Anita Hartig

Hailed by the New York Classical Review as having ‘a gorgeous instrument with superb dramatic instincts’ and with a ‘lovely purity of sound’ by the Financial Times, Romanian soprano Anita Hartig is one of the most highly sought-after stars of opera today.

© Dario Acosta


Romanian soprano Anita Hartig studied at the Gheorghe Dima Music Academy in Cluj Napoca, during which time she won several national and international vocal competitions. Whilst studying she also made her operatic début as Mimì in La bohème at the Romanian National Opera in Cluj Napoca in 2006.

Anita was a member of Wiener Staatsoper ensemble from 2009-2014, during which time she performed Pamina Die Zauberflöte, Despina Così fan tutte, Zerlina Don Giovanni, Mimì and Musetta La bohème, Marzelline Fidelio, Micaëla Carmen and Susanna Le nozze di Figaro.

Career highlights include her house debuts as Mimì at the Royal Opera House Covent Garden, the Metropolitan Opera, Opéra de Paris; Antonia Les Contes d’Hoffmann and Violetta La traviata for the Metropolitan Opera; Mimì at the Wiener Staatsoper and Teatro Real Madrid; Micaëla Carmen for the Wiener Staatsoper and San Francisco Opera; Amelia Grimaldi Simon Boccanegra for her return to the Opéra de Paris; Liù Turandot for the Metropolitan Opera and Wiener Staatsoper Opera and Susanna Le Nozze di Figaro at the Royal Opera House and Metropolitan Opera.

Last season, Anita made her house debut as Liù Turandot at the Liceu Barcelona and returned to the Metropolitan Opera for a role debut as the Countess Le nozze di Figaro. She has also recently appeared as Mariella in a concert performance of Il piccolo Marat at the Concertgebouw Amsterdam. Upcoming highlights will include returns to the Liceu for Mimi and to the Opera de Paris as Marguerite in a new production of Gounod’s Faust.


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    08 Oct 19 PUCCINI Turandot
    Gran Teatre del Liceu

    “One of the reasons that Turandot is a problem opera is that the two main roles are so unsympathetic, so it’s left to Liù to conquer the audience’s heart. Anita Hartig accomplished that in no uncertain terms: throwing her soul into the tragedy of the character and giving us a voice which perfectly combined strength and sweetness. Both the scene where she explains that Calaf once smiled on her and her subsequent death scene were the vocal highlights of the evening.”
    David Carlin, Bachtrack, 09 October 2019

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    07 Jun 19 BIZET Carmen
    San Francisco Opera

    “Romanian soprano Anita Hartig, making her SFO debut, headed up the supporting cast with lustrous sound and unfailing charm as Micaëla, the country girl trying to win Don José back to his village. Her Act III aria (‘Je dis que rien ne m’épouvante’) was especially affecting…”
    Harvey Steiman, Seen and Heard, 7 June 2019

    “Making her SFO debut, the Romanian soprano Anita Hartig was a sympathetic, sweet-voiced Micaëla… Hartig tenderly conveyed her abiding affection for Don Jose in her lovely Act 3 aria “Je dis que rien ne m’épouvante.”
    James Abroff-Tahan, San Francisco Examiner, 7 June 2019

    “The evening was the San Francisco Opera debut of Romanian soprano Anita Hartig. Her expressive, sensitive portrayal of the woman who best understands Jose, proved an auspicious introduction to the San Francisco Opera audience, who gave her third act aria Je dis, que rien ne m’épouvante a sustained ovation.”
    Opera Warhorses, 7 June 2019

    “As Micaëla, the country girl who rivals Carmen for the love of José, Romanian soprano Anita Hartig sang the finest and most compelling role of the evening. Acting and singing, she was consistently clear and thoughtful. Hartig’s duet with José in Act I and her poignant solo in the third act (“Je dis, que rien ne m’épouvante”) provided much-needed moments of vocal lyricism and dramatic nuance.”
    Nicholas Jones, San Francisco Classical Voice, 8 June 2019

    “Among the singers, the star of the night was undoubtedly Romanian soprano Anita Hartig who made house debut as Micaëla. Hartig fully embodied the only “pure” character in the opera body and soul with her crystal-clear voice. She shone particularly bright during her Act three aria “Je dis, que rien ne m’épouvante”. In this “prayer for strength”, marked by beautiful pianissimi, she showed how determined she was to overcome her fears to be with the one she loved. The audience fully embraced it and rewarded her with long applause!”
    Michael Anthonio, Parterre Box, 9 June 2019

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    26 Sep 18 VERDI La traviata
    Toulouse Opera

    “Anita Hartig en Violetta Valéry était très attendue, à juste titre. La chanteuse atteint des records de puissance et de vibrato sur les passages exacerbés”

    “Anita Hartig as Violetta Valéry was eagerly awaited, and rightly so. The singer achieves powerful heights and vibrato on key emotional moments”

    ★★★★ Arnaud Saura-Ziegelmeyer, Bachtrack, 29 September 2018

    “Dans la peau de Violetta, Anita Hartig émerveille par la fragilité d’une émotion agréablement dépouillée et la solidité d’un chant défendu avec une voix puissante et colorée”

