Ronnita Miller

Mezzo-soprano

"… and Senta's nurse Mary (mezzo-soprano Ronnita Nicole Miller) having the strongest and most compelling voices and being the most convincing on stage."

Mark Swed, LA Times

"… American mezzo Ronnita Miller as Fricka, in possession of a voluminous and splendid voice."

Peter Dürrfeld, Kristeligt Dagblad

"(As Tisbe) Miller has a powerful and versatile voice, singing both bel canto and Wagnerian roles successfully."

Jane Rosenberg, Seen and Heard International

"In the role of Jocosta, Ronnita Nicole Miller projected a thrilling vocal presence as she proclaimed that oracles are not to be trusted..."

Janelle Gelfand, Cincinnati.com

"Ronnita Miller almost stops the show in the minor part of Marthe; she has a generous voice and knows how to make the most of it."

Shirley Apthorp, Financial Times

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American mezzo soprano Ronnita Miller continues her upward career trajectory in Season 2017-18 in her fifth season as a member of the permanent ensemble at Deutsche Oper Berlin; roles this season include Third Lady Die Zauberflöte, Mary Der fliegende Holländer, Handmaiden L'Invisible, Fenena Nabucco, Marcellina Le nozze di Figaro and Lucia Cavalleria rusticana. She then travels to San Francisco Opera to sing her signature roles in Der Ring  des Nibelungen, Erda and First Norn.

Last season’s highlights included Ulrika Un Ballo in Maschera and Madelon Andrea Chenier as well as appearing in revival performances of some of the roles that have brought her the admiration of Berlin audiences such as Marthe Schwertlein Faust and Erda and First Norn Der Ring  des Nibelungen. She joined Semperoper Dresden as Erda under the baton of Christian Thieleman. Guest appearances elsewhere included the role of Armando Le Grand Macabre under the baton of Simon Rattle with both the London Symphony Orchestra and the Berlin Philharmonic, as well as Verdi’s Requiem at Opernhaus Hannover.

Miss Miller joined the ensemble at the Deutsche Oper Berlin for the 2013-14 Season and made her house debut with the roles of Grimgerde Die Walküre and First Norn Gotterdämmerung; other roles there since have included Anna Les Troyens, Dryade Ariadne auf Naxos, Bianca The Rape of Lucretia, Alice Lucia di Lammermoor, Filipevna Eugene Onegin, Wowkle La Fanciulla del West, Geneviève Pelléas et Mélisande, Mama Lucia Cavalleria Rusticana, Marcellina Le Nozze di Figaro, Third Lady Die Zauberflöte, Fenena Nabucco, and Maddalena/Giovanna Rigoletto.

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The Ring

Deutsche Oper Berlin, April 2017

On stage every evening, the redoubtable Ronnita Miller lent her powerful contralto to Erda, Grimgerde and the First Norn

Opera Magazine, July 2017

Le Grand Macabre

Barbican, London January 2017

...the scintillating Elizabeth Watts and Ronnita Miller duetted sensuously as the love couple, Amanda and Amando.

Financial Times, 18 January 2017

The cast is admirable, with accomplished standouts from Peter Hoare’s Piet the Pot, Ronnita Miller’s vocally luscious Amando…

The Stage, 17 January 2017

…Ronnita Miller and Elizabeth Watts clung and clutched musically at one another in a sequence of X-rated duets…

The Independent, 16 January 2017

Vocal beauty was turned on when needed: notable were Ronnita Miller and Elizabeth Watts as Amando and Amanda…

Bachtrack, 16 January 2017

Ronnita Miller and Elizabeth Watts were superb lovers (Miller singing the role as a woman and not en travestie), and went a long way to putting the sex back into their relationship by musical means, giving us some really seductive singing. They made this difficult music sound luxuriously easy.

Planet Hugill, 16 January 2017

The mezzo-soprano Ronnita Miller and the soprano Elizabeth Watts were seated primly in white lab coats and dowdy court shoes, unable to lay a hand on each other although their voices entwined lusciously.

Opera, March 2017

…the duo of Elizabeth Watts and Ronnita Miller made for formidable music-making, their voices contrasted in colour yet more than capable of blend.


Seen and Heard International, 15 January 2017

Eugene Onegin, Deutsche Oper Berlin

December 2016

In the role of governess, the mezzo Ronnita Miller impressed with her supple and generous voice. There is no doubt that the biggest roles for her fach are still to come.

Opera Online, Laurent Vilarem, 16 December 2016

Un ballo in maschera, Deutsche Oper Berlin

November 2016

One of the other vocal joys of this opera comes with the low, low depths of mezzo Ronitta Miller. Verdi’s gloomy sorceress is not made of flighty wisps, but is rather rooted in earth. Her voice is therefore required to be mesmerically deep, and Miller delivered bewitching results.

