Noa Danon
Gallery
Videos
youtube
youtube
youtube
youtube
youtube
youtube
youtube
youtube

Download PDF

Israeli born Noa Danon studied at the Buchman-Mehta School of Music at Tel Aviv University‚ and was a member of the Israeli Opera’s Young Artist Programme‚ where roles included Rosalinde Die Fledermaus‚ Erste and Zweite Dame Die Zauberflöte and Euridice Orfeo ed Euridice. Other early roles include Musetta La Boheme and Silvia Zanetto. Amongst her many awards‚ in 2005 she won first prize at the Buchman – Mehta School of Music’s Voice Competition‚ as well as a special prize for the best operatic performance awarded by the Israeli Opera and 2nd Prize (Operetta) in the 2008 International Hans Gabor Belvedere Competition in Vienna. Noa is a recipient of the America-Israel Cultural Foundation and the International Vocal Arts Institute scholarships as well as The Israeli Opera’s Besser Award and the IVAI’s Silvermann prize.

Most recent and current engagements include Sieglinde Die Walküre‚ title roles Vanessa and Katya Kabanova in Magdeburg and Fiordiligi Cosi fan tutti with Israeli Opera.

Since 2009 Noa has been a member of the Ensemble in Magdeburg where her roles have included Marschallin Der Rosenkavalier‚ Marguerite Faust‚ Duchess Powder Her Face‚ Lucille Danton’s Tod‚ Elisabetta Maria StuardaMadama Butterfly‚ Elisabetta Don Carlo‚ Antonia Les Contes d’Hoffmann‚ Rosalinde‚ Agathe Der Freischütz‚ Gertrud Hänsel und Gretel‚ Governess The Turn of the Screw‚ Donna Elvira Don Giovanni‚ Micaela Carmen and Venus Orpheus in the Underworld.

Her early association with Israeli Opera has remained an important part of her career and roles there include Mimi La bohème Governess ‚ Micaela Carmen‚ Gianetta L’elisir d’amore‚ Tisbe La Cenerentola and Suor Dolcina Suor Angelica. She recently sang Donna Elvira Don Giovanni in Hagen and Bernstein’s Kaddish Symphony with the Bochumer Symphoniker.

Noa Danon has a wide concert repertoire and has performed as a soloist with orchestras including the Israel Symphony Orchestra Rishon LeZion‚ The Jerusalem Symphony Orchestra‚ the Israel Chamber Orchestra‚ the Haifa Symphony Orchestra and the Raanana Symphonette Orchestra.

La Clemenza di Tito, Theater Magdeburg

Als seine eigentliche Gegenspielerin ist die mit allen Mitteln selbst um die Macht (und den Thron ihres Vaters) kämpfende Vitellia bei der Magdeburger Haus-Primadonna Noa Danon bestens aufgehoben. Auch sie steigert sich bis zu ihrem großen Schlussgeständnis der eigenen Schuld... ...Renard liefert am Ende neben Danon die überzeugendste stimmliche und darstellerische Leistung des Abends.

As his actual opponent, Vitellia, who is fighting for power (and her father's throne) by all means, is in good hands with the Magdeburg house prima donna Noa Danon. She too climbs up to her big final admission of her own guilt... ...In the end, Renard delivers the most convincing vocal and acting performance of the evening alongside Danon.

Concerti (September 2020)

Noa Danon, Magdeburgs primadonna assoluta, spielt die verzweifelte Künstlerin mit Hingabe und spatestens in ihrer Confessio am Ende, wenn sie sich in eine begehrende Frau zuruckverwandelt hat, singt sie diese leicht derangierte und schwer ange-trunkerne Drama Queen auch so: mit flammenden Spitzentonen, romantisch angewehter Mittellage und sonorer Tiefe.

Noa Danon, Magdeburg's primadonna assoluta, plays the desperate artist with devotion and at the end of her confessio at the latest, when she has transformed back into a desiring woman, she sings this slightly deranged and heavily drunk drama queen like this: with flaming top notes, romantically blown middle register and sonorous depth.

Opernwelt (November 2020)

Zigeunerbaron, Theater Magdeburg

Dass Noa Danon ganz in Weiß mit Prinzessinenkrönchen umwerfend aussieht, versteht sich von selbst.

It goes without saying that Noa Danon looks stunning all in white with a princess crown.

Volksstimme (October 2020)

NOA DANON IST DER STAR DES ABENDS
Star des Abends war eindeutig der dunkle Sopran von Noa Danon als »Saffi«, der es gelungen ist, ihrer Rolle ein opernhaftes Pathos zu verleihen, das dem Werk gut bekommen ist.

NOA DANON IS THE STAR OF THE EVENING
The star of the evening was clearly Noa Danon's dark soprano as »Saffi«, who succeeded in giving her role an operatic pathos, which the work is well-received.

MDR Kultur (October 2020)

La bohème‚ Israeli Opera

In the role of Mimi‚ the not yet very well known Noa Danon was a pleasant surprise with her bright‚ delicate soprano...

The Jerusalem Post (October 2017)

Don Giovanni‚ Theater Hagen

The soprano Noa Danon has jumped in to the premier and sang a sensational Donna Elvira‚ her enraged interval jumps were so perfect as glowing coleraturas.

Der Westen (May 2012)

The Turn of the Screw. Theater Magdeburg

The by far largest part is sung by Noa Danon and she finds the appropriate expression for each episode: optimistic and full of zest at the beginning‚ later on disoriented‚ fearful and confused but also resolute and cold. As a singer she masters all ranges of her voice.

Magdeburger Volksstimme (October 2010)

Don Giovanni‚ Theater Magdeburg

Noa Danon credibly displays a hopeless and irrational Elvira. Her superior interpretation of brittle emotionality goes along with an impressively pure tone and accuracy in the top of her voice.

OpernNetz (September 2010)

Carmen‚ Theater Magdeburg

Noa Danon had the most evenly balanced voice of the night. Her presentation of Micaëla was very authentic and with her well-rounded soprano she produced strongly differentiated colours of tone.

Orpheus Magazine (April 2010)

Micaëla‚ sung by Noa Danon‚ is more than a simple-minded peasant girl as she anticipates the tragic ending in the dramatic colours of her voice.

Magdeburger Volksstimme (January 2010)