Intermusica Artists' Management



Intermusica represents Eri Nakamura worldwide

Julia Maynard

Maria Mot

Assistant to Artist Manager:
Steven Gietzen

Eri Nakamura


Japanese soprano Eri Nakamura has firmly established herself as one of the most sought-after talents of her generation. An ensemble member of the Bayerische Staatsoper, she first shot to prominence as a Jette Parker Young Artist when she stepped in to replace Anna Netrebko as Giulietta I Capuleti e i Montecchi at the Royal Opera House, Covent Garden. Since then she has made notable debuts in Europe, Asia, North and South America and has been capturing worldwide acclaim for her assured singing and artistic intensity.

An alumna of the the Osaka College of Music, she was a member of the Opera Studio at the New National Theatre Tokyo, the Opera Studio Nederland and the Jette Parker Young Artist Programme at the Royal Opera House. During this time, her roles at New National Theatre Tokyo included Susanna Le nozze di Figaro, Ilia Idomeneo, Marzelline Fidelio and Nannetta Falstaff. At Royal Opera House she sang Musetta La bohème, Voice of Heaven Don Carlo, Frasquita Carmen, Fifth Maid Elektra and Lauretta Gianni Schicchi.

In 2009 she reached the finals of both the Song and Orchestra Prizes at the prestigious Cardiff Singer of the World and in summer 2010, upon her graduation from Jette Parker she sang Susanna Le nozze di Figaro under Sir Colin Davis for which she received excellent reviews. Nakamura returned to guest as Sophie Werther under Antonio Pappano, which was recorded by Deutsche Grammophon for commercial release on CD and Liu Turandot released on DVD by Opus Arte.

In September 2010 Nakamura joined the ensemble of the Bayerische Staatsoper. Her roles there have included Susanna, Pamina, Zerlina and Giulietta in a new production under Yves Abel, Arbate Mitridate rei di Ponto, also a new production under Ivor Bolton and Gretel Hänsel und Gretel.

In 2011 she debuted at Deutsche Oper Berlin the role of Liu in Turandot, which became soon after her signature role. She went on to perform it at Bayerische Staatsoper, Opera de Oviedo and Royal Opera House, all to great acclaim. Other recent role debuts include Juliette Roméo et Juliette at the Teatro Municipal de Santiago de Chile, Adina L’elisir d’amore and Xenia in a new production of Boris Godunov, later released on DVD, at Bayerische Staatsoper.

Recent concert engagements include performances with the Tokyo Philharmonic Orchestra, Mahler Symphony No.4 and Rossini’s Stabat Mater under Yannick Nézet-Séguin with the London Philharmonic Orchestra, Bruckner Te Deum at the Vatican in Rome, Ravel’s Shéhérazade with the Estonian National Symphony Orchestra and a recital for the prestigious Rosenblatt Series in London.

Last season she returned to the Royal Opera House as Liù, and made her US debut as Pamina in a new production of The Magic Flute at Washington National Opera. In Munich she reprised the role of Xenia and sang her first Antonia Les contes d'Hoffmann. On the concert platform she made her debut with Orchestre National de France singing Gounod’s Mass to Santa Cecilia and in Madrid at the Auditorio Nacional with Shostakovich’s Seven Verses by Alexander Blok. Furthermore she performed a series of concerts in her native Japan, including Beethoven’s Symphony No.9 with NHK Symphony Orcehstra and a special appereance in NHK’s New Year Concert Gala.

In the 2014/15 season, Eri Nakamura returns to the Royal Opera House for her debut as Gilda Rigoletto, before reprising the role in a new production in Salzburg. Other highlights include Gretel in Munich, Woglinde Das Rheingold with the Hong Kong Philharmonic Orchestra and Liù at the Théâtre du Capitole Toulouse.

Eri Nakamura is represented in Europe by Intermusica and by CAMI in North America.
September 2014 / 580 words. Not to be altered without permission. Please destroy all previous biographical material.

