Known for their “sheer stylistic range…full-throated vocalism and raw emotional honesty”
(San Francisco Classical Voice)
Known for their “sheer stylistic range…full-throated vocalism and raw emotional honesty”
(San Francisco Classical Voice)
Known for their “sheer stylistic range…full-throated vocalism and raw emotional honesty”
(San Francisco Classical Voice)
Known for their “sheer stylistic range…full-throated vocalism and raw emotional honesty”
(San Francisco Classical Voice)
Known for their “sheer stylistic range…full-throated vocalism and raw emotional honesty”
(San Francisco Classical Voice)
Known for their “sheer stylistic range…full-throated vocalism and raw emotional honesty”
(San Francisco Classical Voice)
Known for their “sheer stylistic range…full-throated vocalism and raw emotional honesty”
(San Francisco Classical Voice)
Artistically fluid mezzo Nikola Adele Printz uses music to communicate who they are, and not just what they can do. That sense of personal conviction was evident in their recent Schwabacher Debut Recital at San Francisco Opera Center. The Chronicle named the performance one of San Francisco’s Best of 2022, writing,
Artistically fluid mezzo Nikola Adele Printz uses music to communicate who they are, and not just what they can do. That sense of personal conviction was evident in their recent Schwabacher Debut Recital at San Francisco Opera Center. The Chronicle named the performance one of San Francisco’s Best of 2022, writing,
Artistically fluid mezzo Nikola Adele Printz uses music to communicate who they are, and not just what they can do. That sense of personal conviction was evident in their recent Schwabacher Debut Recital at San Francisco Opera Center. The Chronicle named the performance one of San Francisco’s Best of 2022, writing,
Artistically fluid mezzo Nikola Adele Printz uses music to communicate who they are, and not just what they can do. That sense of personal conviction was evident in their recent Schwabacher Debut Recital at San Francisco Opera Center. The Chronicle named the performance one of San Francisco’s Best of 2022, writing,
Artistically fluid mezzo Nikola Adele Printz uses music to communicate who they are, and not just what they can do. That sense of personal conviction was evident in their recent Schwabacher Debut Recital at San Francisco Opera Center. The Chronicle named the performance one of San Francisco’s Best of 2022, writing,
“Listeners reveled in the beauty of Printz’s singing – their lustrously dark chest tones, their elegant phrasing… such commitment and tonal splendor.”
“Listeners reveled in the beauty of Printz’s singing – their lustrously dark chest tones, their elegant phrasing… such commitment and tonal splendor.”
“Listeners reveled in the beauty of Printz’s singing – their lustrously dark chest tones, their elegant phrasing… such commitment and tonal splendor.”
“Listeners reveled in the beauty of Printz’s singing – their lustrously dark chest tones, their elegant phrasing… such commitment and tonal splendor.”
“Listeners reveled in the beauty of Printz’s singing – their lustrously dark chest tones, their elegant phrasing… such commitment and tonal splendor.”
“Listeners reveled in the beauty of Printz’s singing – their lustrously dark chest tones, their elegant phrasing… such commitment and tonal splendor.”
“Listeners reveled in the beauty of Printz’s singing – their lustrously dark chest tones, their elegant phrasing… such commitment and tonal splendor.”
Following three pandemic-era summers as a participant in the prestigious Merola Opera Program, Printz began their tenure as an Adler Fellow with San Francisco Opera in 2023. During SFO’s centennial season, Printz covers Frida in the world premiere of Gabriela Lea Frank’s El ultimo sueño de Frida y Diego as well as singing Imagen #2, and performs Musetta in Bohème out of the Box.
Following three pandemic-era summers as a participant in the prestigious Merola Opera Program, Printz began their tenure as an Adler Fellow with San Francisco Opera in 2023. During SFO’s centennial season, Printz covers Frida in the world premiere of Gabriela Lea Frank’s El ultimo sueño de Frida y Diego as well as singing Imagen #2, and performs Musetta in Bohème out of the Box.
