South African soprano Noluvuyiso Mpofu (1991) was awarded the 3rd Prize at Placido Domingo’s OPERALIA competition in 2015 and the 2nd and Audience Prizes at the International Hans Gabor Belvedere Singing Competition in 2016.
A graduate of the University of Cape Town, Noluvuyiso was until recently a member of the Cape Town Opera Studio, her appearances for the company have included: the title role of Maria Stuarda; Violetta La Traviata; Rosina Il barbiere di Siviglia; Madama Cortese Il viaggio a Reims and Pamina Die Zauberflöte.
Her current engagements include Micaela Carmen and Gilda in a new production of Rigoletto for Cape Town Opera; and Clara Porgy and Bess for Teatro Colón, Buenos Aires.
In Summer 2017 Noluvuyiso will be a member of the Accademia Rossiniana at the Rossini Opera Festival, Pesaro.
Biography not for publication, for an up to date version please contact Oliver Clarke.
“Noluvuyiso Mpofu shone as the hapless, but manipulative Maria Stuarda. We recall her out- standing portrayal of Violetta earlier this year, memorable for the floated top notes which hung in the air with stupefying fragility; this role afforded her the opportunity of reproducing that aspect of her art, but also much more!”
"La prima è quella di Noluvuyiso Mpofu che ha interpretato magistralmente la Romance de Mathilde “Sombre foret” dal Guillaume Tell. Una voce intensa, oscura e allo stesso tempo luminosa, controllata eppure ricca di slanci. Il pubblico – di cui scriverò alla fine – l’ha accolta con simpatia e affetto, dedicandole il primo grande applauso della serata."
"La compagnia di canto, composta come già detto dai giovani dell’accademia, presentava alcuni elementi di spicco, a cominciare dalla sudafricana (Madama Cortese), voce morbida ed estesa, che affronta con sicurezza le agilità che il ruolo richiede. La sua interpretazione è stata giustamente tra le più applaudite.
"Mpofu’s rendition of Gilda’s famous aria, Caro nome, is truly beautiful."
"Mpofu has herself attained sufficient theatrical stature to handle one of the most taxing roles in the repertoire with aplomb. She is, after all, barely off the stage through four extended acts in which she is required to portray the ever-changing fortunes and fates of a superficially brilliant yet innately conflicted character. The role presents hurdles at every turn: the ungratefully low tessitura of some of the first act writing (two full and brilliant octaves required in Sempre libera) being matched by the floating top notes required in the last act; indeed, the final top A in Addio del passato was delivered with such crystalline fragility as to compel one to hold one’s breath. Her portrayal of Violetta might be convincing and sympathetic; but it is the abundant musicality and gratifying technical proficiency of the vocal delivery that speaks of many hours of studious preparation. We should all follow this singer’s career with keen anticipation."