    “In the role of Violetta, Anita Hartig amazed with the fragility of pleasingly bare emotion and the solidity of a song defended with a powerful and colourful voice” 

    Charlotte Saulneron, ResMusica, 2 October 2018

    “Anita Hartig, ravissante Violetta, parvient à s’approprier tempi et nuances pour structurer un discours musical passionnant. Ses aigus cristallins, émis tout en retenue et rondement vibrés, transpercent le cœur… Les yeux fermés, bercée par un tempo langoureux, elle cisèle les vocalises de son premier air avec éloquence”

    “Anita Hartig, a lovely Violetta, manages to give nuance to tempi and provide structure to an exciting musical discourse. Her crystalline highs, emitted with restraint and smoothly vibrated, pierce the heart… Eyes closed, cradled by a languid tempo, she vocalises the first aria eloquently”

    Damien Dutilleul, Olyrix, 29 September 2018

    “Anita Hartig trace un portrait attachant de Violetta, en laissant transparaître comme il se doit la fragilité et l’émotion derrière les masques dorés des réjouissances mondaines. D’un acte à l’autre sa voix gagne en chaleur, jusqu’à un « Addio del passato », bouleversant dans son dépouillement tragique. Une belle artiste de toute évidence!”

    “Anita Hartig draws an endearing portrait of Violetta, letting the fragility and emotion behind the gilded masks of worldly festivities shine through. From one act to the other her voice gains warmth, up until ‘Addio del passato’, where it becomes tragically stripped back. Evidently, a beautiful artist!”

    Pierre Cadars, Concert Classic, 26 September 2018

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    12 Dec 17 PUCCINI La bohème
    Teatro Real, Madrid

    “…buena parte del mérito de este crescendo emocional es de la soprano rumana Anita Hartig, una Mimì de sobrados recursos vocales, timbre hermosísimo y perfecta composición escénica.”

    “Much of the merit of this emotional crescendo goes to the Romanian soprano Anita Hartig, a Mimì of great vocal prowess, beautiful timbre and perfect acting.”

    Luis Cago, El País, 12 December 2017

    “…la soprano Anita Hartig apuntó detalles en su presentación «Mi chiamano Mimì». Fue la voz con más personalidad del primer reparto, apoyada en un expresivo «vibrato» y en una buena voluntad expresiva.”

    “… the soprano Anita Hartig gave a truly nuanced performance of «Mi chiamano Mimì». She possesses a voice with a lot of personality, with an expressive vibrato and expressive will.”

    Alberto González Lapuente, ABC Cultura, 30 January 2018

    “…porque la Mimí de Anita Hartig sobresale con mucho, por voz y expresión…”

    “…because the Mimí of Anita Hartig truly excels, by both voice and expression…”

    La Rázon, 12 December 2017

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    28 Sep 17 OFFENBACH Les contes d'Hoffmann
    Metropolitan Opera, New York

    “…she brought her full, ravishing tone, clear and penetrating on top, with caramel in the middle. Fully invested in her role, Hartig was a dreaming ingenue right until her final, tragic moments.”
    Eric C. Simpson, The New York Classical Review, 27 September 2017

    “Anita Hartig sang with controlled, concentrated richness as Antonia, one of Hoffmann’s other loves”
    Zachary Woolfe, The New York Times, 28 September 2017

    “New were Anita Hartig as a heartbreaking, vocally ravishing Antonia, perhaps lacking fragility but pouring out beautiful music in waves”
    Robert Levine, Bachtrack, 28 September 2017

    “Anita Hartig gave a touching portrayal of Antonia, beginning with a lilt and ending with a gripping trio…”
    David M. Rice, Classical Source, 28 September 2017


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    14 Jun 17 PUCCINI La bohème
    Teatro de la Maestranza, Seville

    “La voz de Anita Hartig presenta una cualidad tímbrica llena de matices que la hacen clara e inconfundible en escena, con una dulzura en su modulación verdaderamente encantadora, sin importar si se trata de una escena de fuerza o del más discreto sottovoce; su timbre destacaba en cada una de sus intervenciones, y la riqueza de colores y armónicos que lo caracterizan hacían evidente la grandeza de la artista.  Fue, sin duda, la estrella de la noche…”

    (Translated) “The voice of Anita Hartig presents a timbre quality full of nuances that make it clear and unmistakable on stage, with a sweetness in its modulation that is truly enchanting, regardless of whether it is a scene of strength or the most discreet sottovoce; Its timbre stood out in each one of its interventions, and the richness of colors and harmonics that characterized it made evident the greatness of the artist. She was, undoubtedly, the star of the night…”

    Gonzalo Roldán Herencia, Opera World, 12 June 2017

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    22 Dec 16 New York Classical Review Top Ten Performances of 2016
    Metropolitan Opera House, New York

    For Liù Turandot and Susanna Le nozze di Figaro

    “In the past few seasons, Anita Hartig has been revelatory in supporting roles by Puccini, Mozart, and Bizet. Her 2016 appearances as Liù in Turandot and Susanna in Le Nozze di Figaro were superb, demonstrating again that she has a gorgeous instrument and superb dramatic instincts. With any luck, it won’t be long before the Met gives her a shot at a real star vehicle”
    Eric C. Simpson and George Grella, New York Classical Review, 22 December 2016

