Opera, and Ninfa/Echo and Euridice/La Musica (cover) in Monteverdi’s L’Orfeo and Mary (cover) in Vaughan Williams’ Hugh the Drover, both for Hampstead Garden Opera.
In recital, highlights include performances of Slavic song at the Aldeburgh Festival and for the Boas recital series at 22 Mansfield Street and Schubert lieder with pianist James Cheung for the Oxford Lieder Festival. Nina has appeared with the Royal Academy of Music lunchtime concert series, the Song in the City and St Giles-in-the-Fields recital series, and most recently performed selections from Dvorak’s Gypsy Songs and Wagner’s Wesendonck Lieder for the Brel Academy of Song in Toulouse.
In concert Nina’s recent performances include Rossini’s Stabat Mater for the Guernsey Choral Society, Rossini’s Petite Messe Solonnelle for the Camden Choir at St Paul’s, Covent Garden and Bach’s Christmas Oratorio for the Barnes Music Festival. Other performances include Brahms’ Ein Deutsches Requiem, Dvorak’s Stabat Mater, Handel’s Israel in Egypt and Messiah, Mozart’s Requiem, Pergolesi’s Stabat Mater, Rutter’s Requiem and Vivaldi’s Magnificat.
During her studies at Cambridge Nina performed as a soloist internationally and around the UK, including appearances on Radio 3 broadcasts, at the York Early Music Festival and Oundle International Festival and on recordings including Shchedrin’s The Sealed Angel for Delphian Records, performing with the Gonville and Caius College Chapel Choir under Geoffrey Webber.
Nina is extremely grateful for the support of The Nicholas Boas Trust, The John Wates Charitable Trust, The Kathleen Trust, The Mario Lanza Education Foundation, The Grace Wyndham Goldie Trust Fund, the Oppenheim-John Downes Memorial Trust and an anonymous donor together with Aldeburgh Music.
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