Making her mark as an "especially impressive" (The New York Times) soprano, Australian/American Nola Richardson is a rapidly rising star increasingly recognized for her performances which combine a voice of "astonishing balance and accuracy,” “crystalline diction,” and “natural-sounding ease” (Washington Post) with "spellbinding acting-singing... substantial powers of melisma, melodic agility, and timbre modulation." (blogcritic.org)

Highly acclaimed in her concert appearances, Nola’s repertoire ranges from medieval to contemporary works – including several world premieres. In the 2025-2026 season she makes her debut with LA Opera and Beth Morrison Projects creating the title role in the new opera Hildegard by Sarah Kirkland Snider. She will perform Rameau's La Guirlande and Handel's Dixit Dominus with Philharmonia Baroque Orchestra, Handel's Messiah with the Tucson and Kansas City Symphonies, and Mozart's Exsultate Jubilate with Helena Symphony. Other appearances include a solo concert of French Baroque cantatas with Ars Lyrica Houston, Bach's Jauchzet Gott in allen Landen with American Classical Orchestra, Vivaldi's In furore iustissimae irae with Upper Valley Baroque, St. Matthew Passion with Musica Angelia, and engagements with the Bach Choir of Bethlehem, The Bach Society of St. Louis, Clarion, and Seraphic Fire. 

After winning First Prize in all three major American competitions focused on the music of J.S. Bach (Bethlehem Bach, 2016; Audrey Rooney Bach, 2018; Grand Rapids Symphony Linn Maxwell Keller Award, 2019), Nola has been catapulted to the forefront of Baroque ensembles and orchestras around the country. Selected performances include Bach's Magnificat at the Cincinnati May Festival; the B Minor Mass with American Classical Orchestra at the Lincoln Center; the St. Matthew Passion with the Portland Symphony and Musica Angelica; the St. John Passion with Cantata Collective; and the Christmas Oratorio with Washington Bach Consort. In 2024 she debuted as a soloist at the Leipzig Bach Festival and took park in a tour of Germany and Austria with the Bach Choir of Bethlehem. Nola has performed the virtuosic BWV 51: Jauchzet Gott in allen Landen with the Seattle, Atlanta, and Baltimore Symphonies and with the Baroque Chamber Orchestra of Colorado, Blue Hill Bach, Colorado Bach Ensemble, and Baltimore Choral Arts Society. She has performed Bach cantatas all over the country with ensembles such as the American Bach Soloists, American Classical Orchestra, the Aspen Music Festival, Ars Lyrica Houston, the Holy Trinity Bach Vespers Series, Bach at One with Trinity Wall Street, Seraphic Fire, the Baldwin Wallace Bach Festival, and the Madison Bach Musicians. Her debut in Bach’s Coffee Cantata with Philharmonia Baroque in 2019 was noted for her “graceful ebullience” (San Francisco Chronicle). 

Nola's operatic appearances such as her debut at the Kennedy Center with Opera Lafayette (Fraarte in Handel’s Radamisto)have drawn praise for her “particularly appealing freshness and directness” (Washington Post). As Oriana in Handel's Amadigi di Gaula with Ars Lyrica Houston, she was acclaimed as “the most convincing actor of the night, her every expression true to character… [her voice] resolute and triumphant, with depth and clarity, powerful yet supple.” (Arts and Culture Texas). She gave a “standout” performance (Opera News) as the First Lady in Die Zauberflöte with the Clarion Music Society and made her debut with the Boston Early Music Festival in the summer of 2023 performing several roles in Desmarest’s Circé and as Oreste Nunzia in Francesca Caccini’s Alcina. Last season featured role debuts as Gretel in Hansel and Gretel with Helena Symphony, and Cleopatra in Hasse's Marc' Antonio e Cleopatra with Baroque Chamber Orchestra of Colorado. Her repertoire includes several Mozart heroines in addition to early operatic works such as Eurydice/Proserpina in Monteverdi's Orfeo and Apolo in a rare performance of the Baroque Zarzuela Apolo e Dafne by Sebastián Durón. 

