South African soprano Vuvu Mpofu is a prizewinner at the Operalia Competition and the Hans Gabor Belvedere Singing Competition. She was a member of the Accademia Rossinana, at the Rossini Opera Festival 2017, singing the role of Madama Cortese Il viaggio a Reims.
In the 2019/20 season, Vuvu will return to Glyndebourne as Gilda in a new production of Rigoletto; she will make her debut for Oper Köln as Corinna Il viaggio a Reims conducted by Riccardo Frizza; she will sing Astarte Der Schmied von Gent (Schreker) in a new production for the Vlaamse Oper and she will return to the Bayerische Staatsoper as a Blumenmädchen Parsifal. On the concert platform she will make her debut with the Deutsches Symphonie-Orchester at the Philharmonie, Berlin with Robin Ticciati and she will return to the Bergen Philharmonic Orchestra.
Vuvu made her debut at the Bayerische Staatsoper in June 2018 as a Blumenmädchen Parsifal in a new production conducted by Kirill Petrenko, other recent engagements include her debuts for the Bergen National Opera as Cunegonde Candide; for Opera North as Pamina in a new production of Die Zauberflöte; and at the Glyndebourne Festival as the First Nymph Rusalka.
A graduate of the University of Cape Town and a former member of the Cape Town Opera Studio, she has appeared with Cape Town Opera as Gilda Rigoletto; Violetta La Traviata; Rosina Il barbiere di Siviglia; Micaela Carmen and Pamina Die Zauberflöte.
Biography not for publication, for an up to date version please contact Oliver Clarke.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."