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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.

A highly sought-after concert and recital artist, Fomina has appeared in Mahler’s Symphonies Nos. 2, 4, and 8 with leading orchestras including the London Philharmonic Orchestra, Boston Philharmonic, Danish National Symphony Orchestra, Belgian National Orchestra, and Mahler Chamber Orchestra, with conductors such as Vladimir Jurowski, Fabio Luisi, Edward Gardner, and Hugh Wolff. Additional concert highlights include Les Noces at the Enescu Festival with the Rundfunk-Sinfonieorchester Berlin; Amanda Le Grand Macabre with the Netherlands Radio Philharmonic Orchestra; Haydn’s Harmoniemesse in Eisenstadt and Carmina Burana with the Czech Philharmonic. She has given recitals at Wigmore Hall and Middle Temple Hall with pianists Iain Burnside and Julius Drake.

SHEDULE

Shanghai Grand Theatre, Rigoletto, Verdi

12, 14 June 2026

Royal Ballet and Opera, The Magic Flute, Mozart

13 Dec 2026 – 17 Feb 2027

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."