Julia Sporsén is represented by Rayfield Allied woldwide.

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Julia Sporsén

Soprano

  • Julietta is sung by the sexy, charismatic, pretty-voiced Julia Sporsén, a complete stage animal ... who deserves to go far.
    Andrew Clark, The Financial Times
  • Julia Sporsén’s gorgeously sung Donna Anna
    The Independent
  • Julia Sporsén has a thrillingly powerful voice – a core of steel wrapped in a casing of velvet
    Warwick Thompson, Metro
  • But the biggest plaudits must go to Peter Hoare and Julia Sporsén as the bewitched, bothered, and bewildered lovers, both acting as brilliantly as they sing.
    Michael Church, The Independent
  • The real eye-catcher of the production was Swedish-born soprano Julia Sporsén as Micaëla … her Act 3 aria was remarkable … A singer to watch!
    Opera Now

  • Swedish soprano Julia Sporsén studied at the Operastudio67 in Stockholm, where she sang Donna Elvira Don Giovanni, Vitellia La clemenza di Tito, Mimì La bohème and Micaela Carmen.  In 2007 she graduated from the Royal Academy of Music Opera Course and was the winner of the Opera Rara Patric Schimdt Bel Canto Prize and the Flora Nielsen Song Prize. 

    Julia is a regular performer at English National Opera where roles include Iano Jenufa (whilst covering the title role), Giannetta (cover Adina) L’Elisir d’Amore, First Squire and Flower Maiden Parsifal , Katya in Weinberg’s The Passenger and Julia in Torsten Rasch’s new opera The Duchess of Malfi.  Other notable appearances include Tebaldo Don Carlos for Opera North (also recorded for Chandos Records), Regan in the world premiere of Promised End by Alexander Goehr for English Touring Opera, Micaëla Carmen and Gilda Rigoletto for Opera Holland Park, and Micaëla Carmen for the Royal Swedish Opera.

    Engagements this season and beyond include Nedda Pagliacci for Opera Holland Park and Rosalinde Die Fledermaus and Antigone in the world premiere of The Thebans by Julian Anderson for English National Opera.

    Julia Sporsén is represented woldwide by Ben Rayfield at Rayfield Allied.
    This biography is for information only and should not be reproduced.

    • Katya (Weinberg’s The Passenger), English National Opera
      UK premiere (September 2011)

      The large ensemble cast, including Julia Sporsen, Pamela Helen Stephen and Rebecca de Pont Davies, gave their heartfelt best.
      Fiona Maddocks, The Guardian
      There’s a simple unaccompanied folk song for Katya, one of the inmates, in Act 2. Julia Sporsen sings it with hushed rapture, and the effect is haunting.
      Warwick Thompson, Bloomberg.com
      Julia Sporsen as inmate Katya nearly steals the show with a moving Russian folksong
      Ben Hogwood, Metro
      Julia Sporsen's rendering of Katya's Russian folk song is especially touching.
      Christian Hoskins, Whatsonstage
      Julia Sporsen, who plays the Russian prisoner Katya, sang an enchanting and, ironically, captivating unaccompanied Russian folk song, during which she held the silent attention of the Coliseum in a moment of unparalleled beauty
      Paul Guest, Ceasefire
      The most moving vocal moment in fact came a little later, as the a capella Russian folksong faded into nothingness (Julia Sporsén as Katya)
      David Fanning, Opera

    • Gilda (Rigoletto), Opera Holland Park
      (July 2011)

