Nicole Car

Recent and future engagements include her house debut at the Wiener Staatsoper as Tatjana Eugene Onegin with a return later this season as Marguerite Faust. Other engagements include returns to the Metropolitan Opera, Deutsche Oper Berlin, the Opera de Paris and her house debut at Santa Fe Opera.

© Yan Bleney


Nicole Car is one of the most outstanding young singers to emerge from Australia in recent years, performing at the Royal Opera House Covent Garden, Dallas Opera, Deutsche oper Berlin, Opera Australia and Opera de Paris.

Concert repertoire includes Brahms’ Deutsches Requiem, Das Klagende Lied, Mozart’s Requiem and St John Passion.

Nicole was 2013 winner of Neue Stimmen and was nominated for Best Young Singer at the 2015 International Opera Awards. She won Best Female Performer in an Opera category at the 2018 Helpmann Awards.

Her discography includes her first solo orchestral disc The Kiss and Heroines.


Video & Audio


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    Label: ABC Classics

    Release Date: 05 Oct 18

    Artistic directo and Lead Violin: Richard Tognetti

    Soprano: Nicole Car

    Australian Chamber Orchestra


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    The Kiss

    Label: ABC Classics

    Release Date: 05 Feb 16

    Conductor: Andrea Molino
    Soprano: Nicole Car
    Australian Opera and Ballet Orchestra

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    BRAHMS A German Requiem

    Label: ABC Classics

    Release Date: 03 Feb 12

    Conductor: Johannes Fritzsch

    Soprano: Nicole Car
    Bass-baritone: Teddy Tahu Rhodes

    Melbourne Symphony Orchestra Chorus
    Melbourne Symphony Orchestra

    Catalogue No. 476 4811

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    25 Oct 20 TCHAIKOVSKY Eugene Onegin
    Wiener Staatsoper

    “Die in letzter Minute eingesprungene Nicole Car, die eigentlich erst viel später für ihr Wien-Debüt vorgesehen war, interpretiert die Tatjana und ihre Sehnsucht nach Liebe und Anerkennung so überzeugend, dass man sich die Augen reiben darf.”

    ORF, 26 October 2020

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    15 Feb 20 MOZART Cosi fan tutte
    Metropolitan Opera

    “Nicole Car’s girlish/womanly demeanor was just right for Fiordiligi[…] her singing – all of it – was just about perfect: all registers, accurate, easy coloratura, dark low notes and a gleam at the very full top. “Per pietà” was properly still, even as sung from an ascending hot-air balloon.”

    Robert Levine, Bachtrack, 20 February 2020

    “Nicole Car’s Fiordiligi was all elegance and charm, her sweet, buoyant soprano gliding through Mozart’s more lyric phrases with gentle ease[…] Her “Per pietá” was the musical highlight of the performance, with a fresh, effortless musicality, particularly in the Adagio, and a delightful sense of drama and color. Car sang with style and poise throughout, despite dangling some twenty feet above ground in a Ferriss wheel gondola.”

    Callum John Blackmore, Parterre Box, 16 February 2020

    “Soprano Nicole Car as Fiordiligi had to sing her show-stopping Act II aria “Per pietà, ben mio perdona” while floating in vertical circles in a balloon gondola. A Ferris wheel in the background mirrored her course, starting and stopping, drawing one’s eye away from the singer. It is a tribute to Car’s splendid upper register and warm delivery that her performance still left a strong impression.”

    David Wright, Classical Review, 16 February 2020

    “Nicole Car confronts the challenge of Fiordiligi with a full yet flexible soprano, its tone soft around the edges[…] She blends intriguingly with the Dorabella of Serena Malfi, who has a lithe, slightly wiry mezzo-soprano.”

    Zachary Woolfe, The New York Times, 16 February 2020


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    14 Nov 19 VERDI Don Carlo
    Opera de Paris

    “Nicole Car succédant à Aleksandra Kurzak, évolue ensuite avec plus d’aisance pour offrir une magnifique prestation au dernier acte, dans lequel elle fait la démonstration de sa virtuosité qui nous donne l’impression que l’artiste chante sans effort.”