Opera Repertoire
Concert Repertoire
Recital Repertoire

Opera Repertoire

BELLINI Giulietta I Capuleti e I Montecchi
BIZET Micäela Carmen
Adina L’elisir d’amore
Juliette Roméo et Juliette
Marguerite Faust*
Gretel Hänsel und Gretel
OFFENBACH Antonia Les contes d'Hoffmann
Manon Manon
Sophie Werther
Ilia Idomeneo
Pamina Die Zauberflöte
Despina Così fan tutte
Susanne Le nozze di Figaro
Zerlina & Donna Elvira Don Giovanni
PUCCINI Lauretta Gianni Schicchi
Mimi & Musetta La Boheme
Liù Turandot 
Gilda Rigoletto
Desdemona Otello*
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Concert Repertoire

Les nuits d'été
BRAHMS Requiem
Chants d'Auvergne
Symphony No.2
Symphony No.4
Symphony No.8 Angel

Concert Arias
Exsultate, Jubilate
Mass in C minor (1st or 2nd soprano)
Coronation Mass

Petite Messe Solennelle
Stabat Mater

Vier Letze Lieder*
* = in preparation

Recital Repertoire

Acht Lieder und Gesänge, Op.57

DEBUSSY Fêtes galantes
Ariettes oubliees

Siete canciones populares
Rückert lieder

Deita silvane
Frauenliebe und Leben
Song Cycles

Song Cycles
Italienisches Liederbuch
Spanisches Liederbuch

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Gilda Rigoletto / Landestheater Salzburg
“Eri Nakamura is a model Gilda with rich tones, fine ornamentation and dramatic potential.”
Markus Thiel, Merkur-online, November 2014

“What she brings to the stage musically, is a surprise. With a great voice and a lot of strength in higher registers, she effortlessly soared over the large orchestra and portrayed a multifaceted Gilda with dramatic potential, and one is amazed again and again about the level of resonance from such a small body.”
Larissa Schutz, Bachtrack, November 2014

“Eri Nakamura (a former Jette Parker Young Artist at the ROH, now under contract in Munich), a winningly straightforward Liù with a basically lovely, silvery soprano”
Patrick Dillon, Opera News, November 2014

Gilda Rigoletto / Royal Opera House
“Eri Nakamura is likewise an ideal Gilda”
Michael Tanner, Spectator, September 2014

Princess Xenia Boris Godunov / Bavarian State Opera [DVD : Bel Air Classique]
Cond. Kent Nagano Dir. Calixto Bieito

“Eri Nakamura’s bright-voiced, grief-crazed Princess Xenia”
Matthew Gurewitsch, Opera News, July 2014

Liu Turandot / Royal Opera House (DVD: Opus Arte)
Cond. Henrik Nánási Dir. Andrei Serban

“Eri Nakamura’s Liu is equally fine, vulnerable and full of hopeless love”
Michael Scott Rohan, BBC Music Magazine, June 2014

Pamina The Magic Flute / Washington National Opera
Cond. Phillipe Auguin Dir. Harry Silverstein

“Japanese soprano Eri Nakamura, in her American debut, showed a big, handsome voice as Pamina…”
Charles T. Downey, Washington Post, May 2014

Clorinda La Cenerentola / Bayerische Staatsoper
Dir. Jean-Pierre Ponnelle Cond. Riccardo Frizza/Antonello Allemandi

“Eri Nakamura, in particular, is simply irresistible.”

“Eri Nakamura, en particulier, est simplement irrésistible.”
Dominique Adrian, Res Musica, March 2014

Antonia Les Contes d’Hoffmann / Bayerische Staatsoper
Cond. Constantin Trinks Dir. Richard Jones

“Eri Nakamura sang a fantastic Antonia. The young soprano has now sung in the house for three seasons, and it is a real joy to experience how her voice has grown during this period. Her previously slender soprano has become increasingly full and lyrical, and she has developed the lower and middle registers. And alongside her stupendous singing technique, her acting also becomes ever more powerful. An Antonia who must sing at any price, even if it costs her life.”

„Eine phantastische Antonia sang Eri Nakamura. Die junge Sängerin ist nun seit drei Spielzeiten am Haus und es macht wirklich Freude zu erleben, wie ihre Stimme mit den Aufgaben wächst. Ihr früher schlanker Sopran ist zunehmend voller und lyrischer geworden, sie hat an Mittellage und Tiefe gewonnen. Und neben ihrer stupenden Gesangstechnik wird ihr Spiel immer eindringlicher. Eine Antonia, der man das Singenmüssen, koste es auch das Leben, ohne weiteres glaubt.“
Jakobine Kempkens, Der Neue Merker, February 2014

