Hiromi Omura
Japanese-French soprano Hiromi Omura has developed her international career as “a true singing actress: each performance brings fresh nuances and feels inhabited”(Australian Book Review) with “her singing, powerful, seamless and exquisitely beautiful” (North Shore Times).
Recent career highlights include her US debut as Cio-Cio-San at the Portland Opera, as well as her debut at the Puccini Festival at Torre del Lago in Italy. 2022 saw her return to Tokyo for Le nozze di Figaro as Countess Almaviva at Tokyo Bunka Kaikan and Madama Butterfly as her signature role of Cio-Cio-San at New National Theatre Tokyo, both with Tokyo Nikikai Opera. In the 2022/2023 season, Omura joined New Orleans Opera, also for Madama Butterfly, and Manitoba Opera for a gala of operatic repertoire.
Hiromi Omura has performed Cio-Cio-San, receiving great acclaim, around the world with companies such as the New National Theatre Tokyo, Deutsche Oper Berlin, Opera Israeli (Tel Aviv), Montreal Opera, Malaga, Cordoba, Santander, Metz (France), Lausanne Opera, Polish National Opera (Theatre Wielki), Savonlinna Opera Festival in Finland, Sydney Opera House, Melbourne State Theatre, Teatro Municipal Rio de Janeiro in Brazil, Latvian National Opera, Finnish National Opera, Vanemuine Theatre in Estonia, and Puccini Festival at Torre del Lago in Italy.
She can be seen in 2 filmed productions of Madama Butterfly; the first directed by Moffatt Oxenbould and the second is a new production directed by Alex Ollé, both released by Opera Australia. Omura portrayed a deeply moving Cio-Cio-San in a premiere production in Tokyo conducted by Andrea Battistoni and stage directed by Amon Miyamoto. This performance has been broadcasted on TV by NHK around Japan.
In the concert, Hiromi Omura has sung the Deutsches Requiem (Brahms) at the City of London Festival with the London Symphony Orchestra conducted by Tadaaki Otaka; Symphony No. 9 (Beethoven) with Tokyo Symphony Orchestra, Tokyo Philharmonic and Orchestre symphonique de Nancy; Missa Solemnis (Beethoven) with the Tokyo City Philharmonic; Mass in C Minor (Mozart) with the Tokyo Philharmonic; Messiah (Handel) with l’Orchestre de Picardie; and A Midsummer Night’s Dream and Elijah (Mendelssohn) both with the Orchestre National de France under the baton of Kurt Mazur. She has been invited regularly for operatic gala concerts including Opéra de Montréal, the Latvian National Opera, season opening gala concerts in the New National Theatre Tokyo, and New Year’s Opera concerts by NHK, broadcast on live TV nationwide in Japan.
Other highly acclaimed performances include Elisabetta (Don Carlo/Verdi), Liu (Turandot/Puccini), Amelia (Simon Boccanegra/Verdi), Micaëla (Carmen/Bizet), Ariadne (Ariadne auf Naxos/Strauss), Silvia (Zanetto/Mascagni), Countess (Le nozze di Figaro/Mozart), Sieglinde (Die Walküre/Wagner), and Nedda (I Pagliacci/Leoncavallo). She has performed the title role of Tosca under the baton of Daniele Rustioni with Tokyo Metropolitan Symphony; the title role of Norma for Lausanne Opera and Toulon Opera; and Desdemona in Otello for Toulon Opera, Opéra de Montréal, and Opera National de Lorraine. Opéra de Montréal has also engaged Omura as Leonora in Verdi’s Il Trovatore. In past seasons seasons, Ms. Omura was highly acclaimed by audiences and critics alike in the title role of Norma and La Traviata, both in Tokyo.
After obtaining her Master of Arts in singing at the Tokyo National University of Fine Arts and Music, she moved to Italy, training in Mantua and Milan. She then transferred to France to join the Opera Studio CNIPAL in Marseille.
She was the 1st prize winner in the Concours International d’Opéra de Marseille (2001) and won prizes in international competitions such as the Concours International de chant de Paris (Paris), Belvedere Competition (Vienna), Concorso Ismaele Voltolini (Buscoldo/ Italy), Concorso Gianfranco Masini (Reggio Emilia/ Italy), among others.
January 2024
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““… Hiromi Omura, making her U.S. debut, sang exquisitely. Her performance was pitch-perfect… Though she is not a teenager like Cio-Cio-San, her performance convinced us that she’s young and naive. She moved gracefully and handled a 3-year-old boy deftly while singing her heart out. The ‘Volgiatemi bene’ love duet, ‘flower duet’ and ‘Un Bel di Vedremo’ were exquisitely sung.” ”