    Brigitte Maroilla, Forum Opera, 15 November 2019

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    14 Sep 19 TCHAIKOVSKY Eugene Onegin

    “Pour ses débuts montréalais, Nicole Car reçoit un accueil à la mesure de sa Tatiana : triomphal. Parfaitement crédible et fort touchante en jeune provinciale candide frappée de plein fouet par la violence du sentiment amoureux, elle livre une scène de la lettre aboutie à tout point de vue. Projetée avec assurance, la voix souple – aux couleurs convenant bien au répertoire slave – traduit à merveille les émois naïfs, puis la ferme résolution de la femme mariée renonçant à sa passion de jeunesse.”

    Louis Bilodeau, Avant-Scene Opera, 14 September 2019

    “Nicole Car est une soprano de tout premier ordre. Dans la scène de la lettre, autant exigeante en matière vocale que scénique, elle parvient à rendre avec brio le flot d’émotions contradictoires qui assaille la jeune Tatiana, avec une voix souple d’une égalité parfaite et d’un timbre capiteux.”

    Emmanuel Bernier, Bachtrack, 15 September 2019

    “Car was admirable in every way as Tatyana. It said something about the intensity of her tone and truth of her acting style that we forgot during the Letter Scene that we were in big, cavernous Salle Wilfrid Pelletier of Place des Arts.”

    Arthur Kaptainis, La Scena Musicale, 15 September 2019

    “Merci donc à Étienne Dupuis et à Nicole Car d’exister, d’autant que le couple a été musicalement excellent[…] elle avec une inespérée puissance dans le registre inférieur de la voix, qui sied parfaitement à un rôle qu’elle maîtrise remarquablement — la dernière partie de l’air de la lettre étant un moment fort de la soirée.”

    Christophe Huss, Le Devoir, 16 September 2019

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    08 Aug 19 Australia Recital Tour
    Sydney, Melbourne, Brisbane

    “Car presented a range of French songs in the first half that were both delicate and exquisitely sung, mostly centred around love and death themes and imparting a strong sense of longing. She commenced with Duparc’s L’invitation au voyage, her rich, warm soprano expressive in setting both the mood and tone of the piece and the recital program as a whole.”

    “Car sang Marguerite’s spinning aria, Ils ne revient pas from Gounod’s Faust, in which she realises her lover will never return, with passionate intensity, bringing out all the drama and anguish with delicious vocal colours. In the second half, she sang Elisabetta’s famous final aria from Verdi’s Don Carlo, Tu che le vanita. Beautifully paced, Car managed this dramatic soprano aria with an intelligent interpretation and terrific power in her top register.”

    Suzannah Conway, Arts Hub, 14 August 2019

    “While this evening was a team effort, the night ultimately belonged to Car; no one could be left in any doubt why this world-class singer has fast become one of the most sought-after artists of her generation.”

    Maxim Boon, The Sydney Morning Herald, 8 August 2019

    “As always, Car draws from a remarkable palette of colours to impart meaning and establish mood, as with Hahn’s L’heure exquise, which seemed to tremble with a mixture of sorrow and hope. With tonal refulgence and attention to text, the soprano made Massenet’s Élégie quietly devastating, preceded by an equally haunting account of Fauré’s Automne.”

    Justine Nguyen, Limelight, 4 August 2019

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    25 Jul 19 BRITTEN Peter Grimes

    “Making her debut as Ellen Orford, Nicole Car brought warmth and radiance of tone to her portrayal of the compassionate widow. Fully capturing the character’s mix of certitude and doubt, the soprano was most impressive when volunteering to help collect Grimes’ new apprentice, John (Joshua Scott). A brave public declaration of faith in the fisherman, villagers’ suspicions be damned, Car powerfully established in this moment a woman of strong conviction underneath the retiring demeanour. When this faith begins to crumble, the soprano registers it fully: both body and voice become momentarily drained of life when Ellen discovers John’s bruises.”

