Making her mark as an "especially impressive" (The New York Times) soprano, Australian/American Nola Richardson has won First Prize in all three major American competitions focused on the music of J.S. Bach (Bethlehem Bach, 2016; Audrey Rooney Bach, 2018; Grand Rapids Symphony Linn Maxwell Keller Award, 2019). These honors have catapulted her to the forefront of Baroque ensembles and orchestras around the country, where she has been praised for her "astonishing balance and accuracy,” “crystalline diction,” and “natural-sounding ease” (Washington Post).
During the 2020-2021 season, Nola has taken part in several virtual concerts. She makes debuts with the Atlanta Symphony in a Bach program led by Robert Spano, Musica Angelica in a program of Bach and Handel, and the National Cathedral Choral Society in a "Joy of Christmas" special. She was also featured in Seraphic Fire's Season S, performed a solo concert of cantatas by Handel and Vivaldi with the Colorado Bach Ensemble, and took part in virtual concerts with the Bethlehem Bach Society, Voices of Ascension, and the Baltimore Choral Arts Society.
Nola’s 2019-2020 season featured her debuts with the Seattle Symphony and Pittsburgh Symphony (Handel Messiah), Philharmonia Baroque (Bach Coffee Cantata), Tenet (in concert with American violinist Hilary Hahn), Mineola Choral Society (Haydn Creation), Bach Akademie Charlotte, and Voices of Ascension. In her Messiah performances, she was described as "agile and crystalline-voiced... a stand-out" (Seattle Times). She returned to sing with the American Classical Orchestra (Scarlatti Christmas Cantata), Colorado Bach Ensemble, Madison Bach Ensemble, Seraphic Fire, and the Clarion Music Society. Other appearances such as a debut at the Leipzig Bach Festival 2020 as a soloist with the Bethlehem Bach Society, and appearances with the American Bach Soloists and the Baltimore Choral Arts Society were unfortunately cancelled due to the COVID-19 pandemic.
The 2018-2019 season featured debuts with the Grand Rapids Symphony (Bach Mass in A), the Baroque Chamber Orchestra of Colorado (Bach Cantata 51; Monteverdi Orfeo), and appearances with the American Classical Orchestra (Bach Cantata 147), Baltimore Choral Arts Society (Brahms Requiem), and the Master Chorale of South Florida (Haydn Creation). Her debut that season at the Kennedy Center with Opera Lafayette (Fraarte in Handel Radamisto) drew praise for her “particularly appealing freshness and directness” (Washington Post).
Ms. Richardson has also made appearances with the Baltimore Symphony Orchestra, Boston Pops, the Colorado Symphony, and the Madison Bach Musicians (Belinda in Dido and Aeneas); sang the premiere of Michael Gandolfi’s Carroll in Numberland (alongside soprano Dawn Upshaw) at Tanglewood; and gave a recital at the National Cathedral with Baroque trumpeter Josh Cohen and ACRONYM. Her performances as Maria Magdalena in Handel La Resurrezione and a program of French Baroque music with the American Bach Soloists drew praise for her "lusciously polished... exemplary impassioned singing" (San Francisco Classical Voice).
A frequent of Mozart operatic roles, she has sung Susanna (Le Nozze di Figaro) and Madame Silberklang (Der Schauspieldirektor) with Bel Cantanti Opera, Pamina in Die Zauberflöte with Maryland Concert Opera, Gianetta in L'elisir D'amore with Emerald City Opera, and gave a “standout” performance (Opera News) as the First Lady in Die Zauberflöte with the Clarion Music Society.
As a dedicated ensemble and chamber musician, Nola frequently appears with GRAMMY® nominated professional choirs Seraphic Fire (with whom she has performed solos at the Aspen Music Festival under conductors Robert Spano and Xian Zhang), the Choir of Trinity Wall Street, and the Clarion Music Society, with whom she went on an international tour of Handel Semele with The English Concert and Harry Bicket.
An Australian by birth, Nola has spent most of her life in the US. She holds a BM from Illinois Wesleyan University and dual MM degrees in Vocal Performance and Early Music from the Peabody Conservatory. She was a young artist with the Boston Early Music Festival, a vocal fellow at Tanglewood, a Marc and Eva Stern Fellow at Songfest, and most recently, a Carmel Bach Festival Virginia Best Adams Fellow in 2019. Nola attended the Institute of Sacred Music Program and in May of 2020 she was the first and only female singer to receive the prestigious DMA degree in Early Music Voice from Yale.
© March 2021
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We are all more than the sum of our work so here are some more (hopefully fun) details about me! I am lucky enough to be a dual citizen of Australia and the USA. I was born in Sydney and emigrated with my parents and sisters to Colorado when I was six years old. I'm the second of four amazing sisters, and I love having the opportunity to invite my family to join me occasionally when I travel. I started my musical training on the violin when I was seven and I even completed a minor in Violin performance as an undergrad at Illinois Wesleyan University. I first realized I wanted to be a singer when I was about twelve years old, and I feel really fortunate that I've been able to follow my dream.
When I'm not on the road, I live in Manhattan with my wonderful husband, Marc, and my cat, Poppy. Despite being a professional performer, I'm somewhat of an introvert and I love curling up with a good book or going for walks in the park. I am also a prolific knitter and I usually have yarn and knitting needles with me wherever I go! I love to visit yarn stores in different cities and I've been dabbling in designing my own knitting patterns. During the pandemic, I got deeper into my fiber interests and learned how to spin my own yarn with a spinning wheel, and also bought a couple of small looms to learn how to weave. I enjoy writing, and I've had a few sets of program notes published. I hope to do more writing in the future and also try my hand at composing fiction!
I enjoy performing as a soloist (it's always a huge thrill to perform with an orchestra!), but I also really love taking part in smaller, collaborative projects. I love learning unusual repertoire, expanding my knowledge of music history, and bringing joy to people when I sing.
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