      Julia Sporsen’s Gilda [is] outstandingly sung; the father-daughter duets, in their shanty-town shack, wring the heart.
      Michael Church, The Independent
      Julia Sporsén, as Gilda, was a real revelation, displaying superb clarity and projection, her tone pure and effortlessly pleasing.
      Opera Today
      The phenomenal voice Julia Sporsen…impressed from the first with her piercingly bright timbre and lyric vocal line…it was beautifully pitched, her trills flawless and her vocal colouring bright.
      John de Wald, Opera Britannia
      Posner’s focus is on the intensity of the relationship between Robert Poulton’s Rigoletto and Julia Sporsén’s Gilda, whose innocence is matched by the furious sexual energy of adolescence. Though the shivering flute obbligato is still wan with purity, her “Caro nome” is hot with desire.
      Anna Picard, Independent on Sunday
      As the innocent Gilda Julia Sporsén’s fleshy soprano maintains intensity with its expressive power.
      George Hall, The Stage
      As Gilda, Julia Sporsén’s agile attack and dramatic power regularly carry her to victory.
      Geoff Brown, The Times
      Gilda is sung by the terrific Julia Sporsen whose singing and acting really tug at the heartstrings.
      Warwick Thompson, Metro
      Julia Sporsen is a terrific Gilda. She sings well, and conveys a fascinating half-scared, half-loving relationship with her father.
      Bloomberg
      [Julia Sporsén] sang with considerable panache. Her ‘Caro nome’ could hardly have been more dolcissimo, laced with delightful rubato, which Stratford humoured perfectly. But she also had power to spare. The contrast between her graceful figure in a ballgown and her little-girl-lost in the penultimate scene was stark in the extreme. Most of the sexual electricity in her private encounter with the Duke was hers
      Martin Dreyer, Opera

    • Micaela (Carmen), Opera Holland Park
      (June 2010)

      …Julia Sporsén’s fearless, ardent Michaela…
      Anna Picard, The Independent
      Julia Sporsén’s Micaela is more conventional in her village girl virtuousness, but her singing has an impressively charged lyricism that blossoms in her third act aria.
      George Hall, The Guardian
      …Julia Sporsén displays a heavenly purity of sound as Micaela.
      Warwick Thompson, Bloomberg.com
      The best vocal performance of the evening was undoubtedly given by Julia Sporsén in the thankless role of Micaela. Her warm, beautiful voice was evenly produced throughout the range
      Sebastian Petit, Opera Britannia
      Julia Sporsen was a pleasing, simple Micaela who rose to her Act III aria…
      Francis Muzzu, Opera Now

    • Gianetta (The Elixir of Love), English National Opera
      (February 2010)

      Julia Sporsén’s Gianetta was sparkling and full of life.
      Opera Today
      there’s sex appeal in a single flash of Julia Sporsén’s smoky eyes
      The Independent
      Julia Sporsén made a great impression in the small role of Gianetta, singing with confidence and charm.
      Musical Criticism
      a sparky Gianetta
      Opera News
      Julia Sporsén’s perky Gianetta
      Music Web International
      Julia Sporsén makes the most of her brief opportunities as Gianetta
      Opera Britannia

  • Julia Sporsén’s Opera Repertoire

    Bizet
    • Carmen (Micaela)
    Britten
    • Peter Grimes (Ellen Orford) extracts
    • The rape of Lucretia (Female chorus) extracts
    Cilea
    • Adriana Lecouvreur (title role) extracts
    Handel
    • Rinaldo (Armida) extracts
    Janáček
    • Jenufa (Jenufa, Jano)
    Martinů
    • Julietta (Julietta)
    Menotti
    • The Consul (Magda) extracts
    Mozart
    • La clemenza di Tito (Vitellia) extracts
    • Don Giovanni (Donna Anna, Donna Elvira)
    • La Finta Giardiniera (Arminda)
    • Le nozze di Figaro (Countess, Susanna) extracts
    • Die Zauberflöte (First Lady)
    Poulenc
    • La voix humaine (Elle)
    Puccini
    • La bohème (Mimì, Musetta)
    Rameau
    • Dardanus (Iphise)
    Smetana
    • The bartered bride (Mařenka) extracts
    Strauss (J.)
    • Die Fledermaus (Rosalinde) extracts
    Tchaikovsky
    • Iolanta (Iolanta)
    Verdi
    • Don Carlos (Tebaldo)
    • La traviata (Violetta)

    Julia Sporsén’s Concert Repertoire

    Brahms
    • Requiem
    Beethoven
    • Mass in C
    Elgar
    • The Kingdom
    Gounod
    • St Cecilia Mass
    Haydn
    • The Creation
    • Stabat Mater
    Handel
    • Jephtha (Iphis)
    Mendelssohn
    • Psalm 42
    Mozart
    • Requiem
    • Bella mia fiamma (concert aria)
    Pergolesi
    • Stabat Mater
    Rutter
    • Psalmfest
    Saint-Saens
    • Requiem

  • Photos

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