    Justine Nguyen, Limelight, 26 July 2019

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    13 Jun 19 MOZART Don Giovanni
    Opera de Paris

    “Nicole Car’s Donna Elvira provided both the moral anchor for the piece and the evening’s most attractive singing. Her dramatic transparency was paired with a warm and creamy timbre, even and accurate throughout its range.”

    Susan Brodie, Classical Voice North America, 20 June 2019

    “[…]Donna Elvira (excellente Nicole Car, belle couleur de timbre et intensité du jeu)[…]”

    Bertrand Renard, France Info, 12 June 2019

    “Nicole Car, lui [Don Giovanni] donne bien du fil à retordre à la scène en Donna Elvira, dont la rage se concentre dans la voix, aiguisée, bien que moirée, au vibrato suave.”

    Damien Dutillieul, Olyrix, 12 June 2019

    “Dans le rôle d’Elvire, Nicole Car[…] joue avec sincérité l’épouse bafouée et abandonnée, aigus précis et déliés, modulant les pianissimi avec délicatesse et simplicité.”

    Helene Kuttner, Artistik Rezo, 12 June 2019

    “Entre classicisme et modernité finalement, Nicole Car en Donna Elvira se charge de concilier les forces en présence : classique par l’interprétation d’un rôle dont elle maîtrise les enjeux vocaux, jusque dans le bas médium pourtant moins évident quand on est soprano lyrique, moderne par le personnage proposé, ni virago, ni larmoyant, femme amoureuse simplement dont le « mi tradi » admirablement lié ferait fondre un cœur de béton.”

    Christophe Rizoud, Forum Opera, 11 June 2019

    “L’idylle involontaire entre Donna Elvira, tenue par l’éblouissante Nicole Car, et Leporello a bien commencé dès la scène de la fenêtre, par la perversité du maître[…]”

    Michel Slama, Anaclase, 10 June 2019

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    10 Apr 19 BIZET Carmen
    Opera de Paris

    “Nicole Car prête à Micaëla sa voix de soprano lyrique, puissante, longue au point de rendre presque naturels les sauts de registre de « Mais j’ai beau faire la vaillante » dans son air du III. Capable d’élans dramatiques, l’interprète sort habilement Micaëla de son statut de personnage secondaire.”

    Stéphane Lelièvre, Olyrix, 10 April 2019

    “Nicole Car (Micaëla) complète le quatuor des rôles principaux avec une voix pleine et fruitée. Son air de l’acte III (« Je dis que rien de m’épouvante ») est enlevé avec panache […]”

    Tristan Labouret, Bachtrack, 13 April 2019

    “Nicole Car donne une Micaëla juste et inspirée […] le timbre de la soprano lyrique est rond et puissant dans les aigus.”

    Quentin Laurens, Webtheatre, 17 April 2019
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    24 Oct 18 Concert Australian Chamber Orchestra
    Barbican Centre

    “Car’s soprano glowed and glinted through the mood swings of Beethoven’s concert aria Ah! Perfido and the wrenching Ave Maria from Verdi’s opera Otello.”
    Erica Jeal, The Guardian, 27 October 2018

    “… Car was the surprise here, to anyone who hadn’t seen how her teenage Tatyana in Eugene Onegin could mature into a more tormentedly impassioned woman. Looks as if butter wouldn’t melt, but this is the genuine lirico spinto article, as her track record in the opera houses of the world so far attests.”
    David Nice, The Arts Desk, 25 October 2018


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    25 Sep 18 PUCCINI La Bohème
    Metropolitan Opera

    “The Australian soprano Nicole Car brought fine-grained tone and nuanced acting to the role of Mimì. There was a light, linear quality to her singing in the first act that opened up to a richer palette as renunciation and terminal illness darkened her character’s life.”
    Corinna da Fonseca-Wollheim, New York Times, 26 September 2018