Following three pandemic-era summers as a participant in the prestigious Merola Opera Program, Printz began their tenure as an Adler Fellow with San Francisco Opera in 2023. During SFO’s centennial season, Printz covers Frida in the world premiere of Gabriela Lea Frank’s El ultimo sueño de Frida y Diego as well as singing Imagen #2, and performs Musetta in Bohème out of the Box.
Following three pandemic-era summers as a participant in the prestigious Merola Opera Program, Printz began their tenure as an Adler Fellow with San Francisco Opera in 2023. During SFO’s centennial season, Printz covers Frida in the world premiere of Gabriela Lea Frank’s El ultimo sueño de Frida y Diego as well as singing Imagen #2, and performs Musetta in Bohème out of the Box.
Following three pandemic-era summers as a participant in the prestigious Merola Opera Program, Printz began their tenure as an Adler Fellow with San Francisco Opera in 2023. During SFO’s centennial season, Printz covers Frida in the world premiere of Gabriela Lea Frank’s El ultimo sueño de Frida y Diego as well as singing Imagen #2, and performs Musetta in Bohème out of the Box.
Recent performance highlights include the title roles as Carmen in Carmen and Dido in Dido and Aeneas with Opera San Jose, L’italiana in Algeri with Opera Memphis, the Grand Duchess in The Grand Duchess of Gerolstein with Pocket Opera, Ermelinda in Freschi’s Ermelinda with Ars Minerva, Orfeo in Orfeo ed Eurydice with West Edge Opera, and Lucretia in The Rape of Lucretia with Green Mountain Opera Festival. They have also appeared as Elle in La voix humaine, Rosina in Il barbiere di Siviglia, The Fox in Cunning Little Vixen, Olga in Eugene Onegin, Cherubino in Le nozze di Figaro, and Aldonza in Man of La Mancha.
Recent performance highlights include the title roles as Carmen in Carmen and Dido in Dido and Aeneas with Opera San Jose, L’italiana in Algeri with Opera Memphis, the Grand Duchess in The Grand Duchess of Gerolstein with Pocket Opera, Ermelinda in Freschi’s Ermelinda with Ars Minerva, Orfeo in Orfeo ed Eurydice with West Edge Opera, and Lucretia in The Rape of Lucretia with Green Mountain Opera Festival. They have also appeared as Elle in La voix humaine, Rosina in Il barbiere di Siviglia, The Fox in Cunning Little Vixen, Olga in Eugene Onegin, Cherubino in Le nozze di Figaro, and Aldonza in Man of La Mancha.
Recent performance highlights include the title roles as Carmen in Carmen and Dido in Dido and Aeneas with Opera San Jose, L’italiana in Algeri with Opera Memphis, the Grand Duchess in The Grand Duchess of Gerolstein with Pocket Opera, Ermelinda in Freschi’s Ermelinda with Ars Minerva, Orfeo in Orfeo ed Eurydice with West Edge Opera, and Lucretia in The Rape of Lucretia with Green Mountain Opera Festival. They have also appeared as Elle in La voix humaine, Rosina in Il barbiere di Siviglia, The Fox in Cunning Little Vixen, Olga in Eugene Onegin, Cherubino in Le nozze di Figaro, and Aldonza in Man of La Mancha.
Recent performance highlights include the title roles as Carmen in Carmen and Dido in Dido and Aeneas with Opera San Jose, L’italiana in Algeri with Opera Memphis, the Grand Duchess in The Grand Duchess of Gerolstein with Pocket Opera, Ermelinda in Freschi’s Ermelinda with Ars Minerva, Orfeo in Orfeo ed Eurydice with West Edge Opera, and Lucretia in The Rape of Lucretia with Green Mountain Opera Festival. They have also appeared as Elle in La voix humaine, Rosina in Il barbiere di Siviglia, The Fox in Cunning Little Vixen, Olga in Eugene Onegin, Cherubino in Le nozze di Figaro, and Aldonza in Man of La Mancha.
