Julia Sporsén is represented by Rayfield Allied woldwide.

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Julia Sporsén


  • 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
  • Julia Sporsén has a thrillingly powerful voice – a core of steel wrapped in a casing of velvet.
    Warwick Thompson, Metro
  • 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 was a terrific Nedda, feisty, fiery, vocally secure and dramatically impressive.
    Hugo Shirley, Opera
  • Julia Sporsén’s gorgeously sung Donna Anna.
    The Independent
  • Her Violetta is magnificent and human, bewildering and crystal clear. It is a singer’s breakthrough that will be difficult to forget.
    Björn Wiman, Dagens Nyheter
  • Swedish soprano Julia Sporsén studied at the Operastudio67 in Stockholm and the Royal Academy of Music in London.  She was the winner of the Opera Rara Patric Schimdt Bel Canto Prize and the Flora Nielsen Song Prize. 

    Julia has sung in numerous productions at English National Opera where roles have included First Squire and Flower Maiden Parsifal , Katya in Weinberg’s The Passenger, Julia in Torsten Rasch’s new opera The Duchess of Malfi, the title role in Martinu’s Julietta and Antigone in Julian Anderson’s Thebans.  Other notable appearances include Tebaldo Don Carlos for Opera North (also recorded for Chandos Records), Kumudha in John Adams’s opera A Flowering Tree for Göteborg Opera, Regan in the world premiere of Promised End by Alexander Goehr for English Touring Opera, Micaëla Carmen, Gilda Rigoletto, and Nedda Pagliacci for Opera Holland Park, and Micaëla for the Royal Swedish Opera.

    Recent and future engagements include Violetta in La Traviata for Folkoperan in Stockholm, a series of concerts with the Göteborg Symfoniker, and in 16/17 Julia joins the ensemble at Göteborg Opera where productions include Carmen, Die Zauberflöte, and La Traviata.

    • Violetta (La Traviata)
      Folkoperan, Stockhom (September 2015)

      Julia Sporsén’s Violetta vocal line unfolded with virtuosity…superbly secure and passionate…she was a stand out! She delivered the great finale and death scene with impressive intensity.
      Camilla Lundberg, Dagens Nyheter
      Julia Sporsén is outstanding in the lead role. Her Violetta is magnificent and human, bewildering and crystal clear. It is a singer’s breakthrough that will be difficult to forget.
      Björn Wiman, Dagens Nyheter
      Julia Sporsén is simply outstanding in the title role. With her strong, clear, vibrato she gives the role a credible range with many touching moments, not least in the last act.
      Bo Löfvendahl, Svenska Dagbladet
      Julia Sporsén is unparalleled as Violetta. With a strong, dense and coherent voice full of character she gives a performance which deserves nothing but praise.
      Claes Wahlin, Aftonbladet
      Once every ten years, it happens on an opera stage… A completely new opera singer comes along with exactly what it takes for a plot and storyline to take shape around her and come out in her voice. So it is with soprano Julia Sporsén who sings the leading role of Violetta… She excelled in the role of Kumudha in John Adams’s opera A Flowering Tree at the Gothenburg Opera House earlier this year… Tension swarms around her as it does a queen bee… In her voice is contained the expansion reflective of the person she portrays… Everything is visible in her facial expressions and the full meaning is conveyed in her singing.
      But it is Julia Sporsén’s interpretation of Violetta – both dramatically and vocally – that leaves the most significant impression.
      Per Feltzin, Sveriges Radio
      The love story between Violetta and Alfredo is carved out with warmth, love and humour. This is not least down to the superb interpretation by Julia Sporsén, a soprano with rigor and a beautiful high voice.
      Patrick Uhlman, Ekuriren
      Vocally speaking, Julia Sporsén demonstrates the most impressive effort, but I would have expected this having heard her earlier in the year at the Gothenburg Opera. Dramatically and vocally, I regard her performance as the highlight of the show!
      Mogens H Andersson, Opera Logg
    • Kumudha (A Flowering Tree)
      Göteborg Opera (February 2015)

      Soprano Julia Sporsén as Kumudha filled the Gothenburg Opera with sonorous power and intensity in her interpretation of this expressive music. Her phenomenal strength made the scenes in the second half particularly poignant where her character is affected first by doubt, later by dire adversity.
      Peter Bohlin, Dansportalen
      Above all, I was impressed by Julia Sporsén’s...ability to allow the long melodic lines to create an impression of floating, her prolonged and elevated melodies blurring the time sequences and bringing the music a fascinating sense of stillness.
      Magnus Haglund, GP
      Julia Sporsén acts completely convincingly, both in the subtle differences of her transformations and in her terror when she finds herself stuck in a mutilated form, without limbs. Her soaring lyrical soprano expresses all of this beautifully.
      Niklas Smith, seenandheard-international.com
    • Antigone (Thebans), English National Opera
      London Coliseum (May 2014)