    “Her singing and vocal characterization were deeply artistic, full of feeling while always unadorned, never showy or indulgent…. her phrases simply going from start to finish with great beauty and elegance. One’s attention was drawn directly to the character, what she was thinking and feeling. This was especially striking throughout the Act III scenes with her beloved, the painter Rodolfo (tenor Vittorio Grigolo) and Marcello. Her legato lines in “Dunque è prioprio finita!” were exceptionally musical.”
    George Grella, New York Classical Review, 26 September 2018

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    01 Mar 18 VERDI La traviata
    Opera Australia

    “The vocal fluency and dramatic expressiveness we associate with the great dames of this role — Sutherland, yes, but fellow Australians from Deborah Riedel to Emma Matthews, hell those scratchy Maria Callas recordings — was there for all to hear.”
    Jason Whittaker, Daily Review, 4 March 2018

    “A host of operatic superstars have showcased their talents as Verdi’s doomed heroine; now Nicole Car has proved she is up there with the best of them. In an extraordinary role debut, this talented performer dominated the production from the first exuberant scene, her clear and versatile soprano ringing out over the chorus with effortless charm.”
    Tom Pillans, Daily Telegraph, 5 March 2018

    “Her voice, strong across its entire range, has a luscious creaminess at the top, and a darker, glowing middle register. Allied with a warm stage presence, an intuitive sense of drama and an ability to convey subtle shifts of emotion, she is the complete performer, equally seductive both vocally and dramatically.”
    Jo Litson, Limelight Magazine, 2 March 2018

    “In the 5th iteration of this timeless Elijah Moshinsky production…Car sang with such faultless ease, with pure sounding notes you knew from the start that this was going to be a very special evening.”
    Victor Grynberg, J-Wire, 2 March 2018

    “Nicole Car’s eloquent dramatic instincts and blossoming lyric soprano made her debut as Violetta a captivating highlight of the Opera Australia Summer summer season. As her voice gets bigger the colours are more intense and complex, particularly in the lower reaches, without any sacrifice of youthful flexibility and agility.”
    Deborah Jones, Opera, May 2018

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    06 Dec 17 PUCCINI La bohème
    Opera de Paris

    “Une vraie Mimì, au grave peu sonore, certes, mais dotée d’un médium plein et d’un aigu chaleureux. Et une vraie présence.”
    Pierre Flinois, Avant-Scène Opéra, 7 December 2017

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    11 Sep 17 PUCCINI La Bohème
    Royal Opera House

    “…only Nicole Car’s touching, genuinely aware Mimi comes across as a three-dimensional character.”
    Andrew Clements, The Guardian, 12 September 2017

    “The star turn is undoubtedly Car, who touchingly conveys the joy, naivety, then growing panic of the doomed heroine, with a surge of lustrous timbre ready for the big moments.”
    Richard Morrison, The Times, 13 September 2017

    “With Antonio Pappano in the pit, and Michael Fabiano and Nicole Car as the fated lovers, the musical portents for Covent Garden’s new Bohème were excellent…charmingly offset by her silvered sound.”
    Michael Church, The Independent, 12 September 2017

    “… she created a totally authentic sense of that quintessential Bohème magic together with Pappano…”
    John Allison, Opera Magazine, November 2017

    “The evening’s exceptional vocal performance was Nicole Car’s Mimi, a character to whom the Australian soprano brought more strength of tone and personality than is now usual. As with her previous local assumptions – Micaela and Tatiana- Car’s long-breathed, assured Mimi suggested a star in the making.”
    George Hall, Opera News, December 2017

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    22 Jul 17 MASSENET Thaïs
    Sydney Town Hall

    “As Thais, soprano Nicole Car gave another magnificent performance. Displaying impressive agility across her range and a curvaceous sense of line, she astutely varied her timbre to reflect her character’s change of heart: creamy and voluptuous as the seductive pleasure-seeker, pure-toned and unembellished as a devoted believer.”
    Murray Black, The Australian, 24 July 2017