With "a voice for which Handel might have designed the music" (Parterre Box), Nola is also a frequent interpreter of Handel and other baroque composers. She has made debuts in Messiah with the Pittsburgh, Seattle, Kansas City, Helena, Pacific, and Colorado Symphonies, the St. Paul Chamber Orchestra, and with Musica Sacra and the Oratorio Society of New York. The Seattle Times described her as “agile and crystalline-voiced…a stand-out” and as Dalila in Handel's Samson at Carnegie Hall with Oratorio Society of New York, she was declared "The vocal star of the first half... who infuses an effervescent soprano with seductive character work" (blogcritic.org). Recent seasons have seen her perform title roles in Handel oratorios Acis and Galatea with American Bach Soloists, and Theodora with Ars Lyrica Houston, Maria Magdalena in La Resurrezione with American Bach Soloists, and in national tours of the cantatas Apollo e Dafne and Aminta e Fillide with the Twelfth Night Ensemble.

Nola's other concert appearances include Mozart's Exsultate Jubilate with Grand Rapids Symphony and Voices of Music, Mozart's Requiem with the Jacksonville Symphony, and Baltimore Choral Arts, a tour of Arvo Pärt's Passio to Russia, Estonia, and Latvia with the Yale Schola Cantorum, a Sondheim review with the Boston Pops, Haydn’s Creation with the Akron Symphony and the Master Chorale of South Florida, Pergolesi's Stabat Mater with the Bach Choir of Bethlehem and the Boise Baroque Orchestra, and Carmina Burana with the Master Chorale of South Florida. Her performances in a program of French Baroque music with the American Bach Soloists drew praise for her “lusciously polished…exemplary impassioned singing” (San Francisco Classical Voice). 

Nola's recent recording of Bach's St. John Passion with the Cantata Collective and conductor Nic McGegan was praised for her "elegant phrasing, radiant tone, and splendid ease in coloratura" (Early Music America). She can be heard on Cantata Collective's recordings of Bach's Magnificat and Easter Oratorio; Mozart's Requiem with the Baltimore Choral Arts; the Boston Early Music Festival's album of Desmarest's Circé and in digital video releases with Voices of Music, Seraphic Fire, Sonnambula, Musica Angelica, and Colorado Bach Ensemble. 

An Australian by birth, Nola has spent most of her life in the US. She holds a BM from Illinois Wesleyan University and dual MM degrees in Vocal Performance and Early Music from the Peabody Conservatory. She was a young artist with the Boston Early Music Festival, a vocal fellow at Tanglewood, a Marc and Eva Stern Fellow at Songfest, and a Carmel Bach Festival Virginia Best Adams Fellow. Nola attended the Institute of Sacred Music Program and in May of 2020 she was the first and only female singer to receive the prestigious DMA degree in Early Music Voice from Yale​.

Mozart | Requiem | Jacksonville Symphony

"...in the “Recordare," soprano Nola Richardson and countertenor Reginald Mobley responded to each other’s sophisticated and well-informed phrasing in one of the highlights of the night."

- Matt Bickett, The Recorder, May 24, 2025 

BWV 51 & Vivaldi Gloria | Seattle Symphony

"In [Vivaldi's] Gloria, soprano Nola Richardson’s silvered radiance was complemented by the expressive warmth of mezzo-soprano Sarah Larsen and oboist Mary Lynch VanderKolk... Richardson’s agile voice also came to the fore in the opening solo cantata by Bach—Jauchzet Gott in allen Landen! (BWV 51)—paired with trumpeter David Gordon’s brilliant tone."

- Thomas May, The Strad, May 6, 2025 

J.S Bach | Easter Oratorio and Magnificat Album (Avie) | Cantata Collective

"Soprano Nola Richardson’s flute-like vocal quality lends an elegant sensitivity to text and legato-line in the aria “Seele, deine Spezereien.” She is equally matched by Sandra Miller’s soaring flute obbligato.

- Jeffrey Baxter, Early Music America, April 18, 2025 

Theodora | Ars Lyrica Houston

"Richardson’s bright silvery tone sailed through the air like the skimming silver doves of her aria “O that I on wings could rise.” In her three duets, Richardson was always attuned to her partner, creating a rich palette of vocal colors through even the most difficult leaps in register.”

- Sherry Cheng, Arts and Culture Texas, April 2, 2025 

Berenice, ah, che fai? | Seraphic Fire

"Martines’ dramatic scena Ah, Berenice, che fai (heard in its American premiere) finds the title heroine in emotional turmoil between her duty to marry and her true love for another. The works ends with a mad scene that Gluck or Bellini would have envied. Nola Richardson’s dark middle range traced the music’s classical gravity while her top notes gave full measure to Berenice’s troubled state."

- Lawrence Budman, South Florida Classical Review, March 8, 2025 

BWV 1 | The Bach Choir of Bethlehem

"The soprano aria by Richardson was effervescent, with clarity, precision, and seemingly effortless articulation that was startling and beautiful to behold. She was accompanied by Kitagawa, oboe, whose distinctive solos always delight."