Liù Turandot / Royal Opera House, Covent Garden
Cond. Henrik Nanas, Dir. Andrei Serban

“The Japanese soprano Eri Nakamura, as the slave girl Liu, did that miraculous opera thing that happens all too rarely: infused a perfectly ridiculous scenario with real feeling through her sumptuous singing.”
Financial Times, September 2013

“The subtlest performer on stage is Eri Nakamura, a suitably fragile, tragic Liù. The voice itself is vibrant and warm…”
David Gutman, The Stage, September 2013

“Eri Nakamura made a welcome return to the House and melted all hearts with her gloriously lyrical Liù, floating numerous high notes with consummate ease and cutting a diminutive and tragic figure on stage.”
Keith McDonnell, What’s On Stage, September 2013

“…roundly outshone by the impassioned Liù of Eri Nakamura, whose ‘Signore, ascolta’ broke hearts galore.”
Jessica Duchen, Independent, September 2013

“The beautifully sung and touchingly acted Liù of Eri Nakamura reminds us of how much better Puccini’s lines sound when the notes are joined together and given light and shade.”
Richard Morrison, Times, September 2013

“Eri Nakamura’s heart-melting Liù deserves a special mention.

This traditionalist production of Turandot enjoys a bracing revival in which Eri Nakamura is heart-melting as Liù.”
Barry Millington, Evening Standard, September 2013

“Jette Parker alumni Eri Nakamura, sang Liù and what a nearly exquisite assumption it was! The voice is bigger than I remembered and she is well on her way to becoming a first rate lyric soprano. Beautifully clean and capable of producing exquisite spinning pianissimos, her “Signore ascolta” was one of the highlights of the evening.”
Antony Lias, Opera Britannia, September 2013

“The secondary female role of the slave-girl Liù was also sung quite splendidly by Japanese soprano Eri Nakamura… greeted with rapturous applause at the end.”
William Hartston, Daily Express, September 2013

Juliette Romeo et Juliette / Teatro Municipal Santiago
Dir. Jean-Louis Pichon

“The Japanese soprano Eri Nakamura sang the first Juliette of her career. Her pleasant and well-modulated voice is capable of not only addressing the coloratura and agility of the aria "Je veux vivre", but also of confronting the challenging "Amour, ranime mon courage" with an exciting display that prompted enthusiasm and deserved applause.”
Bio Bio Chile, July 2013

“Eri Nakamura… possesses a beautiful soprano voice that was naturally handled throughout the performance, her coloratura singing was extremely easy, and it is not surprisingly that this expressive singing, coupled with acting excellence, was awarded with standing ovations by the audience, following both her arias and her duets with Romeo.”
Visiones Criticas, July 2013

“So it is Eri Nakamura (Juliette), also young, fragile and impetuous in her acting and singing, who takes the opera by storm, from the haunting aria “Je veux vivre” to the poison scene and the final memorable duet.”
Las Ultimas Noticias, July 2013

Romeo et Juliette offered wonderful interpreters… Soprano Eri Nakamura provided her character with vocal freshness and sweetness”
La Tercera, July 2013

Woglinde in Wagner Das Rheingold
Bayerische Staatsoper / cond. Kent Nagano / dir. Andreas Kriegenburg

“With beautifully balanced harmony and clear diction the Rhine Maidens Eri Nakamura, Angela Brower and Okka von der Damerau are very convincing.”

“Eri Nakamura, Angela Brower und Okka von der Damerau überzeugen als Rheintöchter durch harmonischen Klang und saubere Diktion.”
Thomas Molke, Online Musik Magazin, July 2012

Woglinde in Wagner Götterdämmerung
Bayerische Staatsoper / cond. Kent Nagano / dir. Andreas Kriegenburg

“The Rhine Maidens (Eri Nakamura,...) sing to the highest standard...”

“Auf hohem Niveau komplettieren ... die Rheintöchter (Eri Nakamura, Angela Brower, Okka von der Damerau) das Ensemble.”
Oliver Schneider, Drehpunkt Kultur, July 2012

“The Rhine Maidens Eri Nakamura, Angela Brower and Okka von der Damerau are inspiring and entice the audience with enchanting harmonies and clear diction.”

“begeistern ebenso wie Eri Nakamura, Angela Brower und Okka von der Damerau als Rheintöchter durch klare Diktion und harmonischen Klang...”
Thomas Molke, Online Musik Magazin, July 2012

"Excellent vocal blend of the Rhinemaidens...”