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    12 Mar 16 MOZART Le nozze di Figaro (Susanna)
    Metropolitan Opera, New York

    “The character’s music goes on forever, and, undaunted, the Romanian soprano sustained power and charm, even elegance, virtually without pause. In a staging that forces the action forward to the 1930s (and, in the process makes the inherent droit de seigneur plotting seem a bit odd), she modelled a modest maid’s uniform, and somehow made it glamorous. She also sang with tireless grace, explored a wide dynamic range with finesse, and shaded the text with rare flair.”
    Martin Bernheimer, Financial Times, 28 February 2016

    “She produces a consistently blooming sound, her tone beautifully and subtly colored, honey at its top and more caramel further down. Her rendition of “Deh vieni, non tardar,” floating out over the pit and effortlessly filling every corner of the auditorium, was the kind of soaring marvel that makes one envy the folks in the family circle. A committed actress to boot, it’s not hard to imagine Hartig enjoying a true star career at the Met in the near future.”
    Eric C. Simpson, Classical Review, 28 February 2016 

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    11 Jan 16 PUCCINI Turandot (Liù)
    Metropolitan Opera, New York

    “It was Monday’s Liù, though, who won the audience’s most ecstatically proclaimed affections. This is the second Puccini role for Anita Hartig at the Met, and she was even more impressive here than she had been in her debut as Mimì two seasons ago. From her very first moments, it was clear that she had crafted a complete vocal and dramatic character, communicating the urgency of her tormented love through ravishing singing. Hers is a voice of color and body, essentially light-lyric. A silken tone, shimmering vibrato, and considerable vocal power were all clear in her pleading first aria, “Signore, ascolta.” This truly is a voice capable of soaring gloriously through the Met’s cavernous auditorium, as it did in her arresting death scene”
    Eric Simpson, New York Classical Review, 12 January 2016 

    “Anita Hartig … conveys sacrificial vulnerability deftly.”
    Martin Bernheimer, Financial Times, 12 January 2016

    “The soprano Anita Hartig sang beautifully as the self-sacrificing Liu, her alluring voice plaintive and expressive”
    Vivien Schweitzer, NY Times, 14 January 2016

    “Anita Hartig, as Liu, has that bright, clean, accurate Nilssonic edge to an otherwise sweet and expressive voice. Her Liu was both assertive and submissive, genuine in each.”
    Opera Metro, 11 January 2016

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    15 Sep 15 MOZART Le nozze di Figaro (Susanna)
    Royal Opera House, London

    “Anita Hartig’s Susanna is knowing and serious … warm and creamy”
    Tim Ashley, Guardian, 16 September 2015

    “Anita Hartig’s gentle, sweetly sung Susanna” … “what a lovely purity of sound she finds for her nocturnal aria in the garden”
    Richard Fairman, Financial Times, 18 September 2015

    “Hartig juggled her various allegiances with charm and was superbly effective in her manipulation of the Count.”
    Peter Reed, Classical Source, 15 September 2015

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    08 Dec 14 Mozart Le nozze di Figaro (Susanna)
    Bayerische Staatsoper, Munich

    “Anita Hartig’s Susanna … clearly cares very much for Figaro, Cherubino and the Countess, and she takes gleeful pride in her schemes to foil the Count’s advances. Hartig is the quintessential soubrette, with a light, pure soprano that carries well. She uses its sweetness and range of volumes and textures to excellent effect, especially in “Deh vieni, non tardar”.”
    Ilana Walder-Biesanz, Bachtrack, 9 December 2014 

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    30 Sep 14 Bizet Carmen (Micaëla)
    Metropolitan Opera, New York

    “Anita Hartig’s Micaëla is a breath of fresh air in the dark drama, and her clear and beautiful soprano with a hint of warmth is a perfect instrument for an innocent but determined peasant girl. Her Act III aria combined her fear and hope with elegant phrasing and poignant high notes, and she deservedly brought down the house.”
    Ako Imamura, Bachtrack, 1 October 2014

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    16 Jun 14 '40 Under 40: The Next Generation of Great Opera Singers'

    “Anita Hartig, soprano from Romania, sings with such soulfulness and earnestness that she reminds you that the opera characters we most love are the ones with genuine humanity.”
    Fred Plotkin, Operavore, 16 June 2014

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    24 Mar 14 Puccini La bohème (Mimi)
    Metropolitan Opera, New York

    ‘She imbued her singing with both a shy plaintiveness and ardency in “Mi chiamano Mimì.”’
    Vivien Schweitzer, The New York Times, 24 March 2014



Carmen (Micaëla)

Faust (Marguerite)

Le nozze di Figaro (Susanna)

Les contes d’Hoffmann (Antonia)

La bohème (Mimi)
Turandot (Liu)

La Traviata (Violetta)
Simon Boccanegra (Amelia) *upcoming



Mass in F minor * upcoming

Christus am Ölberg
Symphony No.9


Peer Gynt

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