    “As anticipated, it provided a glorious vehicle for the coloured vocal freshness and fluid expressivity of Nicole Car as Thais, particularly as her voice opened out in the third act.
    In the first act she created a sound of haunting lonely beauty and quiet warmth and the second created gorgeous colours in passages of seductive exoticism.”
    Peter McCallum, Brisbane Times, 24 July 2017

    “The evening belonged to the two leads…the easy lyricism of her glorious soprano with its easy high notes…”
    David Larkin, BachTrack, 25 July 2017

    “Nicole Car has form in the role – Thaïs’ aria, Dis-moi que je suis belle, where the glamorous courtesan worries Marschallin-like about getting old, is a centrepiece of her brilliant debut disc. She proves equally charismatic essaying the complete role, her voice even across the full range giving her attention to text’s full play.”
    Clive Paget, Limelight Magazine, 22 July 2017

    “Nicole Car made a luscious debut as Thaïs…”
    Deborah Jones, Opera Magazine, November 2017

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    03 Jun 17 TCHAIKOVSKY Eugene Onegin
    Opera de Paris

    “…Nicole Car a su s’appuyer sur la poignante évidence scénique, vocale et orchestrale de cette production, ainsi que sur sa connaissance de l’œuvre : c’est dans ce rôle de Tatiana que la soprano australienne a percé sur la scène internationale, pour ses débuts au Royal Opera House de Londres il y a deux ans. Elle se plonge éperdument dans son livre d’amour, annonçant sa terrible désillusion. Ses phrases parfaitement homogènes, généreuses en vibrato et intentions, passent aisément la rampe de l’orchestre y compris dans les plus douces intensités. Par le seul jeu des nuances, et sans varier en rien le tempo, elle retient et anime les lignes selon les émotions. La prosodie est aussi admirable, cette Tatiana susurre du bout des lèvres les chauds sons slaves chuintants.”
    Charles Arden, Olyrix, 3 June 2017

    “.. elle est parvenue à émouvoir le public grâce à d’autres atouts et non des moindres, à commencer par un physique juvénile qui fait d’elle une Tatiana tout à fait crédible dès le début de l’ouvrage et une aisance scénique agrémentée d’un jeu subtil qui captent durablement l’attention. Enfin la cantatrice dispose d’une voix claire et bien projetée couronnée par un aigu brilliant… Au rideau final, elle a paru très touchée par l’accueil chaleureux que lui a réservé le public.”
    Christian Peter, Forum Opera, 4 June 2017

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    11 Feb 16 VERDI Luisa Miller
    Opera Australia

    “Soprano Nicole Car’s star is rising with her knockout Verdi debut in Opera Australia’s Luisa Miller…Since then, Nicole’s star has ascended rapidly, thanks mainly to her likeable presence on stage and a versatile soprano that manages to project considerable power combined with elegant phrasing, impressive colour and, when needed, a finely judged delicacy of tone…Nowhere was this more evident than in this rarely-seen production of Luisa Miller, one of Verdi’s lesser works but one of choral grandeur, a mesmerising set and stellar supporting singers…Fresh from her Covent Garden debut last year, singing Tatyana in Eugene Onegin, Nicole’s first Verdi role must rank as one of the highlights of her career…As Luisa, she brought an innocence and purity to the title role, matched with a light spirit and that convincingly warm soprano.”
    Tom Pillans, The Daily Telegraph, 14 February 2016

    “This production features some of the best vocal performances you’re likely to see on any stage this year, and there’s not a weak link amongst the principal cast…Out front is Nicole Car as the tragic figure of Luisa. Like most operatic sopranos, she’s subjected to a hell of a lot of abuse and, at the very least, this production finds the truth and full weight of that abuse…Car unleashes the full extent of her vocal power — it’s a unique instrument with the perfect balance of darkness and a ringing, bright resonance…In fact, it was probably Car’s star power which tempted Opera Australia’s Artistic Director Lyndon Terracini to program the work. It’s a role which seems both vocally and dramatically tailor-made for the young soprano.”
    Ben Neutze, Daily Review, 12 February 2016