- Paul Willistein, Lehigh Valley Press News, December 13, 2024 

Apollo e Dafne | Twelfth Night Ensemble

"Nola Richardson sang with one of the most beautiful soprano voices heard here in recent years. Well placed and completely under her control, her voice is pure, ringing and fresh, and she appears so young that many successful years of her career are in her future."

- George B. Parous, onStage Pittsburgh, October 21, 2024 

Leipzig BachFest and tour | The Bach Choir of Bethlehem

"Soprano Nola Richardson had purity, warmth and a technique that was stunning, and tenor Lawrence Jones was ardently human…

"In fact, the sheer beauty of Buxtehude’s writing, which Nola Richardson and Janna Critz infused with singing of ecstatic accuracy, and the Choir’s understanding that music such as this is made up of notes and silences, made a powerful link with the emotional impact of Caroline Shaw’s six-movement To the Hands which it inspired....

"In Schütz’s ‘Jauchzet dem Herren, alle Welt!’, the dialogue between Field and Richardson was incomparable, and Lawrence Jones sang with a special passion."

- Laurence Vittes, Seen and Heard International, July 4, 2024 

Amadigi di Gaula | Ars Lyrica Houston

"Soprano Nola Richardson was radiant as Oriana. It would have been easy to portray her simply as a helpless damsel in distress, but Richardson’s Oriana is empowered by an inner strength even more heroic than Amadigi’s. She was the most convincing actor of the night, her every expression true to character. Her voice was pure sensuous delight when relishing in the innocent happiness of “Gioje, venite in sen.” Her tender and poignant “Dolce vita” tugged at heartstrings as she wept over Amadigi’s inert body. Moments later, her anger was palpable in a quarrel with her beloved. But she saved the most powerful expression for her defiant aria “Affanami, tormentami,” in which she stands up to Melissa’s brutality with admirable courage. Richardson’s voice here is resolute and triumphant, with depth and clarity, powerful yet supple."

- Sherry Cheng, Arts and Culture Texas, June 3, 2024 (Read full review)

Samson with Oratorio Society of New York

"Dalila—and several minor figures such as the Israelitish Woman—was sung by Nola Richardson in a voice for which Handel might have designed the music. She possesses clarity and a bell-like beauty, and when called for, expanded her sound subtly to fill the enormous room. She gave such pleasure we hoped Samson would forgive her. And we were thrilled when she returned at the evening’s conclusion to sing “Let the Bright Seraphim,” an aria Joan Sutherland (in the 1950s) and Kiri Te Kanawa (at Charles and Diana’s wedding) made familiar and popular."

- John Yohalem, Parterre Box​, May 14, 2024 (Read full review)

"The vocal star of the first half was Nola Richardson, who infuses an effervescent soprano with seductive character work. She can manage this just as well on a grand stage in a formal performance setting, as here, as she can in an intimate gallery venue singing baroque English love songs....

​"Richardson’s voice emerged silvery and celestial in her first appearance, in the small role of the Philistine Woman (“Ye men of Dagon”). She went on to heights of expressiveness as Dalila, imploring Samson to forgive her, and then, rebuffed, bringing a tear to my eye – part emotional response, part aesthetic joy – in “With plaintive notes and am’rous moan.”

- Jon Sobel, Blogcritics.org, May 8, 2024 (Read full review)

A Visit with Haydn | Seraphic Fire

"Lady Hamilton was a soprano and she sang “Lines” from The Battle of the Nile at the Esterházy concert with Haydn at the harpsichord. Long one of Seraphic Fire’s brightest vocal lights, Nola Richardson did the solo honors with Leon Schelhase on keyboard. Schelhase traced the stoic royal expression of the harpsichord introduction and brought spirit to the military march theme. Richardson’s creamy timbre, agility in the high tessitura and clear enunciation of the English text were entrancing. She received loud bravos from the large audience and her fellow choir members joined in the applause."

- Lawrence Budman, South Florida Classical Review, February 24, 2024 (Read full review)

Baroque English Love Songs | A Golden Wire

"The program began with “Music for a while,” a Purcell setting of verse by John Dryden. Nola Richardson immediately revealed a porcelain tone complemented by understated flute-like vibrato and intonational exactitude....