Recent performance highlights include the title roles as Carmen in Carmen and Dido in Dido and Aeneas with Opera San Jose, L’italiana in Algeri with Opera Memphis, the Grand Duchess in The Grand Duchess of Gerolstein with Pocket Opera, Ermelinda in Freschi’s Ermelinda with Ars Minerva, Orfeo in Orfeo ed Eurydice with West Edge Opera, and Lucretia in The Rape of Lucretia with Green Mountain Opera Festival. They have also appeared as Elle in La voix humaine, Rosina in Il barbiere di Siviglia, The Fox in Cunning Little Vixen, Olga in Eugene Onegin, Cherubino in Le nozze di Figaro, and Aldonza in Man of La Mancha.
Printz’s first musical homes were in jazz and cabaret clubs, and they are well-versed in crossover styles of singing. In addition to engagements at Yoshi’s Jazz Lounge and Club 1923, Nikola also created the role of Velma Louise Cole in Boxcar Theater's immersive Speakeasy SF and joined San Francisco Symphony for their annual queer variety show Holiday Gaiety. An accomplished aerialist, Printz has also developed and performed on spinning trapeze in both grand concert halls and smoky cabaret clubs.
Printz’s first musical homes were in jazz and cabaret clubs, and they are well-versed in crossover styles of singing. In addition to engagements at Yoshi’s Jazz Lounge and Club 1923, Nikola also created the role of Velma Louise Cole in Boxcar Theater's immersive Speakeasy SF and joined San Francisco Symphony for their annual queer variety show Holiday Gaiety. An accomplished aerialist, Printz has also developed and performed on spinning trapeze in both grand concert halls and smoky cabaret clubs.
Printz’s first musical homes were in jazz and cabaret clubs, and they are well-versed in crossover styles of singing. In addition to engagements at Yoshi’s Jazz Lounge and Club 1923, Nikola also created the role of Velma Louise Cole in Boxcar Theater's immersive Speakeasy SF and joined San Francisco Symphony for their annual queer variety show Holiday Gaiety. An accomplished aerialist, Printz has also developed and performed on spinning trapeze in both grand concert halls and smoky cabaret clubs.
Printz’s first musical homes were in jazz and cabaret clubs, and they are well-versed in crossover styles of singing. In addition to engagements at Yoshi’s Jazz Lounge and Club 1923, Nikola also created the role of Velma Louise Cole in Boxcar Theater's immersive Speakeasy SF and joined San Francisco Symphony for their annual queer variety show Holiday Gaiety. An accomplished aerialist, Printz has also developed and performed on spinning trapeze in both grand concert halls and smoky cabaret clubs.
Printz’s first musical homes were in jazz and cabaret clubs, and they are well-versed in crossover styles of singing. In addition to engagements at Yoshi’s Jazz Lounge and Club 1923, Nikola also created the role of Velma Louise Cole in Boxcar Theater's immersive Speakeasy SF and joined San Francisco Symphony for their annual queer variety show Holiday Gaiety. An accomplished aerialist, Printz has also developed and performed on spinning trapeze in both grand concert halls and smoky cabaret clubs.
Offstage, Printz plays several small stringed instruments, rides their bicycle around San Francisco, and pens charmingly bad poetry. They are an advocate for accessibility in the arts and are currently learning ASL.
Offstage, Printz plays several small stringed instruments, rides their bicycle around San Francisco, and pens charmingly bad poetry. They are an advocate for accessibility in the arts and are currently learning ASL.
Offstage, Printz plays several small stringed instruments, rides their bicycle around San Francisco, and pens charmingly bad poetry. They are an advocate for accessibility in the arts and are currently learning ASL.
Offstage, Printz plays several small stringed instruments, rides their bicycle around San Francisco, and pens charmingly bad poetry. They are an advocate for accessibility in the arts and are currently learning ASL.
Offstage, Printz plays several small stringed instruments, rides their bicycle around San Francisco, and pens charmingly bad poetry. They are an advocate for accessibility in the arts and are currently learning ASL.