Bachtrack, Stephen Crowe, 22 November

More alto then mezzo, Ronnita Miller impresses with her lower register...

Forum Opera, Jean Michel Pennetier, 19 November

Das Rheingold, Semperoper Dresden

October 2016

Ronnita Miller's short appearance as Erda created great anticipation for her return later in the saga.

Altamusica.com, Vincent Guillemin 15 October 2016

Ronnita Miller did well in the part of Erda.

Beckmesser, José M. Irurzun 15 October, 2016

Deutsche Oper Berlin, Die ägyptische Helena

April 2016

Yet again, Ronnita Miller's versatile alto is sensational in the role of alleswissende Muschel.

Oper Aktuell, Kaspar Sannemann, 1 April

...Ronnita Miller excelled. Hers is a rich, deep mezzo voice.

Seen and Heard International, Mark Berry, 10 April

Cavalleria Rusticana, Deutsche Oper Berlin

September 2015

In the supporting roles mezzo-soprano … Ronnita Miller [took the eye] as Mamma Lucia; such a natural actress.

Michael Cookson, Seen and Heard International, 16 September 2015

Pelléas et Mélisande, Deutsche Oper Berlin

September 2015

Making her mark as Geneviève was mezzo-soprano Ronnita Miller in quite splendid voice.

Michael Cookson, Seen and Heard International, 12 September 2015

The Flying Dutchman, Ravinia Festival

August 2015

Mezzo-soprano Ronnita Miller, also very good, completed a winning ensemble as Senta's nurse, Mary.

John von Rhein, Chicago Tribune, 16 August 2015

Also effective in their smaller roles were ... Ronnitta Miller as Mary... Miller’s Mary breathed haughty disapproval at the frivolousness of the female chorus.

John Y. Lawrence, Chicago Classical Review, 16 August 2015

Faust, Deutsche Oper Berlin

June 2015

Ronnita Miller almost stops the show in the minor part of Marthe; she has a generous voice and knows how to make the most of it.

Shirley Apthorp, Financial Times

Ronnita Miller as Marthe Schwertlein is in every way stunning and forceful, and the only (self-) ironic silver lining of the evening.

Frederik Hanssen, Tagespiegel

Ronnita Miller looked and sounded majestic in the mezzo role, surely the plum of all the vocal sections in Berlioz’s trans-genre work.

Carlos Maria Solare, Opera August 2015

Ronnita Miller was sexily amusing as the ‚over-ripe‘ (Méphistophélès’s words, not mine!) Marthe.

Carlos Maria Solare, Opera Magazine November 2015

Romeo et Juliette, Deutsche Oper Berlin

April 2015

Miller sang with a plummy richness, her ample voice filling the house. One wishes that Berlioz had seen fit to write more music for the mezzo, as Miller was worth the evening alone.

Christie Franke, Bachtrack

La fanciulla del West, Deutsche Oper Berlin

March 2015

Honorable mentions also go to Ronnita Miller for her stentorian Wowkle; Miller is wasted in the role; her voice big enough to be heard down the street and she brings enormous presence to the stage.

Christie Franke, Bachtrack

Salome, Deutsche Oper Berlin at the BBC Proms

August 2014

The smaller roles were well done, especially Ronnita Miller’s rich-sounding Page.

Erica Jeal, The Guardian

... supported by the Page of Ronita Miller, who impressed with her poise in this small but important role.

Robert Hugill, Opera Today

... with Ronnita Miller touchingly supportive as Herodias’s Page ...

Richard Whitehouse, Classical Source

... a major presence in a smaller role, Ronnita Miller as the "Page"...

David Nice, theartsdesk.com

And what an ear-catching voice with dusky low notes from Ronnita Miller as Herodias’s Page.

Edward Seckerson

Falstaff, Los Angeles Opera

November 2013

Ronnita Nicole Miller, however, is the model. She does not overdo the comedy of Mistress Quickly and instead lets her increasingly impressive creamy mezzo do it for her. Having come up through the ranks of L.A. Opera, she gets better with each appearance.

Mark Swed, LA Times

LA Opera’s own Ronnita Nicole Miller as Mistress Quickly was a knockout as her character deftly led Falstaff into a plot to expose his lies.

Georja Umano, LASplash

Florida mezzo Ronnita Nicole Miller scored yet another success as Dame Quickly.

Opera Warhorses

La Cenerentola, Los Angeles Opera

March 2013

As portrayed by Stacey Tappan and Ronnita Nicole Miller, the stepsisters, Clorinda and Tisbe, were an adorable duo. From the moment they appear in their overstuffed underwear and bright wigs, through every resonant note sung, they inhabited their characters with divine silliness. Soprano Tappan, vocalized with agile grace; and Miller, recently heard as the Nurse in LAO’s Flying Dutchman, has a powerful and versatile voice, singing both bel canto and Wagnerian roles successfully.