    “Nicole Car was greeted ecstatically in her debut as Luisa – her first Verdi role. Still only 30, she looked the part and her acting was unaffected and sympathetic. Her soprano had a lovely glow, soaring easily to the top of the range and rising above the orchestra without strain.”
    Deborah Jones, Opera, June 2016

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    21 Dec 15 TCHAIKOVSKY Eugene Onegin
    Royal Opera House, Covent Garden

    “Nicole Car’s Tatyana was superb…What carried this performance is what can carry almost any Onegin…a superb Tatyana. Semyon Bychkov and the orchestra played the score like they were in love: really in love, with a tenderness and an eloquent, unforced ebb and flow that struck home even more deeply than the swooning, string-sliding passion that they deployed at the big climaxes. Car seemed to find exactly the same spirit. Vocally, she sounds as fresh and expressive as Tchaikovsky — who preferred young singers in Onegin — could have hoped, with shadows and gleams of light emerging naturally as she sang.”
    Richard Bratby, The Spectator, 9 January 2016

    “She’s a wonderful Tatyana, among the best ever, inhabiting the role with great dramatic and vocal surety.”
    Tim Ashley, The Guardian, 21 December 2015

    “Car’s passionate Tatyana has a bright and silvery purity…”
    Michael Church, The Independent, 20 December 2015

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    20 Oct 15 BIZET Carmen
    Royal Opera House, Covent Garden

    “The opera’s good girl is sung this time around by Australian debutante Nicole Car, in what is the evening’s most complete performance; her luminous soprano proves ideal for Bizet’s soaring lines and she acts with intelligence and immediacy.”
    George Hall, The Guardian, 20 October 2015

    “His fate is particularly tragic in this production as Micaela, the country girl to whom he was betrothed, is played by Australian soprano Nicole Car quite magnificently…Her delightful voice perfectly conveys the innocence, vulnerability and emotion of the part and she fully deserved the huge applause she received from the audience on the first night.”
    William Hartston, The Express, 21 October 2015

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    17 Feb 15 GOUNOD Faust
    Opera Australia

    “Nicole Car’s vocal performance as Marguerite is faultless — musically sensitive and effortlessly clear. Her performance of the Jewel Song is a masterclass in how to seamlessly combine operatic voice with a strong acting technique.”
    Ben Neutze, Daily Review, 18 February 2015

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    26 Oct 14 MOZART Le nozze di Figaro
    The Dallas Opera

    “The vocal standout is Australian soprano Nicole Car, in her U.S. debut, as Countess Almaviva. With a lustrous shine on a warm core of sound, and generous amplitude and expressivity, she could be a wonderful Straussian, although she never overdoes anything here. She also has a strikingly expressive face, registering the painful emotional ambiguities of her relationship with the Count.”
    Scott Cantrell, The Dallas Morning News, 25 October 2014

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    25 Jul 14 MOZART Don Giovanni
    Opera Australia

    “Nicole Car, as the conflicted Donna Elvira, sang the second act aria Mi tradi quell’alma ingrate (roughly “How could I fall for that creep?”) with unifying smoothness, gently thrilling clarity in the upper register and even purity throughout.”

    Peter McCallum, The Sydney Morning Herald, 27 July 2014

    “…Elvira (an entrancing Nicole Car)…”
    Grant Jones, The Daily Telegraph, 28 July 2014

    “Emerging Opera Australia favourite Nicole Car is also riveting. From the moment she strides on stage in her slacks, she gives Donna Elvira the vocal and physical spunk the character needs.”
    Nicole Lee, The Guardian, 28 July 2014


St John Passion

Norma (Adalgisa)

Carmen (Micaëla)
The Pearl Fishers (Leïla)

Ein Deutsches Requiem

Faust (Marguerite)

Die lustige Witwe (Valencienne)

Das klagende Lied

Die Zauberflöte (Pamina)
Don Giovanni (Donna Elvira and Donna Anna)
Le nozze di Figaro (Countess Almaviva)

Capriccio (Italian singer)

La bohème (Mimi)

Eugene Onegin (Tatyana)