Ronnita Miller


"… 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,

"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 2019-20 in her seventh season as a member of the ensemble at Deutsche Oper Berlin. Performances there this season include Mama Lucia Cavalleria Rusticana, Third Lady Die Zauberflöte, Mary Der fliegende Holländer, Madelon Andrea Chenier and Ulrika Un Ballo in Maschera. The artist travels to Concertgebouw Amsterdam for performances of Die Walküre in the role of Fricka and returns later in the season for performances of Verdi Requiem. In the US she joins Chicago Symphony Orchestra to sing Mama Lucia under the baton of Riccardo Muti, and returns to Lyric Opera Chicago to continue her portrayal as Erda/First Norn Der Ring des Nibelungen. She ends the season at Cincinnati Opera in her role debut as Amneris Aida.

Last season at Deutsche Oper Berlin she sang Berlioz’s Roméo et Juliette before returning to Lyric Opera Chicago and her signature role of Erda Siegfried. She gave further performances of Erda Das Rheingold at Teatro Real, Madrid before returning to the Metropolitan Opera to sing First Norn Götterdämmerung and to Boston Symphony Orchestra where she sang Schwertleite Die Walküre at Tanglewood. In UK she sang First Norn at the Edinburgh International Festival with Andrew Davis, and at the Brighton Festival, Tippett’s A Child of our Time with the Philharmonia Orchestra.

Recent highlights at Deutsche Oper Berlin include Handmaiden L'Invisible, Fenena Nabucco and Marcellina Le nozze di Figaro 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.

Other recent highlights include Erda/First Norn at San Francisco Opera and 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.

This biography is for information only and should not be reproduced.

Die Walküre, Concertgebouw Amsterdam

November 2019

Ronnita Miller was a quality Fricka, her mezzo-soprano aristocratic and polished. She was a wounded, betrayed wife rather than a furious moral crusader, appealing to Wotan’s compassion as well as his sense of righteousness.

Opera Today, Jenny Camilleri, 3 November 2019

Götterdämmerung, Edinburgh International Festival

August 2019

The evening started extremely well with a Norns scene that could scarcely have been bettered, thanks to Ronnita Miller's voluptuous-sounding vocalism (can Edinburgh invite her back in something more substantial, please?), Karen Cargill's majestic lines and Erin Wall's nervy, impulsive quality - each creating her own unmistakeable profile.

Opera Magazine, Andrew Clark, November 2019

…the trio of fabulous Norns (Ronnita Miller, Karen Gargill and Erin Wall)…

Opera Now, Susan Nickalls, October 2019

A Child of Our Time, Brighton Festival

May 2019

Ronnita Miller was impressive in the clarion power of her alto numbers.

The Daily Telegraph, John Allison, 28 May 2019

Siegfried, Lyric Opera Chicago

November 2018

Ronnita Miller made a potent house debut as the all-seeing earth goddess Erda. She and Owens played effectively off one another in the Erda-Wanderer scene.

Opera Magazine, John von Rhein​, Feb 2019

Over the past decade, Ronnita Miller has fulfilled that expectation in major productions in Europe and North America

Opera Warhorses, William, 5 November 2018

Here, Erda’s eyes that see all are bound by red...They seem to say, “Take a look at the force of supernature.” Just as much as Wagner’s score and the powerhouse performance by mezzo-soprano Ronnita Miller in this role.

Picture this Post, Amy Munice, 8 November 2018

Quality was abundant throughout the cast...Mezzo-soprano Ronnita Miller brought warmth and grace in her Lyric debut as an Erda who offers no respite to Wotan’s woes.

Opera Wire, Santosh Venkataraman, 5 November 2018

For Ronnita Miller, acclaimed American mezzo-soprano who has sung twenty seven roles in Berlin since the 2013-2014 season and who is famous for her wide range repertoire and style, the role of Erda became her Lyric debut. Erda is the wise Earth Goddess, and Miller demonstrated this character's wisdom and strength with all the charisma and power in her voice.

