Noa Beinart

With a voice of arresting depth and rare expressive power, Noa Beinart is rapidly carving out a distinct place on international stages. A true contralto, she moves seamlessly between eras and styles, from the intricate lyricism of the Baroque to the towering emotional and vocal demands of Wagner’s Der Ring des Nibelungen.

This season, Noe Beinart makes her debut with the London Symphony Orchestra, joining Sir Antonio Pappano for Mahler’s Resurrection Symphony at the Barbican Centre, before touring Japan and Europe. She also appears with the Sydney Symphony Orchestra in Mendelssohn’s Elijah under the baton of Simone Young, and with the Bamberg Symphony in Beethoven’s Symphony No. 9 conducted by Eva Ollikainen. On the operatic stage, she returns to the Royal Opera House as the First Norn in Barrie Kosky’s new production of Götterdämmerung, conducted by Sir Antonio Pappano, and to Opernhaus Zürich as Erda in Der Ring des Nibelungen. She also reprises Erda in concert performances with Gianandrea Noseda at Carnegie Hall and the Philharmonie de Paris, before singing the First Norn in Tobias Kratzer’s new production of Götterdämmerung at the Bayerische Staatsoper under the baton of Vladimir Jurowski.

In the 2025/26 season, Noa made her role debut as Handel’s Orlando in a new production at the Opéra national de Lorraine and Opéra de Caen, conducted by Christophe Rousset. She also made her debut at the Mozartwoche in Salzburg as Dritte Dame in Die Zauberflöte, directed by Rolando Villazón, and returned to the Opéra national de Paris as the Third Nymph in Rusalka. At the Bayerische Staatsoper, she appeared as First Maid in Elektra and as Schwertleite in a new Die Walküre under Vladimir Jurowski and Tobias Kratzer. Concert highlights included her return to the Sydney Symphony Orchestra as Erda in Siegfried with Simone Young. She also joined Les Talens Lyriques and Christophe Rousset for a recording of Porpora’s Ifigenia in Aulide.

In the 2024/25 season, Noa returned to the Wiener Staatsoper as Erda in Der Ring des Nibelungen, to Opernhaus Zürich as Amastre in Serse, and to the Bayerische Staatsoper as Hannah in The Passenger. She made her Royal Danish Opera debut in the title role of Vivaldi’s Griselda. In concert, she sang Mahler’s Symphony No. 8 with the Wiener Symphoniker under Philippe Jordan, the Alto Rhapsody with Eva Ollikainen, and Mahler’s Symphony No. 3 with the Sydney Symphony Orchestra and Simone Young.

Recent operatic highlights include her Royal Opera House, Covent Garden debut as 1st Maid in Christof Loy’s new Elektra under Sir Antonio Pappano, and returns to Opernhaus Zürich (Die Walküre), Bayerische Staatsoper (Gianni Schicchi, Elektra, The Passenger), Wiener Staatsoper (Daphne), and the Bayreuth Festival (Götterdämmerung). She made her debut with the Staatsoper Unter den Linden in Berlin as the First Norn in Dmitri Tcherniakov’s production of Götterdämmerung conducted by Christian Thielemann, and has appeared at the Opéra National de Paris (Die Walküre) and the Salzburg Festival (Elektra, Die Zauberflöte).

Noa Beinart was born in Tel Aviv and between 2020–2023 was a member of the ensemble at the Wiener Staatsoper, where she sang a wide range of roles including Erda (Der Ring des Nibelungen), Maddalena (Rigoletto), Auntie (Peter Grimes), and Suzuki (Madama Butterfly). She previously trained in the Opera Studio of the Bayerische Staatsoper and is a graduate of the Hanns Eisler Hochschule für Musik in Berlin.

Biography not for publication, for an up to date version please contact Oliver Clarke.