Fatma Said

“The flawless radiant Fatma Said is a discovery…”
(Frankfurter Allgemeine Zeitung)

Winner – Veronica Dunne International Singing Competition

Exclusive recording artist – Warner Music


© Irina Litvinenko


Fatma has established a reputation as an extraordinarily gifted musician, and was previously a BBC Radio 3 New Generation Artist. In 2019, Fatma became an exclusive Warner recording artist.

This season, Fatma will perform Die Schöpfung at Wiener Konzerthaus, at Konzerthausorchester Berlin under Jean-Christophe Spinosi, Fauré Requiem with Netherlands Radio Philharmonic Orchestra, and Mahler Symphony No. 4 with Teatro Lirico di Cagliari. Fatma will perform recitals in Salzburg, Zürich, Munich, Leeds Lieder and London’s Wigmore Hall. She returns to Teatro alla Scala Milan, this time for performances in China, as Pamina (Die Zauberflöte).

Recent highlights include Mozart Requiem at the Royal Albert Hall (BBC Proms) under Nathalie Stutzmann, Die Schöpfung at Tonhalle Düsseldorf, Strauss lieder with the Royal Philharmonic Orchestra in Birmingham, plus Suor Angelica with the Boston Symphony Orchestra under Andris Nelsons, and the BBC Philharmonic Orchestra under Omer Meir Wellber. Last season, Fatma gave recitals in Perth, Leeds, Dresden, Bonn, Mallorca, and at Wigmore Hall, in addition to making her debut at the Salzburg MozartWoche a production of Mozart’s T.H.A.M.O.S by La Fura del Baus. Fatma recently gave gala concerts at The United Nations in Geneva, and in Muscat with Juan Diego Flórez.



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    07 Aug 19 MOZART Requiem BBC Proms (Nathalie Stutzmann, BBCNOW)
    Royal Albert Hall, London

    “Egyptian soprano Fatma Said made a fantastic Proms debut. One of BBC Radio 3 New Generation Artists in 2016, her soprano is clear, crisp and delicate.”
    Aliya Al-Hassan, broadwayworld

    “Each brought a special flavour and colour to the ensemble […] Fatma Said’s silvery and ethereal soprano; Sonnyboy Dladla’s romantic and cultivated tenor; Kathryn Rudge’s full-bodied, vibrato-rich mezzo; and David Shipley as a robust, intrepid sheet-anchor of a bass.”
    Boyd Tonkin,

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    22 Feb 19 PUCCINI Suor Angelica Boston Symphony Orchestra (debut)
    Symphony Hall

    “The supporting cast was uniform in its excellence, from Fatma Said as a winsome Sister Genovieffa to Dana Beth Miller and MaryAnn McCormick as the imperious Abbess and Monitor. Boston’s own Lorelei Ensemble filled out the ranks of nuns, lending their psalms and lighthearted banter a silvery sheen.”
    Zoë Madonna, bostonglobe

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    19 Dec 18 Wigmore Hall Recital, London
    The Times ★★★★★

    “The Egyptian soprano’s wide-ranging choice of material displayed wit, spice and plenty of polish”
    ” Said, a BBC Radio 3 New Generation Artist, had held the audience in the palm of her hand for two hours — no matter which of the six languages she was singing in”

    “She didn’t skimp on profundity when it was there to be found. Ravel’s trio of “oriental” songs, Shéhérazade, was voiced with musky élan, Said confident in her smoky low range and pungent word-painting, culminating in a commandingly haughty L’indifférent. And her Strauss selection travelled memorably from a heart-rending Allerseelen to the sweetness of Schlagende Herzen. Here, she sounded more than a little like the late, great Lisa della Casa in the combination of brightness of expression and warmth of tone.”

    “We headed south, to Italian nuggets by Catalani and Leoncavallo, then to Spain, where Said was also fantastically expressive: a weepy number by Fernando Obradors was sentimental stuff, but it was taken seriously here and not overmilked. Manuel de Falla’s Your Dark Eyes had real bite and allowed Said to travel into more dramatic territory.”
    Neil Fisher, The Times

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    28 Feb 18 GLUCK Orphée et Eurydice
    Teatro alla Scala

    “The night’s biggest revelation was not about the power of music or any meditation on love or impulse, though; it was Fatma Said as Amor. I first encountered this jewel of as a bewitching Pamina on a DVD of La Scala’s production of Zauberflöte last year. Done up in a gold suit and biting into the music with flair, Said’s Amor was a sexy gamekeeper instead of bow-wielding cherub. Her rich but agile voice, full of colors and overtones not unlike Sondra Radvanovsky’s but with more polish, was a pleasure to listen to and represents a real boon for the theater’s Academy.”
    Harry Rose, Parterre

    “Fatma Said was a puckish Amour.”
    James Imam, The Financial Times

    “Bravissima Fatma Said (già ottima Pamina alla Scala) nel completo d’oro di Amour, un’aggraziata e spiritosa messaggera degli dei.”
    Stefano Jacini, Giorno della Musica