Lyric soprano Pumeza Matshikiza, described as "one of today's most exciting new operatic voices" (Independent), is at the forefront of a group of emerging opera stars from South Africa. An exclusive Decca Classics recording artist, Matshikiza’s debut album on the label will be released in 2014.
For the past two seasons Matshikiza has been a member of the ensemble at the Stuttgart State Opera. Highlights this season include new productions of Falstaff and La bohème, singing Nanetta and Mimi respectively. Other recent roles include Annchen Der Freischutz, Susanna Le nozze di Figaro, Zerlina Don Giovanni and Pamina Die Zauberflöte.
Matshikiza studied at the University of Cape Town College of Music under Professor Virginia Davids before continuing her studies at the Royal College of Music under the tutelage of Michel Vallat as a Peter Moores, Pidem, and Derek Butler Trust Scholar. Roles at the RCM include Marenka The Bartered Bride, Fiordiligi Cosi fan tutte, Rosalinde Die Fledermaus, Conçeption L’heure Espagnol, Poppea L’Incoronazione di Poppea and Contessa Le nozze di Figaro. Matshikiza also participated in masterclasses with artists such as Philip Langridge, Dame Kiri Te Kanawa, Sir Thomas Allen, Renata Scotto, Joan Rogers, Paul Farrington and Ileana Cotruba and has also worked with accompanists Malcolm Martineau and Simon Lepper.
Matshikiza then became a member of the Jette Parker Young Artists’ Programme at the Royal Opera House for the 2007/8 and 2008/9 seasons, making her house debut singing the role of Flower maiden in Wagner's Parsifal. Whilst here, she also sung the roles of Slave Salome, Innocent The Minotaur, Tebaldo Don Carlos, Witch Dido and Aeneas and Sandman Hänsel und Gretel. In January 2010 Matshikiza won First Prize in the Veronica Dunne International Singing Competition and became an Associate Artist of the Classical Opera Company, singing the title role in Zaide for which she won the Patrick Fyffe-Dame Hilda Brackett prize.
In future seasons, Matshikiza will make her debut with Zurich Opera, perform on a European tour with tenor Rolando Villazon and make her debut with the BBC Symphony and Royal Liverpool Philharmonic orchestras.
Pumeza Matshikiza records exclusively for Decca Classics
Pumeza Matshikiza is represented worldwide by Intermusica.
January 2014 / 358 words. Not to be altered without permission. Please destroy all previous biographical material.
Blumenmädchen in Wagner Parsifal / Oper Stuttgart
cond. Sylvain Cambreling / dir. Calixto Bieito
“Oper Stuttgart also fielded some exquisitely sung Blumenmädchen, among them former Jette Parker Young Artist Pumeza Matshikiza as Clingfilm-encased victim Number 5.”
Faye Courtney, Opera Britannia, May 2013
Susanna in Mozart Le nozze di Figaro
“Pumeza Matshikiza, a distinctive dark-skinned beauty, had already displayed enormous potential in the season’s opening concert. As Susanna, she showed a good sense of comedy, and thanks to her timbre, sang the role with both exceptionally colourful lower notes and blossoming high notes, with a lyrical tone throughout”
Der neue Merker, February 2012
“Stuttgart’s newest soprano, Pumeza Matshikiza… What a discovery!”
Stuttgarter Nachrichten, December 2012
“The South African soprano Pumeza Matshikiza… shows great promise… Here, as Susanna, we can see her developing into a remarkable singer”
Opernfreund, December 2011
Zerlina in Mozart Don Giovanni
“With the darkly quivering melancholy of her tone, Pumeza Matshikiza portrayed Zerlina with a fascinating ambivalence”
Esslinger Zeitung, July 2012
“Pumeza Matshikiza gives a refreshing performance in the role of Zerlina. Vocally she is perfect for this part, a bright, cheerful soprano whose special touch contributes significantly to the revival of this production.”
Horst Dichanz, Opernnetz, July 2012
Isis in Denisov L’Écume des jours
“Isis was sung by Pumeza Matshikiza with brilliant radiance”
Der neue Merker, January 2013
Pamina in Mozart Die Zauberflöte
“There was a moment of enormous intensity in Stuttgart’s production of Die Zauberflöte. It was in the second act, when Pamina has found her Tamino; but as part of his rites of purification, he has been ordered by the priests not to speak a word to her, making Pamina think that his love for her is already over. “Ach, ich fühl’s, es ist verschwunden, / ewig hin der Liebe Glück!”. For a moment, the entire auditorium was completely silent, as the audience watched and listened eagerly. This moment of intensity was down to Pumeza Matshikiza, the South African soprano, who expressed this sudden sadness so expressively and movingly, and yet so apparently effortlessly, with her gloriously secure and colourful voice. What an experience!(...) The real magic in this performance was Pumeza Matshikiza”
Stuttgarter Zeitung, December 2012
Vendulka in Smetana Hubicka (The Kiss) / Wexford Opera
cond. Jaroslav Kyzlink / dir. Michael Gieleta
“The other major discovery was South African soprano Pumeza Matshikiza. Not only was she a winning Vendulka in Smetana’s Hubicka, she also gave an excellent recital at St. Iberius Church. From the moment she began singing Fauré’s “Après un rêve”, through her rendition of Grieg’s “Ein Traum”, the audience gave its full attention. She has timbre that’s hers alone… she remarkably poised and quietly present, with the gift of inviting you into her private world – the mark of a natural recitalist!”
Brian Kellow, Opera News
“South African soprano Pumeza Matshikiza, an open-hearted singer… deservedly won the audience’s heart.”
Andrew Clark, Financial Times, October 2010
“South African soprano Pumeza Matshikiza adds further to her rising reputation with her beautifully sung and acted Vendulka”
George Hall, The Stage, October 2010
“As Vendulka, Pumeza Matshikiza revealed a voice of huge potential, velvety and warm in tone and it projects well. The upper reaches retain tonal beauty... She also has an attractive and strong stage-presence… The highlight of her portrayal was her hushed singing of the lullaby-prayer ‘Hajej, můj andílku’, an exquisite aria that is a striking predecessor to similar passages in other Czech opera such as Janáček’s “Jenůfa”.”
Alexander Campbell, Classical Source, October 2010
Mimi in Puccini La bohème
Opera Bohemia / Edinburgh Festival Fringe
Pumeza Matshikiza’s Mimi was as rapt an interpretation as one could expect to hear today. That distinctively warm and rich timbre was a joy to hear as it cosseted Mimi’s soaring climaxes with a distinctively old world charm. (With) a voice that could interpret Puccini’s Mimi in such a way that she ought to be performing it at many of the world’s leading opera houses.”
Antony Lias, Opera Britannia
“Wow! What a voice. It was clear, from the buzz at the end of Act 1, that the audience wasn't expecting anything so full, rich and powerful when Mimi began to sing in Opera Bohemia's Edinburgh Festival Fringe production of La bohème”.
Catriona Graham, Opera Critic
, August 2010
Jette Parker Opera Scheme 2009
‘ … Pumeza Matshikiza has superb vocal control … We can count on seeing most of these singers in future full-length productions: the Jette Parker scheme is prestigious enough to jump-start careers and judging by the quality of this group such prestige is warranted …’
Kate Molleson, Opera Magazine, October 2009
Tebaldo in Verdi Don Carlo / Royal Opera House, Covent Garden
cond. Semyon Bychkov / dir. Nicholas Hytner
“…a charming Tebaldo from Pumeza Matshikiza”
Rupert Christiansen, Daily Telegraph, September 2009