“Stimmlich ... gut aufeinander abgestimmt die ... Rheintöchter.”
Walter Dobner, Die Presse, July 2012

Mozart Mitridate / Arbate
Bayerische Staatsoper / Cond. Ivor Bolton / Dir. David Bosch

“Eri Nakamura made a perky sidekick to Sifare...”
Zerbinetta,, July 2012

Clorinda in Rossini La Cenerentola
Bayerische Staatsoper / cond. Antonello Allemandi / dir. Jean-Pierre Ponnelle

“Eri Nakamura and Paola Gardina made an amusingly silly pair of sisters”
Hugh Canning, Opera, October 2012

“She gave an amusing and convincing performance ... despite having sung Woglinde in Wagner’s Rheingold on the two preceding evenings.”

“Même les deux sœurs, Paola Gardina en Tisbe et Eri Nakamura qui interprétait deux soirs auparavant Woglinde dans L'Or du Rhin ... sont tout aussi bien chantantes qu’amusantes.”
Christophe Rizoud, Forum Opéra, July 2012

“As Cenerentola's family ... Eri Nakamura ... were superb, not only with wonderful voices (particularly in the case of Nakamura), but with a great sense of the comic roles their characters play.”
Matthew Lynch,, June 2012

“Bayerische Staatsoper should count itself very fortunate to have an accomplished singer like Eri Nakamura to cast for the small, but very demanding role of Clorinda. Her beautiful soprano voice rises above the ensemble without ever sounding shrill.”

“Glücklich kann sich die Bayerische Staatsoper schätzen, die kleine wie schwierige Rolle der Tisbe mit Eri Nakamura besetzen zu können. Ihr Sopran kann in heiklen Lagen über dem Ensemble strahlen, ohne dass das jemals schrill oder unangenehm klingt.”
Christoph Broermann,, July 2012

“The ugly sisters Clorinda (Eri Nakamura) and Tisbe (Paola Gardina) are such hideous, asinine and brazen girls that you’d gladly give them the boot. But the young Japanese singer is so present, clear and comical while crying, flirting and whining that listening to her and her Italian colleague becomes a great pleasure.”
Klaus Kalchschmid, Süddeutsche Zeitung, May 2012

“Paola Gardina (Tisbe) and especially Eri Nakamura (Clorinda) make up a wonderful couple of ugly sisters – so good in fact that their talent feels underestimated.”
Markus Thiel, Merkur Online, May 2012

“[The Bavarian State Opera] is showing Rossini’s La Cenerentola on four evenings with a wonderful cast. The revival is a musical feast, from conductor Antonello Allemandi to the annoyingly giggly sisters Clorinda (Eri Nakamura) and Tisbe (Paola Gardina) ...”
Volker Boser, Abendzeitung München, May 2012

Liu in Puccini Turandot / Bayerische Staatsoper
cond. Dan Ettinger

“…as the devoted Liu, whose cultivated Soprano is gaining more richness every time and who sang and played the moving fate of the little Liu with soulful expression”
Jakobine Kempkens, Der Neue Merker, April 2012

“Eri Nakamura received a lot of bravos… as the devoted Liu, whose cultivated Soprano is gaining richness and who sang and played the moving fate of the little Liu with soulful expression”
Jakobine Kempkens, Der Neue Merker, April 2012

Sophie in Massenet Werther / Rolando Villazón (Werther), Sophie Koch (Charlotte), Orchestra of the Royal Opera House, Covent Garden / cond. Antonio Pappano
DG 477 9340

“Eri Nakamura is assertively bright-toned in Sophie's manic music...”
David J. Baker, Opera News, June 2012

“Eri Nakamura contributes a sweet and cheerful Sophie”
Rupert Christiansen, Daily Telegraph, March 2012

Rosenblatt Recital / St John’s Smith Square
acc. James Baillieu

“Eri Nakamura, a wonderfully characterful singer - both in terms of the voice itself, but also her charming ability to step swiftly and convincingly into a role.”
Martin Cullingford, Gramophone, November 2011

Stabat Mater / London Philharmonic Orchestra / Royal Festival Hall
cond. Yannick Nézet-Séguin

