Kristine Opolais is one of the most sought after sopranos on the international scene today, appearing at the Metropolitan Opera New York, Wiener Staatsoper, Deutsche Staatsoper Berlin, Bayerische Staatsoper, Teatro alla Scala, Opernhaus Zürich and Royal Opera House Covent Garden.

In the 2019/20 season Opolais makes an anticipated role debut starring in “Adriana Lecouvreur” at the Teatro Comunale di Bologna, in a new production by Rosetta Cucchi. She also makes her debut at the Semperoper Dresden with performances of “Tosca” and returns to Staatsoper Hamburg as part of the House notable Italian Opera Festival with the same title. Opolais returns to the Wiener Staatsoper for performances of “Madama Butterfly”. Opolais has a strong collaboration with the Royal Opera House Covent Garden, recently returning to the House as “Tosca”. In London, Opolais has particularly cemented her title as “the leading Puccini Soprano of today” (The Telegraph), appearing in Kent’s 2014 production as Manon Lescaut, as well as starring as Cio-Cio San. Opolais also has a significant relationship with the Bayerische Staatsoper, which began in 2010 when she made her debut as Rusalka in Kušej’s production, which she has been invited back numerous times to perform. Since this time Opolais has appeared in titles including “Manon Lescaut”, “Madama Butterfly”, Tatjana in “Onegin”, Margherita in “Mefistofele” and Vitellia in “La clemenza di Tito”. Opolais also appeared as the title role of “Jenůfa” at the Opernhaus Zürich in a new Tcherniakov production. At the Teatro alla Scala Opolais appeared as Polina in “The Gambler”, in a new Tcherniakov production and was invited to perform the role of Nedda in “Pagliacci”.

Next Performances

January 11, 2020

Recital (Chinese debut)


January 22, 2020

R. Strauss: Vier letzte Lieder

Suntory Hall


Fabio Luisi, conductor

January 23, 2020

R. Strauss: Vier letzte Lieder

Suntory Hall


Fabio Luisi, conductor

Full Schedule


Friends – Andrejs Žagars

Antonín Dvořák:
From The New World

Gewandhausorchester Leipzig
Kristine Opolais, soprano
Andris Nelsons, conductor

Puccini: Tosca

Live from the Easter Festival Baden-Baden

Rusalka: “Song to the Moon”

The Metropolitan Opera – Final Dress Rehearsal

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The Latest


“Ms. Opolais seemed to live with it, growing in stature as the evening went on and radiating the kind of aura – one that demands you watch her, and sympathize with her – that defines a star… She is a performer with a tremendous future ahead of her. New York will be lucky to have her.”

New York Observer

Photo Galleries


Latest Recording

News & Press

News & Press | November 6, 2019

Concert honoring Andrejs Žagars with the Latvian National Symphony Orchestra

On November 9 at the Cēsis Vidzeme Concert Hall in Latvia, Kristine Opolais, baritone Egils Siliņš, and tenor Mikhail Chulpajev come together with the Latvian National Symphony Orchestra to commemorate the actor and stage director, Andrejs Žagars. Mr. Žagars was the General Director of the Latvian National Opera from 1996 to 2013 and was a […]

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News & Press | November 1, 2019

Intervista a Kristine Opolais

Siamo veramente felici di poter intervistare Kristine Opolais, astro del panorama lirico internazionale che ha all’attivo numerosi e importanti successi. 1. Come e quando si è avvicinata allo studio della Musica? Quando è arrivato l’amore per l’Opera? Era il desiderio di mia madre, io sarei voluta diventare un’attrice cinematografica. A quel tempo lei decise che non […]

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News & Press | October 18, 2019

Debut at the Semperoper Dresden as ‘Tosca’

Kristine Opolais makes her highly anticipated debut at the Semperoper Dresden in Johannes Schaaf’s stimulating revival of Puccini’s Tosca. Antonino Fogliani conducts the Staatskapelle and Staatsopernchor Dresden in performances on November 1 & 14. The staging by Christof Cremer provides a traditional setting of Rome in 1800, with costume design by Petra Reinhardt. A signature role […]

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News & Press |

Review: Madama Butterfly at the Wiener Staatsoper

„Vor allem aber ist die Butterfly „ihre“ Rolle, die sie mit sagenhaftem Aplomb verkörpert, die großen, demonstrativen Gesten des japanischen Theaters nicht scheuend, sondern wohl auch bewusst zitierend. Das ist keine zerbrechliche 15jährige, sondern eine starke Frau, die sich diese Liebe zu Pinkerton als Schicksal erwählt hat und mit Entschlossenheit darum kämpft. Auch ihr Tod […]

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