Nora Friedrichs

Soloist - Soprano
© Jan Windszus Photography
© Jan Windszus Photography
»I need music, that’s my connection
with the audience ...«
In the Ensemble of the Komische Oper Berlin since 2017.


Hochschule für Musik und Theater Hamburg, Opernstudio der Oper Frankfurt

Hauptpreis Stella Maris Singing Competition, Stipendium derFranz-Wirth-Gedächtnis-Stiftung, 1. Preis beim Mozart-Wettbewerb der Stadt Hamburg, 1. Preis Elise-Meyer-Wettbewerb

Edith Wiens, Matthew Epstein, Lilian Watson, Margreet Honig

Christoph Loy, Keith Warner, Jossi Wieler mit Sergio Morabito, Anselm Weber

Sebastian Weigle, Stefan Soltesz, Alexander Soddy

Blonde (Die Entführung aus dem Serail), Atalanta (Xerxes), Frasquita (Carmen), Königinder Nacht (Die Zauberflöte), Die Sonne (Petruschka/L’Enfant et les Sortilèges), Iris (Semele)

Königin der Nacht (Die Zauberflöte), Fiakermilli (Arabella), Oscar (Un ballo in maschera), Yvette in (Die Passagierin), Blonde (Die Entführung aus dem Serail), Rosa (Le cantatrici villane), Zerlina (Don Giovanni), Sophie (Der Rosenkavalier), Jenny (Aufstieg und Fall der Stadt Mahagonny)

Kunigunde (Candide), La Fée (Cendrillon - Aschenputtel), Hahn (Die Bremer Stadtmusikanten), Königin der Nacht (Die Zauberflöte), Die Sonne (Petruschka/L’Enfant et les Sortilèges)
Nora Friedrichs has played the piano since her childhood, but first off she became a jazz musician. This was a result of her parents moving from the metropolis of Hamburg to the countryside.  »I was a horse girl«, the soprano says today, and this love very nearly led to a career as a professional rider. But her teenage years brought very different opportunities. Living in the country is a nightmare for almost all teenagers – but for Nora, it was a time full of musical experiments. Her parents’ lounge room was her rehearsal space, where she regularly let loose – on her drum kit. Every parent’s worst nightmare? Not at all in the Friedrich household! Because Nora’s father is a composer who taught for many years during the day at the Hochschule für Musik und Theater in Hamburg, and in the evening, he would often play along with Nora – him on the piano, her on the drums – »we’d have real jam sessions, sometimes well into the night.«
Given that music is in Nora’s blood, does that mean that her path to the opera stage was predestined? While she was still at school, she took singing classes, performed in musicals and acted in plays. But to begin with, Nora found opera “boring and bourgie”. She wanted to be an actor. If possible, in films, so she could go to Hollywood – that was the dream. One that her screen idol Romy Schneider certainly played a role in. It wasn’t until she graduated from high school that Nora noticed: »I need music, that’s my connection with the audience, you don’t have to stand there on the stage so naked, like you do with acting.«
With her mother – a psychoanalyst – she shares her enthusiastic love for the emotional intensity of opera. The combination of drama and music to portray people and their lives in all their complexity is what fascinates Friedrichs about the opera. It is her task – and that of the director – to ensure that an evening at the theatre never gets boring. And it won’t, if Nora has anything to do with it. Her performances are imbued by a love of acting, but are also highly disciplined. She danced and sang Jenny in Weill’s Rise and Fall of the City of Mahagonny while she was still studying in Hamburg, with acrobatics and pole-dancing. Four years on, and after her first position at Oper Frankfurt, she’s already amassed a significant amount of professional experience. In addition to her encounter with the director Christof Loy – a particular artistic inspiration – one of her most decisive moments was when she surprised herself with a vocal discovery: »The Queen of the Night? That’s comfortably within my range!« … From the beginning of the 2017/18 season, Nora has been part of the Ensemble of the Komische Oper Berlin – as a coloratura soprano with a passion for acting.

Her performances ...