“The Japanese soprano Eri Nakamura had no problems with power... and a pleasingly pathetic, theatrical involvement.”
Peter Reed, Classical Source, October 2011

“The expressive Japanese soprano Eri Nakamura has a beautiful voice (…) her duet with the dramatic mezzo Ruxandra Donose was elegant and lyrical.”
Spear’s Wealth Management, October 2011

Sophie in Massenet Werther
Royal Opera House, Covent Garden / cond. Antonio Pappano / dir. Benoît Jacquot

"Nakamura, in particular, seems to have been born to sing this part."
Enrique Sacau,, May 2011

“Nakamura was pure delight as Sophie, spreading joy and good cheer that only increased Werther's despair. She also has a beautiful light soprano voice, and if I had been Werther, I would happily have run off with her as soon as Charlotte got married. Unfortunately for him, Werther is made of sterner stuff.”
William Hartston, Daily Express, May 2011

“Eri Nakamura was a perky Sophie.”
Hugo Shirley, Musical, May 2011

“Eri Nakamura brought more spirit than usual to irritating Sophie.”
Richard Fairman, Financial Times, May 2011

Giulietta in Bellini I Capuleti e I Montecchi
Bayerische Staatsoper / cond. Yves Abel / dir. Vincent Boussard

“Together with her stage partner, Eri Nakamura, a Japanese soprano who is as intense as she is delicate, a moving picture of youthful passion and vulnerability was created. With floating phrases and endless seeming breaths from both singers, the scenes of the two lovers were the high point of the evening.”

“Zusammen mit ihrer Bühnenpartnerin Eri Nakamura, der ebenso intensiven wie filigranen Sopranistin aus Japan, wurde ein berührendes Bild jungedlicher Leidenschaft und Verletzlichkeit gezeichnet. Mit schwebenden Phrasen und endlos scheinendem Atem beider Sängerinnen wurden die Szenen des Liebespaares zu den Höhepunkten des Abends.”
Epoch Times Deustchland, March 2011

“Nakamura sings this difficult part with phenomenal technical security... What the Japanese singer offers in terms of coloratura and true belcanto finesse, reminds us of the great Edita Gruberova.”
Christian Wildhagen, Frankfurter Allgemeine, March 2011

“The young Japanese soprano sang with an enchanting, silver-clear voice…and played a Giulietta on the edge of madness and depression. She harmonised perfectly in voice, physicality and dramatic intention with Tara Erraught.”

“Die junge Japanerin sang mit berückend silberheller Stimme…und spielte eine Julia am Rande das Wahnsinns und der Depression. Sie harmonierte perfekt in Stimme, Physis und schauspielerischer Gestaltung mit Tara Erraught.”
Klaus Kalchschmid,, March 2011

“Eri Nakamura gives to this Guilietta… a euphoric, beautiful voice... She sings with an emotional intensity that touches deeply. Powerful, nuanced, subtle and weightless in the highest layers, every sound is a pleasure."
Der Neue Tag, March 2011

“The sound which the miraculous Eri Nakamura makes is quite something else: her sinuous soprano is of shimmering luminosity, the sounds at the top rising like a bird on radiant wings (and we are reminded involuntarily of Strauss and Sophie Die Rosenkavalier).”

“Ganz anders die wundersame Eri Nakamura: Ihr geschmeidiger Sopran ist von schimmernder Leuchtkraft, die Töne steigen wie ein Vogel auf strahlenden Schwingen in die Höhe (und man denkt unwillkürlich an Strauss und die Rosenkavalier-Sophie)”
Jakobine Kempkens, Der-Neue-Merker, April 2011

Eri Nakamura as Giulietta wowed the audience with a truly fervent interpretation.”

“Eri Nakamura als Julia begeisterte das Publikum mit einer wahrhaft inbrünstigen interpretation”
Peter Jungblut, Bayerischer Rundfunk, March 2011

“Eri Nakamura was the star of the show. Not only did she perform Bellini’s long cantilenas with effortless perfection, but she also showed once again what a good performance of Italian bel canto can be: not just pretty singing, but a medium for heartfelt expression and individual expressiveness.”
NMZ Online, March 2011

“Eri Nakamura upped the ante for the Munich ensemble even further. The Japanese soprano already acts and sings with the self-confidence of a budding bel canto diva. Her vocal contrasts were more varied, her phrasing more expansive and aggressive, and her top notes freer than ever. And all underpinned by that dark yet unveiled soprano tone that one would wish for Netrebko’s voice, for whom Nakamura stepped in spectacularly two years ago in London.”
Merkur Online, March 2011