Daily Herald, Natalia Dagenhart, 14 November 2018

Ronnita Miller brought a voluptuous low register to the sleepy goddess Erda...

Wall Street Journal, Heidi Waleson, 6 November 2018

Der Ring des Nibelungen, San Francisco Opera

June 2018

Ronnita Miller is a true contralto and sang flawlessly as Erda and the First Norn

San Francisco Classical Voice, Lisa Hirsch, 19 June 2018

Ronnita Miller made a brief but arresting appearance as Erda, singing in a deeply rooted voice that rumbled like thunder.

Bachtrack, Ilana Walder-Biesanz, 23 June 2018

Miller’s resonant voice, whose range descends into contralto territory, gave proper gravitas to a character who knows everything that has ever happened and will ever happen in the future.

Opera Warhorses, William, 20 June 2018

...the lush timbre of mezzo-soprano Ronnita Miller (Erda) all worked well...Miller is nothing less than a force of nature, the sumptuousness of her sound emerging from the floor of the stage as she rises from below for her entrance is very effective.

The Opera Tattler, 21 June 2018

Ronnita Miller’s Erda once again brought her remarkable voice and verbal acuity to her part. Miller has charisma to spare, dominating the stage, even when barely moving, with a voice that ranges from a plush and velvety bottom to a clarion top.

Opera Traveller. June 2018

Le prophète, Deutsche Oper Berlin

January 2018

Sledge's duet with Ronnita Miller's Fidès in Act Five was not just a dramatic highlight but a musical one. Throughout the opera, Miller gave a performance of startling intensity. This is also a tricky role with a wide tessitura; Miller capitalised on her fine lower register but did not shy away from the high notes, and she can certainly make her voice mobile. Miller has a big, rich voice, she only had to open her mouth and you felt for her as a mother. To hear her and Sledge singing the final section of their duet together was simply thrilling. In Miller's solo aria in that act, her performance was so astoundingly intense that we hardly needed the addition of dancers.

Robert Hugill, Planet Hugill, January 2018

Ronnita Miller in the role of Fidès...has to be mentioned first of all. She was the rock of the evening [i.e. the dependable force], the Great Mother in the style of Barlach: all-embracing, unshakable, heroic and touching. I list these attributes first, because I almost forget how great she came across vocally. Her timbre reminded me of Marilyn Horne, her fearlessness as she strides through three octaves of a young [Ewa] Podles – Pauline Viardot would have been delighted. The seamlessness at the top of the range, sung with lightness and the sonorous depth of the bass notes was dizzying. And still – it wasn’t the great virtuosity of the singer...No, I was touched by the unshakeable humanity of her portrayal, by how she inhabited the role 100% in a way I have rarely seen in my long experience as an opera goer. Singer and role were one. I suddenly grasped (almost physically) Meyerbeer’s concept: to meet the revolution, which may be necessary, but is merging into perversion, with this rock of goodness, mercy and humanity. Bravo Ronnita Miller! She moved me to tears and turned me silent for long moments.

Opera Lounge, Geerd Heinsen, January 2018

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., 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,

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.


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


Albert Herring (Florence Pike)


Pelléas et Mélisande (Geneviève)


Andrea Chénier (Madelon)


Hansel und Gretel (Die Knusperhexe)


Cavalleria Rusticana (Lucia)


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


Suor Angelica (La zia principessa/La badessa)


La Cenerentola (Tisbe)


Oedipus Rex (Jocasta)


Eugene Onegin (Filipyevna)


Aida (Amneris)*

Il trovatore (Azucena)*

Un ballo in maschera (Ulrica)

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

Don Carlos (Eboli)*


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

Ronnita Miller Concert Repertoire


Symphony No. 9


Rome et Juliette


Alto Rhapsody






Symphony No. 2
Symphony No. 3




Messa di Requiem

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