Home - Sofia Fomina

Sofia Fomina

Known for her incredibly powerful and stunningly resonant soprano voice, Sofia Fomina is a frequent presence on major opera stages, as well as in recital and concert venues across the globe.

In the 2023/24 season, Fomina is set to make her highly anticipated debut at the Wiener Staatsoper in the role of Konstanze in Mozart’s Die Entführung aus dem Serail, and she will return to Glyndebourne as Micaëla in a new production of Carmen. She will also reprise the role of Konstanze at the Hamburg Staatsoper.

SHEDULE

3 March - 02 April 2025, La Bohème , Puccini, Tel Aviv, Israel

Ópera de Oviedo (9 performances) Performing Arts Center 2025 March 23, 24, 25, 27, 28 29, 30 April 01, 02

30 May - 01 Jun 2025, Mahler’s Symphony No. 2 – “Resurrection”, Dallas USA

Producer: Dallas Symphony Orchestra (2025)
Conductor: Fabio Luisi

Recordings

Roles

MEDIA

Reviews

"Konstanze was Sofia Fomina: she displayed a strong command of the coloratura, something which is no trivial matter, given how fiendishly difficult Konstanze’s part is." [...] Her high notes were very secure and brilliant."

“In this revival of David McVicar’s brooding production, Sofia Fomina is an exquisite Gilda … Fomina beautifully suggests Gilda’s credulous vulnerability, and gives us an exquisite Caro Nome after being taken in by Fabiano’s calculated ardour in their duet.”

"As Pamina, Sofia Fomina achieved not just a lyric richness in her tone, but a sense of radiant stillness that contrasted with the frantic activity around her"

"The singers? The best are Sofia Fomina's clarion-strong Pamina..."

“Sofia Fomina as Pamina revealed a very aesthetically pleasing and impeccably shaped soprano, making her performance of ‘Ach, ich fühl’s’ particularly moving.”

“Sofia Fomina’s Berthe is a beautiful discovery. Her mastery of color, her characterful, rich voice and dramatic temperament make the audacious undertaking of the last act credible. The quality of her French is no less remarkable!” (Trans.)

"Fomina’s famously silvery tone ... How weightlessly it hovers over his sumptuously rippling accompaniment at the start of ‘The Angel’ (Op. 36/1), and how hollowed out is the desolation of ‘The Flower’ which follows."