“Juliet looked like one of Degas’ ballerinas: delicate, vulnerable, more dream than reality. Eri Nakamura possessed a vivid stage presence, and her singing was equally of the highest possible standard.”
Münchner Abendzeitung & Der Neue Merkur, March 2011

“The dainty Japanese soprano Eri Nakamura (who stepped in for Anna Netrebko in the same role at London’s Covent Garden two years ago) excelled, with her powerful stage presence and delicately shaped soprano voice, which remained outstanding even in the most exposed high passages.”
Mittelbayerische Zeitung, March 2011

“Eri Nakamura, the intense and filigree-voiced soprano from Japan, painted a touching picture of the passion and vulnerability of youth.”
Epoch Times, March 2011

"Eri Nakamura sang Giulietta wonderfully, rich in color and with much strength."
Jörn Florian Fuchs, Tiroler Tageszeitung, March 2011

Susanna in Mozart Le nozze di Figaro
Royal Opera House, Covent Garden / cond. Sir Colin Davis / dir. David McVicar

“It instantly became clear that she is a very major talent indeed…She has a distinctively rich timbre to her voice, and in almost every register. It is the tone of a mature alto, but with the range and flexibility of a young soprano, a beguiling combination. Musically, she is also the perfect partner to Schrott, both have the agility for Mozart’s acrobatics and similarly rich tone colour. Those first act duets have never sounded so convincing.”
Gavin Dixon, Seen & Heard, June 2010

“Eri Nakamura in her glowingly and intelligently sung Susanna, refreshingly free of coyness, yet both feisty and wonderingly wide-eyed.”
Hilary Finch, The Times, June 2010

“Susanna, nicely but daintily played by Eri Nakamura, who struck her best vocal form with a beautifully poised Deh vieni non tardar.”
Rupert Christiansen, The Telegraph, June 2010

“Eri Nakamura’s Susanna has the moral fibre to stand up to (Figaro) and sings a well-sculpted “Deh vieni”, floated on a gleaming tone and beautifully accompanied by the conductor, Colin Davis”
Richard Fairman, The Financial Times, June 2010

“...Eri Nakamura's Susanna...finely sung and acted”
Tim Ashley, The Guardian, June 2010

“Eri Nakamura as Susanna led a high-quality cast”
Fiona Maddocks, The Observer, June 2010

“Eri Nakamura’s sweet-toned Susanna held her own in this more experienced company...(...Susanna is Mozart’s most demanding “soubrette” role, written for a prima donna, and Nakamura has all the gifts to grow into the part.)”
Hugh Canning, The Sunday Times, June 2010

“The leading light is…Eri Nakumura, honey-voiced and vulnerable as Susanna (she) offers balm to the ear through the tenderness and grace (she) brings to McVicar’s re-thought staging of Act Four.“
Mark Valencia, What’s On Stage, June 2010

“Eri Nakamura’s Susanna was first-rate, well-sung and most spiritedly acted, with a delightful “Venite, inginocchiatevi.”
Stephen Jay-Taylor, Opera Britannia, June 2010

“Susanna beautifully played by the Japanese soprano Eri Nakamura”
William Hartston, The Daily Express, June 2010

Musetta in Puccini La Boheme
Royal Opera House, Covent Garden / cond. Maurizio Benini / John Copley revival production

“One of Covent Garden’s most promising young interns, the Japanese soprano Eri Nakamura, was a delightful Musetta. Not only is she young and pure of voice unlike some of the old boilers Covent Garden often find for this role, she also has undoubted talent as a comedienne.”
David Mellor, Mail on Sunday, January 2010

Frasquita in Bizet Carmen
Royal Opera House / cond. Bertrand de Billy / dir. Francesca Zambello

“Amongst the smaller roles, Eri Nakamura's Frasquita must be singled out for the ease with which she carried off the top lines in the ensembles, and the zest she brought to her characterisation of the gypsy.”
John Woods, Musical Criticism, October 2009

Jette Parker Young Artists Programme Summer Concert
Royal Opera House / cond. Rory Macdonald, Dominic Grier & Daniele Rustioni / dir. Thomas Guthrie

