Nina Vitol

Lyrical Soprano Nina Vitol is recognized by the international audiences, critics and colleges alike. ??Deeply musical presented Nina Vitol the Pamina`s aria ?Ach, ich fühl`s?. Her clear and extremely expressive Soprano, supported by perfect Legato and Pitch, sounded gentle and noble?? wrote about her recent performance with the Reutlinger Philharmonic Orchestra German ?Reutlinger Generallanzeiger?.

Born in St. Petersburg, Russia, Nina Vitol moved to Germany, where she started her vocal training at the Musikhochschule in Frankfurt/Main graduating from it with the B.A. degree as a lyrical mezzo-soprano. Throughout these years she distinguished herself in a number of school competitions receiving some special prizes, which included among others the engagement in the Mozart?s ?Magic Flute? production in the role of the Second Dame.

Later on Nina Vitol became a member of the prestigious Opera Studio at the Musikhochschule Stuttgart, where she studied with Prof. Julia Hamari and with Prof. Francisco Araiza finishing as a lyrical soprano the post graduate program in his class.  During this time Nina Vitol appeared in various solo recitals as well as with the Reutlingen Philharmonic Orchestra singing Pamina in Mozart?s ?Magic Flute?.

Nina Vitol`s last concert activities included, among others, a considerable number of Lied recitals, performances in the  ?Sommerfestspiele Frauenthal?(Austria), ?Opernwerkstatt? in Sigriswill (Switzerland), in the ?Münchener Singschul`?, where she appeared in the Prinzregententheater (München) as well as a recital with the Reutlingen Philharmonic Orchestra. She was re-engaged a number of times for the ?Opern-air? summer festival in Nürtingen singing Frasquita in Bizet`s ?Carmen?, Violetta in Verdi`s ?La Traviata? and Diana in Offenbach`s ?Orphée aux enfers?. The other stage engagements included Jan?ek`s  ?Katja Kabanova?, the roles of Cecilio in Mozart`s ?Lucio Silla?, Contessa in ?Le nozze di Figaro? and Fiordiligi in ?Cosi fan tutte?.

The oratorical performances of Nina Vitol in ?Elias? of Mendelssohn, C- minor Mass of Mozart, Magnificat  of Bach were enthusiastically praised by diverse critics.
 ??The sensation of the evening was the flamboyant yet stylistically perfect performance of the soprano part by Nina Vitol. Effortlessly mastered coloraturas followed by the breathtaking phrasings have been sung by a voice, which entirely captured the public ?? notes St. Petersburg?s  ?Vedomosti? after the performance of Händel?s  ?Messias?.

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