Jane Rosenberg, Seen and Heard International

The two stepdaughters are played to appropriate extremes by soprano Stacey Tappan and mezzo Ronnita Nicole Miller. Both offer crisp musicality even as they romp.

Marc Porter Zasada, Los Angeles Downtown News

Der Fliegende Hollander, Los Angeles Opera

March 2013

... and Senta's nurse Mary (mezzo-soprano Ronnita Nicole Miller) having the strongest and most compelling voices and being the most convincing on stage.

Mark Swed, LA Times

Très bonnes prestations de Matthew Plenk (le pilote) et de Ronnita Nicole Miller (la nourrice).

Hervé Le Mansec, ResMusica

Ronnita Nicole Miller’s portrayal of Mary, Senta’s nurse, was beautifully sung and well acted.

Jane Rosenberg, Seen and Heard International

Ronnita Nicole Miller and Matthew Plenk sang gracefully as Mary and the Steersman.

Opera

Albert Herring, Los Angeles Opera

February 2012

Ronnita Nicole Miller’s droll Florence comes close to stealing the show.

Mark Swed, Los Angeles Times

Curran gets involved and well-timed performances from many in the cast including Ronnia Nicole Miller as Florence Pike.

Brian, Out West Arts

All cast members are exceptional including […] the housekeeper (Ronnita Nicole Miller’s Florence Pike).

Christie Grimstad, ConcertoNet

Those surrounding him (Alek Shrader), pillars of the community all, made striking figures: Ronnita Nicole Miller, she of the velvety mezzo as housekeeper Florence Pike.

Donna Perlmutter, BlogDownTown

Romeo et Juliette, Los Angeles Opera

November 2011

Ronnita Nicole Miller’s soft and conservatively comforting voice makes a wonderful Gertrude.

Christie Grimstad, ConcertoNet

Ronnita Nicole Miller was Juliet’s resounding nurse.

Mark Swed, Los Angeles Times

Mezzo-soprano Ronnita Nicole Miller (the Nurse) displayed a rare richness and depth of tone.

Carol Jean Delmar, Jean Opera Theater Ink

Eugene Onegin, Los Angeles Opera

September 2011

And speaking of local favorites, how about the great Ronnita Nicole Miller who turns in another wonderful performance here as Filipievna.

Brian, Out West Arts

Ronnita Nicole Miller -- a young American singer with a rich mezzo who has done several small roles with the company -- as Filipievna, Tatiana’s nurse.

Mark Swed, Los Angeles Times

Ronnita Nicole Miller’s Filipievna personifies comfort, peace and stability which is pleasingly supported by her smoky and nurturing mezzo voice.

Christie Grimstad, ConcertoNet

Christie Grimstad, ConcertoNet

June 2011

The mezzo-soprano Ronnita Miller brought a rich voice and noble phrasing to the role of the fateful earth goddess, Erda.

Anthony Tommasini, New York Times

On the female side, Ronnita Miller was an impressively earthy Erda.

Mark Swed, Los Angeles Times

Ronnita Miller is radiant as Erda.

Howard Kissel, The Huffington Post

Ronnita Miller's Operatic Repertoire

BRITTEN

Albert Herring (Florence Pike)

DEBUSSY

Pelléas et Mélisande (Geneviève)

GIORDANO

Andrea Chénier (Madelon)

HUMPERDINCK

Hansel und Gretel (Die Knusperhexe)

MASCAGNI

Cavalleria Rusticana (Lucia)

MOZART

Le Nozze di Figaro (Marcellina)
Die Zauberflöte (Dritte Dame)

PUCCINI

Suor Angelica (La zia principessa/La badessa)

ROSSINI

La Cenerentola (Tisbe)

STRAVINSKY

Oedipus Rex (Jocasta)

TCHAIKOVSKY

Eugene Onegin (Filipyevna)

VERDI

Aida (Amneris)*


Il trovatore (Azucena)*


Un ballo in maschera (Ulrica)


Nabucco (Fenena)
Falstaff (Mistress Quickly)
Rigoletto (Maddalena/Giovanna)


Don Carlos (Eboli)*

WAGNER

Das Rheingold (Erda/Flosshilde)
Die Walküre (Fricka/Schwertleite/Grimgerde)
Siegfried (Erda)
Götterdämmerung (Erste Norn)

Ronnita Miller Concert Repertoire

BEETHOVEN

Symphony No. 9

BERLIOZ

Rome et Juliette

BRAHMS

Alto Rhapsody

DURUFLE

Requiem

HANDEL

Messiah

MAHLER

Symphony No. 2
Symphony No. 3

MOZART

Requiem

VERDI

Messa di Requiem

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