Nadine Livingston is represented by Rayfield Allied worldwide.

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Nadine Livingston

Soprano

  • Nadine Livingston’s Gilda was pure gold. Her polished, shining soprano effortlessly soared heavenward whilst musing on her love for the Duke as she sang “Gualtier Malde....caro nome."
    Opera Britannia
  • [Nadine Livingston's] Gilda is one of the finest I have heard in a long time, bright and innocent for the first act, wounded and vulnerable in the second. The clarity of her tone is remarkable, as is her technical skill.
    Seen and Heard International
  • Nadine Livingston made the most of her main stage debut with a terrific Musetta, a hellcat in killer heels.
    The Herald
  • The evening's most striking singing comes from Nadine Livingston's Lady-in-Waiting
    The Times
  • Nadine Livingston confirmed the promise of her Susanna in last autumn’s Figaro with a sensitively sung and convincingly ingenuous Gilda.
    The Telegraph
  • Her Susanna, vivacious, lyrical, perfectly tuned and with a consistently silvery lustre from above the stave to the chesty depths of Deh vieni, is a knockout.
    The Times
  • Nadine Livingston studied with Barbara Robotham at the Royal Northern College of Music where she gained a First Class BMus Honours and a Postgraduate Diploma, with Distinction.

    Her many prizes while at the RNCM include the Alexander Young Prize, the Joyce and Michael Kennedy Prize, three consecutive Eva Turner Awards, the Frederic Cox Award and the 2008 Clonter Opera Prize.

    Nadine has been the recipient of a Countess of Munster Scholarship, Ian Fleming Scholarship, Sybill Tutton Award and a Caird Scholarship. She has sung in masterclasses with Sir Thomas Allen, Sir Willard White and Jane Eaglen and Dame Anne Evans. She is a Samling Scholar, and was from 2009-2011 an Emerging Artist at Scottish Opera.

    On the concert platform Nadine has sung Handel’s Messiah, Vaughan Williams’ Dona Nobis Pacem and Mozart’s Requiem.  Other notable performances include Bach’s Christmas Oratorio in China with the Macao Orchestra, with the National Youth String Orchestra of Scotland as part of the Edinburgh Festival, Britten’s Les Illuminations with the Goldberg Ensemble, Schoenberg’s 2nd String Quartet with the Vertavo String Quartet, and Vaughan Williams’ Symphony No.3 and Neilson’s Symphony No.3 with the Hallé Orchestra and Sir Mark Elder (broadcast on BBC Radio 3).

    Nadine’s operatic roles while at the RNCM included Polly in Kurt Weill’s The Threepenny Opera, Tatyana in Eugene Onegin, Susanna in Le nozze di Figaro, and Rosalinde in Die Fledermaus. In addition she has also performed selected scenes from the roles of Mimi La Bohème, Gretel Hansel and Gretel, Ilia Idomeneo and the Governess Turn of the Screw.

    As an Emerging Artist at Scottish Opera Nadine has sung the title role in Janáček’s Katya Kabanova, Musetta La Bohème, Susanna Le nozze di Figaro and Gilda Rigoletto, as well as covering the role of Fiordiligi Cosi fan tutte.

    Last season Nadine made her debut at the Royal Opera House, Covent Garden singing Woglinde in Wagner’s Ring Cycle, conducted by Sir Antonio Pappano. Engagements this year include two more roles at Covent Garden: Innocent The Minotaur and Lady in Waiting in Richard Jones’ new production of Gloriana, as well as Anna Seven Deadly Sins at the Edinburgh International Festival

    • Anna (Seven Deadly Sins), Scottish Opera/Company Chordelia
      Edinburgh International Festival (August 2013)

      Livingston and Pollock were both excellent… Do not miss.
      Sarah Urwin Jones, The Times
    • Lady-in-Waiting, Gloriana (Britten)
      Royal Opera House, Covent Garden (June 2013)

      The evening's most striking singing comes from Nadine Livingston's Lady-in-Waiting.
      Richard Morrison, The Times
      As the queen’s lady-in-waiting, Nadine Livingston sang well in her Act III ‘Dressing-table song'.
      Mark Pullinger, Opera Britannia
    • Gilda (Rigoletto), Scottish Opera
      (2011)

