The young South African soprano Vuvu Mpofu is already entering the international spotlight with her shimmering vocal quality and technique, boundless musicality, and authentic stage presence. Not yet 30, the singer is winning plaudits on the worlds’s stages for the warmth, elegance, and verve she brings to virtuosic coloratura repertoire. In 2019, she was awarded the prestigious John Christie Award at the Glyndebourne Festival, and she is also a recent prizewinner at the Operalia Competition and the Hans Gabor Belvedere Singing Competition.
Vuvu’s current engagements include her debut for Washington National Opera as Gilda Rigoletto; Adina L’elisir d’amore for Seattle Opera; Musetta La bohéme for the Vlaamse Oper; Leila Les pêcheurs de perles for Cape Town Opera; Lavinia in Mozart’s L’oca del Cairo with the Chamber Orchestra of Europe at the Mozartwoche in Salzburg; Musetta for the Glyndebourne Festival and her role debuts as Bess in Missy Mazzoli’s Breaking the Waves and Violetta in a new production of La traviata both for Theater St Gallen.
In the 2019/20 season, Vuvu returned to Glyndebourne as Gilda in a new production of Rigoletto; she will made her debut for Oper Köln as Corinna Il viaggio a Reims conducted by Riccardo Frizza; and sang Astarte Der Schmied von Gent (Schreker) in a new production for the Vlaamse Oper and on the concert platform she made her debut with the Deutsches Symphonie-Orchester at the Philharmonie, Berlin with Robin Ticciati.
Biography not for publication, for an up to date version please contact Oliver Clarke.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."