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Annija Adamsone
Soprano
Latvian soprano Annija Adamsone, born in September 1997, made her opera debut at Latvian National Opera when she was ten years old as the 1st Boy in Mozart’s Die Zauberflöte and a year later as Gretel in Massenet’s Werther.
Recently Adamsone made her Elbphilharmonie Hamburg debut performing Orff’s Carmina Burana together with Symphoniker Hamburg, Symphonischer Chor Hamburg and maestro Matthias Janz.
On September 2024 Adamsone made her role debut as Olympia at the Latvian National Opera, in the new production of The Tales of Hoffmann (musical director: Frédéric Chaslin, stage director: Aik Karapetian).
From December 2024 until July 2025, Adamsone will be heard at the Theater Trier in the roles of Adele, Despina, Zerbinetta and Adina.
Photos
Reviews
“Annija Kristiāna Ādamsone channelled her inner Bella Baxter as Olympia, while pinging out her coloratura with both striking accuracy and volume.”
www.bachtrack.com
Soprano Annija Kristiāna Ādamsone Steals the Limelight as Olympia.
“The four soprano roles were each undertaken by a different singer. All performed well, but it was “Annija Kristiāna Ādamsone who stood out with a breathtaking performance as Olympia. She possesses a wonderfully agile voice, which she employs with absolute precision and is able to thrill the audience with her stunning coloratura and her ability to pop out pitch perfect notes as she glides freely across the line. There is no sign of stress or anxiety in the voice whatsoever. Her voice has a freshness, purity and beauty, which she showed off to good effect in the aria “Les oiseaux dans la charmille,” which received the biggest ovation of the evening. She also proved herself to be a skilled actress as she waddled mechanically around the stage, convincingly unaware of any of the accepted forms of behavior, nicely illustrated when she started to eat the cat’s food.”
“The young soprano Annija Kristiāna Ādamsone, in the role of Olympia, has already become the unsurpassed star of “The Tales of Hoffmann” with her impeccably pure intonation and truly fantastic performance in the first act of the opera. Adamsone’s technically sound, pure, almost angelic singing contrasts so sharply with her biorobot costume – bloody gauze coils and surgical metal tourniquets – that the comic effect is tripled. Adamsone is a surprise worth recording for the future and a beautiful succession.”
“Ādamsone has a perfect symbiosis of external, vocal and artistic qualities – a rare trinity, unattainable for most opera singers. The main musical impression from this production – it is Annija Kristiāna Ādamsone as Olympia. This is her first appearance in a significant role on our [LNOB] stage and it is difficult to recall such bright debuts.”