Nina Kanter was born in London to parents of Russian, Czech, Polish and Latvian descent. She read Music and was a choral scholar at Gonville and Caius College, Cambridge, graduating in 2009 with first class honours and the Sir Rudolph Peters’ Prize for Music. In 2012 Nina was a member of the first Glyndebourne Academy, a new generation training programme for young singers run by Glyndebourne Opera in partnership with the National Opera Studio. Nina continued her studies in 2014-15 as a member of English National Opera’s Opera Works programme, and then with the Lyric Opera Studio Weimar. In 2016 Nina was a Britten-Pears Young Artist at the Aldeburgh Festival, and returned to Lyric Opera Studio Weimar to sing Clorinda in Rossini’s La Cenerentola. In 2017 Nina’s plans include masterclasses with Ewa Podleś at the Teatr Wielki, Polish National Opera as an ENOA artist, and a concert of Slavic repertoire for Aldeburgh Music at 22 Mansfield Street. In September 2017 she will join London’s Royal Academy of Music as a member of their Vocal Masters programme, working with Professor Kate Paterson.
Nina’s other recent operatic appearances include Santuzza in Mascagni’s Cavalleria Rusticana for Hampstead Garden Opera, Erste Dame in Mozart’s Die Zauberflöte and opera galas with the Thüringer Symphoniker Saalfeld-Rudolstadt for Lyric Opera Studio Weimar, Erste Dame in Mozart’s Die Zauberflöte for the ENO Opera Works showcase at the Bloomsbury Theatre, the Countess in Mozart’s Le nozze di Figaro and Alcina in Handel’s Alcina, both for ENO Opera Works scenes, First Woman/Chorus in Mussorgsky’s Boris Gudunov with the Philharmonia Orchestra under Jakub Hrůša at the Royal Festival Hall, Tatiana in Tchaikovsky’s Eugene Onegin for Cambridge University Opera Society, Giulietta in Offenbach’s The Tales of Hoffmann and opera gala performances for the first annual Enfield Choral and Orchestral Festival with Southgate Opera, Donna Elvira in Mozart’s Don Giovanni, and the Countess in Mozart’s Le nozze di Figaro, both for Glyndebourne Academy scenes at Glyndebourne’s Ebert Room, Zweite Dame in Mozart’s Die Zauberflöte for Brent Opera, Ninfa/Echo and Euridice/La Musica (cover) in Monteverdi’s L’Orfeo and Mary (cover) in Vaughan Williams’ Hugh the Drover, both for Hampstead Garden Opera, La Princesse/La Chatte in Ravel’s L’Enfant et les Sortilèges for Open Door Opera at the Edinburgh Fringe Festival and St John’s, Smith Square and the world premiere of Orlando Gough’s One, Two for Dartington International Summer School.
Nina made her debut at the Aldeburgh Festival in June 2016 as a Britten-Pears Young Artist, performing Dvorak and Rachmaninoff songs following a week of masterclasses led by Bernarda Fink. She was invited to perform Schubert songs with pianist James Cheung for a closing recital of the Oxford Lieder Festival in 2014, following a masterclass with Graham Johnson. Nina has also performed with the Song in the City and St Giles-in-the-Fields recital series, most recently joining pianist Gavin Roberts for a performance of Schumann’s Frauenliebe und -leben and Beethoven’s concert aria Ah! perfido.
In concert Nina’s recent performances include an evening of Slavic song with Aldeburgh Music at 22 Mansfield Street, Pergolesi’s Stabat Mater at St Giles in the Fields, Handel’s Israel in Egypt with the Barnes Choir as part of the Barnes Music Festival, Rutter’s Requiem for the Good Friday Instant Concert at Cobham Church in Kent, Handel’s Messiah and Vivaldi’s Magnificat with Eclectic Voices at St Paul’s, Covent Garden, Brahms’ Ein Deutsches Requiem and Dvorak’s Stabat Mater with Kent Chamber Choir, Mozart’s Requiem with The Amadé Players and Brahms Liebeslieder Walzer at Kettle’s Yard.
During her studies at Cambridge Nina performed as a soloist internationally and around the UK, including appearances on Radio 3 broadcasts, at the York Early Music Festival and Oundle International Festival and on recordings including Shchedrin’s The Sealed Angel for Delphian Records, performing with the Gonville and Caius College Chapel Choir under Geoffrey Webber. Her previous teachers have included Jacqueline Bremar, Michael Lloyd and Professor Richard Stokes. Nina is extremely grateful for the support of The John Wates Charitable Trust, The Kathleen Trust, The Mario Lanza Education Foundation, The Grace Wyndham Goldie Trust Fund and an anonymous donor together with Aldeburgh Music.
Concert promoters – if you wish to include this biography in a programme, please contact Nina to ensure you receive the most up-to-date version.