“The duet between Manon, Eri Nakamura, and Des Grieux, Ji-Min Park, Ah! Viens, Manon, je t’aime! was… international class opera singing.”
Jim Pritchard, MusicWeb International, July 2009

“Both Ji-Min Park and Eri Nakamura sang powerfully and expressively.”
John-Pierre Joyce, Music OMH, July 2009

“The heroine of the following scene – from Act 3 of Manon - was even more compelling in Eri Nakamura’s poignant and luscious interpretation.”
Simon Thomas, What’s On Stage, July 2009

BBC Cardiff Singer of the World Competition - Final
St. David’s Hall / cond. Paul Daniel

“Japanese soprano Eri Nakamura's highly accomplished singing also marked her as a serious prospect.”
Rian Evans, The Guardian, June 2009

“Nakamura is a petite woman with a surprisingly big voice, projected with plenty of spin and reminiscent of Mirella Freni. She impressed in Juliette’s ‘Je veux vivre’, then swopped over to Giulietta for ‘Oh! quante volte’. Liù’s ‘Tu che di gel sei cinta’ was shaped with welcome dignity, even heroism, while Strauss’ song Cäcilie brought long-breathed phrasing and surging passion.”
Yehuda Shapiro, Opera Now, June 2009

Gianetta in Donizetti L’elisir d’amore
Royal Opera House / cond. Bruno Campanella / dir. Laurent Pelly

“And it’s rare for Giannetta, the smallest singing role, to garner any profile – but Eri Nakamura shone.”
Andrew Clark, Financial Times, May 2009

“For pure, spontaneous tenderness, it’s actually Eri Nakamura’s sweet Giannetta who comes closest.”
Neil Fisher, The Times, May 2009

“Eri Nakamura as Giannetta proved an emerging and noteworthy vocal personality.”
Martin Kettle, The Guardian, May 2009

“And the sweet-faced Japanese soprano Eri Nakamura, as a village girl, shows much promise. .. a considerable talent to watch.”
Paul Callan, Sunday Express, May 2009

Witch in Purcell Dido and Aeneas
Royal Opera House / cond. Christopher Hogwood / dir. Wayne McGregor

“Miss Watson and Miss Nakamura both gave performance of a very high standard... Dido and Aeneas is not an opera many would describe as ‘enjoyable’, but the Witches; and Sailor’s scenes came close...”, May 2009

“Her young witches Eri Nakamura and Pumeza Matshikiza sang brightly with better diction...”
Sue Loder, Opera Today, May 2009

Giulietta in Bellini I Capuleti e I Montecchi
Royal Opera House / cond. Mark Elder / dir. Pier Luigi Pizzi
“Nothing so far could have prepared the audience for the confidence, brilliance and pathos of her appearance in such a challenging role as Bellini’s heroine. Legato, coloratura, breath control, intonation and beauty of timbre were all securely in place. For Nakamura the future looks bright indeed.”
John McCann, Opera, May 2009

“It was in fact a very enjoyable evening - Eri Nakamura was superb and received a well-deserved ovation.”, March 2009

“Her petite and slim body made the couple Romeo-Giulietta visually credible. She was a credible Giulietta, torn between passion and duty... the evening was electrifying. Nakamura rose to the occasion with passion and skill. A star is born...”, March 2009

Sandman in Humperdinck Hänsel und Gretel
Royal Opera House / cond. Colin Davies & Robin Ticciati / dir. Moshe Leiser & Patrice Caurier

“Eri Nakamura’s Sandman and Simona Mihai’s Dew Fairy were both nicely done...”
Intermezzo, December 2008

“A charming Sandman from Eri Nakamura, done up as Hervé Villechaise in a white dwarf-suit...”
Stephen Jay-Taylor,, December 2008

Fifth Maid in R. Strauss Elektra
Royal Opera House / cond. Mark Elder / dir. Charles Edwards

“Eri Nakamura was impressive as the Fifth Maid...”
Hugo Shirley,, November 2008

“...the fifth Maid [is] a fine portrayal from Eri Nakamura, a Jette Parker Young Artist...”
Mark Berry, Seen &, November 2008

“…the five charladies at the beginning were the strongest - and certainly most accurately sung - team in my experience, with a powerhouse, gleaming soprano as the fifth maid (Eri Nakamura)…”
Stephen Jay-Taylor,, November 2008


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