      With plenty of vocal temperament and incisive colour, Julia Sporsén was a passionate Antigone.
      John Allison, Opera
      Julia Sporsén’s Antigone and Matthew Best’s gorgeously upholstered Tiresias are both outstanding.
      Guy Dammann, The Guardian
      A mournful cor anglais shadows the vocal line of Antigone, passionately delivered by Julia Sporsén.
      Fiona Maddocks, The Observer
      …strong individual performances from …Christopher Ainslie (Theseus) and Julia Sporsén (Antigone) fleshed out the drama of the production by Pierre Audi.
      George Hall, Opera Now
      Oedipus is excellent, as are Peter Hoare’s Creon and Julia Sporsén’s indignant Antigone.
      Barry Millington, Evening Standard
      Julia Sporsén’s passionate, incisive Antigone gave Acts Two and Three a thrilling sense of obsession and tragedy.
      Peter Reed, classicalsource.com
      Julia Sporsén’s Antigone – ferociously sung, desperate and beautiful.
      Alexandra Coghlan, theartsdesk.com
      Julia Sporsén’s Antigone impresses more than any of her recent ENO appearances.
      Simon Thomas, whatsonstage.com
    • Rosalinde (Die Fledermaus), English National Opera
      The Coliseum, London (September 2013)

      Julia Sporsén was on fine vocal form as Rosalinde, singing a csárdás that would have lit up any production.
      Peter Reed, Opera
      Julia Sporsén’s performance was sympathetic and stylish.
      Fiona Maddocks, The Observer
    • Nedda (Pagliacci)
      Opera Holland Park (June 2013)

      Julia Sporsén was a terrific Nedda, feisty, fiery, vocally secure and dramatically impressive.
      Hugo Shirley, Opera
      Julia Sporsén…sings juicily.
      Neil Fisher, The Times
      Julia Sporsen’s Nedda, a vivid characterization.
      Rupert Christiansen, The Daily Telegraph
      Julia Sporsen…makes an in-depth exploration of Nedda’s hopes and frustrations.
      George Hall, The Stage
      “…the admirable Nedda of Julia Sporsén.
      Barry Millington, The Evening Standard
      Julia Sporsén, an actor with genuine range and full of vocal stunts, takes charge as Nedda, a travelling player and scarlet woman par excellence.
      Joseph Woby, Metro
      It fell to the Nedda of Julia Sporsén, a soprano whose star is very much in the ascendant, to show how it’s done – whether revelling in the bliss of plunging tired feet into a wash-basin during “Oh! Che volo d'augelli?” or else struggling to conceal her anguish while vamping a sultry, Commedia dell’arte tart during the clowns’ performance.
      Mark Valencia, classicalsource.com
      Julia Sporsen [is] excellent as the adulterous Nedda.
      Simon Thomas, Whatsonstage.com
    • Julietta (Martinů), English National Opera
      London Coliseum (September 2012)

      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
      As Julietta, all nervous jiggles, vicious mocking and sudden seriousness, Julia Sporsen is dynamic, voluptuous and disturbing.
      Anna Picard, The Independent on Sunday
      Julia Sporsén is warmly luscious as [Michel’s] obscure object of desire.
      Rupert Christiansen, The Daily Telegraph
      Julia Sporsén sang with attack and brilliance.
      Peter Reed, The Daily Telegraph
      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 is admirable as the elusive Julietta.
      Barry Millington, The Evening Standard
      Memorable performance from Julia Sporsen’s enigmatic Julietta.
      George Hall, The Stage
      Rarely can a title role have so little to sing, yet Julia Sporsén captivates as Julietta, catching the ambiguity behind her character . . . she makes much of her scenes on stage, with some impassioned singing in the duet with Michel in the woods.
      Mark Pullinger, Opera Britannia
      As for Julia Sporsén as Julietta, vocally and visually the Swedish soprano radiated such vitality that Michel was bound to be smitten.
      Mark Valencia, classicalsource.com
    • 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.
      [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

    John Adams
    • A Flowering Tree (Kumudha)
    Julian Anderson
    • The Thebans (Antigone)
    • Carmen (Micaela)
    • Peter Grimes (Ellen Orford) extracts
    • The Rape of Lucretia (Female chorus) extracts
    • Adriana Lecouvreur (title role) extracts
    • L’Elisir d’Amore (Adina, Giannetta)
    Detlev Glanert
    • Caligula (Livia)
    Alexander Goehr
    • Promised End (Regan)
    • Rinaldo (Armida) extracts
    • Jenufa (Jenufa, Jano)
    • Julietta (Julietta)
    • The Consul (Magda) extracts
    • 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)
    • La voix humaine (Elle)
    • La bohème (Mimì, Musetta)
    • Dardanus (Iphise)
    Torsten Rasch
    • The Duchess of Malfi (Julia)
    • The Bartered Bride (Mařenka) extracts
    Strauss (J.)
    • Die Fledermaus (Rosalinde)
    • Iolanta (Iolanta)
    • Don Carlos (Tebaldo)
    • La traviata (Violetta)
    • Rigoletto (Gilda)
    • Parsifal (First Squire, Flower Maiden)
    • The Passenger (Katya)

    Julia Sporsén’s Concert Repertoire

    • Requiem
    • Mass in C
    • The Kingdom
    • St Cecilia Mass
    • The Creation
    • Stabat Mater
    • Jephtha (Iphis)
    • Psalm 42
    • Requiem
    • Bella mia fiamma (concert aria)
    • Stabat Mater
    • Psalmfest
    • Requiem
  • Photos