"Richardson’s performance blossomed from merely beautiful singing to spellbinding acting-singing in several selections, beginning with Purcell’s mini-drama “Bess of Bedlam.” “The Blessed Virgin’s Expostulation” expressed a common extra-biblical Christian theme of the time: Mary’s desperate search for her absconded young son Jesus. Richardson called on her substantial powers of melisma, melodic agility, and timbre modulation to evoke Mary’s desperation, rising to a peak of volume and drama (“I call Gabriel!”), then drooping into crestfallen despair (“he comes not”).

In contrast, John Blow’s “We all to conquering beauty bow” came across like a charming folk song. I closed my eyes and could readily imagine Joan Baez singing it...

"These musicians, all four, made what they do look easy. It is not. It’s wonderful to see young artists celebrating and reviving pre-classical music like this, offering works by Baroque composers both familiar and unfamiliar."

- Jon Sobel, Blogcritics.org, February 10, 2024 (Read full review)

Mozart Requiem Album (Acis) | Baltimore Choral Arts Society

"The quartet of soloists is very strong, too, with a particularly rich, lovely soprano in Nola Richardson and a distinctive mezzo in Lucia Renata Bradford."

- Simon Thompson, Music Web International, January 11, 2024 (Read full review)

"With soloists Nola Richardson (soprano), Lucia Renata Bradford (mezzo-soprano), Steven Soph (tenor), and Enrico Lagasca (bass-baritone) aboard, Requiem rises to its customary lofty level...

"In Clark's estimation, the “Tuba mirum” and “Recordare” are “some of the most sublime works ever written for vocal soloists,” and it's hard to disagree when Lagasca, Soph, Bradford, and Richardson enter in succession in “Tuba mirum” and lift “Recordare” to magnificent heights; the weaving of their voices in the latter is especially memorable."

- Textura, December 2023 (Read full review)

St. John Passion Album (Avie) | Cantata Collective

"Nola Richardson sings the Passion’s soprano arias with elegant phrasing, radiant tone, and splendid ease in coloratura."

- Ken Meltzer, Early Music America, June 26, 2023 (Read full review)

HANDEL | Messiah | Musica Sacra at Carnegie Hall | Kent Tritle, cond.

"Soprano Nola Richardson’s performance of I Know That My Redeemer Liveth was radiant, angelic, and exquisite while her fluidity and command of extended melismatic passages were breathtaking."

         - Edward A. Kliszus, Openingnight.online.com,   Dec. 23, 2022

HANDEL | Messiah | American Bach Soloists | Jeffrey Thomas, cond.

"It would have been nearly impossible to find a more satisfying solo quartet than the young singers who graced this performance. Soprano Nola Richardson possesses the quintessential angelic quality and sympathetic delivery that delights the ear with every note."

         - Pamela Hicks Gailey,  Classical Sonoma, Dec. 19, 2021 (Read full review)

HANDEL | Messiah | Seattle Symphony

“The soprano aria “If God be for us,” for instance, is not always heard in Christmastime productions, but its inclusion here may have had something to do with the excellence of the soprano soloist, the agile and crystalline-voiced Nola Richardson. With her creative ornamentation, she was a standout among the four soloists.”

         -Melinda Bargreen, The Seattle Times, Dec. 21, 2019

MONTEVERDI | Lamento della ninfa | Seraphic Fire | Patrick Dupre Quigley, cond.

" Soprano Nola Richardson gave it a full-hearted performance, emphasizing the interior pathos of the abandoned nymph. She followed faithfully Monteverdi’s directions to sing freely “in the tempo of her emotions.”

         - Marcio Bezerra, Palm Beach Arts Paper, Nov. 12, 2022 (Read full review)

"The Monteverdi works peaked with Nola Richardson’s riveting performance of Lamento della Ninfa, a tale of a woman’s anguish at being jilted by her lover. This scena is a prima donna tour de force that could have been written for opera a century later. With a pure, sturdy soprano and deep emotional penetration, Richardson conveyed the heartbreak and agony of the tragic heroine."

         - Lawrence Budmen, South Florida Classical Review, Nov. 4, 2022 (Read full review)

J.S. BACH | St. Matthew Passion | Portland Symphony Orchestra

"Richardson and Buchholz offered surrounding arias of compelling drama and beauty including one each with a strong assist from a different PSO violinist. Richardson's emotive delivery was particularly appealing..."

         - Steve Feeney,  Portland Press Herald , April 11, 2022

MOZART/MONTEVERDI | Seraphic Fire

"Nola Richardson’s exquisite singing in Seraphic Fire’s performance of Bach’s St. Matthew Passion and the Master Chorale’s presentation of Haydn’s Creation in 2019 marked her as one of the finest vocalists regularly performing in South Florida. Her flexibility and radiant timbre made “Iste confessor” a highlight of the program….”

