Ronnita Miller is represented by Rayfield Allied worldwide.

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Ronnita Miller


  • (As Tisbe) Miller has a powerful and versatile voice, singing both bel canto and Wagnerian roles successfully.
    Jane Rosenberg, Seen and Heard International
  • … 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
  • In the role of Jacosta, Ronnita Nicole Miller projected a thrilling vocal presence as she proclaimed that oracles are not to be trusted...
    Janelle Gelfand,
  • Ronnita Nicole Miller’s portrayal of Mary, Senta’s nurse, was beautifully sung and well acted.
    Jane Rosenberg, Seen and Heard International
  • Ronnita Miller was a redoubtable Fenena.
  • American mezzo soprano, Ronnita Miller continues her upward career trajectory in Season 2014-15 with her second season as a member of the permanent ensemble at Deutsche Oper Berlin. Roles in which she appears there this season include Third Lady Die Zauberflöte, Dryade Ariadne auf Naxos, Bianca The Rape of Lucretia, Marcellina Le Nozze di Figaro, Alice Lucia di Lammermoor, Filipevna Eugene Onegin, Wowkle La Fanciulla del West, Fenena Nabucco and Marthe Faust.

    Guest appearances during the season include her return to the US for the role of Mary Der Fliegende Höllander at Ravinia Festival.

    Miss Miller joined the ensemble at the Deutsche Oper Berlin at the beginning of the 2013-14 Season, and made her house debut with the roles of Grimgerde Die Walküre and First Norn Gotterdämmerung; her other roles during the season included Mama Lucia Cavalleria Rusticana and Anna Les Troyens

    Past successes include role debuts as Mary Der Fliegende Höllander, Tisbe La Cenerentola, Fillippevna Eugene Onegin, Gertrude Roméo et Juliette and Florence Pike Albert Herring at Los Angeles Opera; at Ravinia Festival she sang Third Lady with Chicago Symphony Orchestra and James Conlon; she also appeared as Erda and First Norn in San Francisco Opera’s new production of Der Ring des Nibelungen directed by Francesca Zambello and conducted by Donald Runnicles, and sang First Norn at the Metropolitan Opera under the baton of Fabio Luisi in the new production of The Ring by Robert Lepage. 

    A Florida native, Ronnita Miller received her Masters of Music from the Manhattan School of Music, and graduated from the prestigious Juilliard Opera School before spending two years in the Domingo-Thornton Young Artist Program at Los Angeles Opera.  She made her company debut as La Badessa Suor Angelica in 2008 before joining the cast of Joachim Freyer’s controversial production of Der Ring des Nibelungen in the roles of Schwertleite and Flosshilde while additionally covering Erda.  She won further acclaim during her tenure in the program on the main stage in roles of Berta Il Barbiere di Siviglia and Marcellina

    At Juilliard, she appeared as Háta The Bartered Bride, Maman L’enfant et les sortilèges, Hippolyta A Midsummer Night’s Dream and Dido Dido and Aeneas; as a member of San Francisco Opera’s Merola Program in 2005 she sang Tisbe and the Old Prioress Dialogues of the Carmelites in concert.  The following year as a Filene Young Artist with the eminent Wolf Trap Opera Company, she appeared as Ascalax in the North American premiere of Telemann’s Orpheus and Ragonde Le Comte Ory

    Other roles in Miss Miller’s repertoire include Azucena Il Trovatore and Ulrika Un Ballo in Maschera, both in preparation.

    This outstanding artist is the recipient of many awards, scholarships and prizes.  While attending the prestigious Music Academy of the West in Santa Barbara, California, she won the Marilyn Horne Song Competition, an honour that culminated in their joint New York recital in 2010.  She won the University of Miami recital competition and presented a recital at the Schloss Leopoldskron in Salzburg, Austria.

    Concert appearances include Mozart’s Requiem with New York Symphonic Ensemble at Alice Tully Hall, and Beethoven’s Ninth Symphony at Carnegie Hall with Orchestra of St. Luke’s. 


    • 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
    • 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
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