      Nadine Livingston’s Gilda was pure gold. Her polished, shining soprano effortlessly soared heavenward whilst musing on her love for the Duke as she sang “Gualtier Malde....caro nome.” Miss Livingston is described as being part of Scottish Opera’s Emerging Artist programme. It is quite clear from her performance that she has in fact emerged and done so with an admirable grace and elegance.
      Opera Britannia
      Most outstanding of all, however, was Nadine Livingston, another of Scottish Opera’s Emerging Artists. Her Gilda is one of the finest I have heard in a long time, bright and innocent for the first act, wounded and vulnerable in the second. The clarity of her tone is remarkable, as is her technical skill for the coloratura of ‘Caro nome’, and her performance in the final duet was deeply moving.
      Seen and Heard International
      Nadine Livingston confirmed the promise of her Susanna in last autumn’s Figaro with a sensitively sung and convincingly ingenuous Gilda.
      The Telegraph
      Nadine Livingston is a virginal revelation as the doomed Gilda. Her silvery, controlled Caro nome, teetering on the brink of forbidden love, is heartfelt, trepidatious and innocent.
      The Times
    • Susanna (Le Nozze di Figaro), Scottish Opera
      (2010)

      Her Susanna, vivacious, lyrical, perfectly tuned and with a consistently silvery lustre from above the stave to the chesty depths of Deh vieni, is a knockout.
      The Times
      Nadine Livingston's irrepressibly exuberant and pragmatic Susanna - her sheer brio is breath-taking.
      The Herald
    • Musetta (La Bohème), Scottish Opera
      (2010)

      Nadine Livingston's Musetta sparkled.
      The Times
      Nadine Livingston made the most of her main stage debut with a terrific Musetta, a hellcat in killer heels.
      The Herald
      This act is enlivened, too, but Nadine Livingston's feisty turn as Musetta, a Vivienne Westwood-clad good-time girl with attitude.
      Guardian
    • Katya (Katya Kabanova), Scottish Opera
      (2009)

      Nadine Livingston as Katya was astonishing...there is no doubt that Miss Livingston possesses a powerful and highly expressive voice...a gifted actress as well as a gifted singer. Her touching embrace of Boris was exquisitely tender, the confession of her infidelity reckless, whilst her death scene was all about resignation from hope and life.
      Opera Britannia
      Nadine Livingston's Katya was powerful...she portrayed her uneasy relationship with gutsy conviction.
      Scotsman
  • Nadine Livingston’s Opera Repertoire

    Birtwhistle
    • The Minotaur (Second Innocent)
    Britten
    • Gloriana (Lady in Waiting)
    Janacek
    • Katya Kabanova (Katya)
    Mozart
    • Così fan tutte (Fiordiligi)
    • Le nozze di Figaro (Susanna)
    Puccini
    • La Bohème (Musetta)
    Johann Strauss II
    • Die Fledermaus (Rosalinde)
    Tchaikovsky
    • Eugene Onegin (Tatyana)
    Verdi
    • Rigoletto (Gilda)
    Wagner
    • Das Rheingold (Woglinde)
    • Götterdämmerung (Woglinde)
    Weill
    • Seven Deadly Sins (Anna)
    • Threepenny Opera (Polly)

    Nadine Livingston’s Concert Repertoire

    J.S. Bach
    • B minor Mass
    • Christmas Oratorio
    • St John Passion
    Beethoven
    • Missa Solemnis
    Berg
    • Siren Frühe Lieder
    Britten
    • Les Illuminations
    • On this Island
    Handel
    • Messiah
    Jenkins
    • The Armed Man
    Mozart
    • Alma grande e nobil core
    • Ch'io mi scordi di te
    • Vado ma dove?
    • Requiem
    Neilson
    • Symphony No. 3
    Johann Strauss II
    • Frühlingstimmen
    Vaughan Williams
    • Symphony No.3
    Verdi
    • Requiem
  • Photos