         - Lawrence Budmen, South Florida Classical Review, May 24, 2021

J.S. BACH| Coffee Cantata | Philharmonia Baroque Orchestra | Patrick Dupre Quigley, cond.

“Richardson had the best musical material to work with and made the most of it. Her bright, crisply articulated tone, shown to best advantage in a beguiling and satiny conversation with flutist Stephen Schultz, earned best-in-show honors.”

         - Steven Winn, San Francisco Classical Voice,  Feb. 10, 2020

 HAYDN | The Creation | Master Chorale of South Florida

"As the angel Gabriel and later Eve, Nola Richardson was totally delightful, displaying nimble coloratura and a light voice of penetrating beauty….Richardson’s bright timbre and dulcet high notes were thrilling in “The marvelous work beholds”  and she ignited sparks with the perfectly placed trills of “On mighty pens uplifted.”"

         -Lawrence Budman, South Florida Classical Review, May 4, 2019

HANDEL | Radamisto | Opera Lafayette

“Two of Tiridate’s generals, both written as high soprano roles, are passionately in love with Zenobia and Polissema: Rather than have the women, Veronique Filloux and Nola Richardson, costumed as men, the production let them stay women, which felt perfectly normal in this context. Richardson sang with a particularly appealing freshness and directness.”

         -Anne Midgette, The Washington Post, February 6, 2019 (Read full review)

J.S. BACH | Magnificat | American Classical Orchestra | Thomas Crawford, cond.

”C.P.E.’s “Magnificat” is something else, a masterpiece in its own right, which looks as resolutely to the future as his father’s does at times to the past. Mr. Crawford and his forces gave it a good outing, with an especially fine turn by Nola Richardson, a soprano.”

         -James R. Oestreich, The New York Times, December 8, 2017

MOZART | Die Zauberflöte | Clarion Music Society | Steven Fox, cond. 

"In a supporting cast with no weak links, the vocal standouts were the three “firsts”: Nola Richardson (First Lady), Ty Green (First Boy) and James Kennerley (First Armed Man)."

         -David Shengold, Opera News, June 2017

BEETHOVEN | Missa Solemnis | Chorus Pro Musica

"The soloists were consistently excellent. Nola Richardson sang with a bright soprano that complemented Kate Maroney’s burnished mezzo-soprano....Together, the singers delivered a velvety blend. The “Crucifixus” sounded with dark vitality while the “passus et sepultus est,” which tells of Christ’s death and burial, was poignant."

         -Aaron Keebaugh, Boston Classical Review, November 5th, 2016

J.S. BACH | Lutheran Masses | Yale Schola Cantorum and Juilliard415 | Masaaki Suzuki, cond.

"Nola Richardson was especially impressive in the soprano parts, singing with beautiful tone..."

         -James R. Oestreich, The New York Times,  October 20th, 2015

CHARPENTIER/COUPERIN | Cantique Spirituel: Music for Lent | Les Délices

"Richardson possesses an unusually beautiful voice -- sparkling and clear, full-bodied throughout its range, with a hint of darkness that adds an extra note of complexity. Her control is beyond reproach, and her operatic experience allowed her to bring a certain sense of drama to Thomas Aquinas' hymn "Pange lingua" upon which Charpentier's suite is based. That same dramatic quality enhanced the performances of Couperin's and Charpentier's "Lamentations of Jeremiah.... Richardson navigated the elaborate phrases beautifully, with clear and precise diction throughout (she sang the Latin texts with a French pronunciation that would have been heard at the time)." 

         -Mark Satola, Cleveland Plain Dealer, March 10th, 2015

All-Baroquewith the Baltimore Symphony Orchestra

"Richardson hit her stride with the Scarlatti — the lament of an anguished soul. Her voice opened up with confidence and dramatic conviction, full of redolent passion."

         -Cecelia H. Porter, Washington Post,  July 11th, 2014

A Baroque Holiday Festival with the Bach Sinfonia

"What made this evening special was the performance of soprano Nola Richardson, who blew through the runs of the aria “Rejoice Greatly” from Handel’s “Messiah” at Abraham’s fast pace with astonishing balance and accuracy, lavishing crystalline diction on everything she touched and managing, throughout, to shape phrases with natural-sounding ease.”

         -Joan Reinthaler, Washington Post, Dec. 15th, 2013