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A versatile artist at home in many musical styles and with an extensive vocal range, Noa Frenkel is a genuine contralto, whose repertoire reaches from the Renaissance to contemporary music.

Most recent opera appearances include Gubaidulina’s Stunde der Seele with Windkraft Tirol at the Konzerthaus Wien, the world premiere of Thierry Pécou’s Nahasdzáán with Ensemble Variences at the Opéra de Rouen, Chaya Czernowin’s Infinite Now at Vlaamse Opera and Nationaltheater Mannheim and Hans Zender’s Don Quijote de la Mancha with Klangforum Heidelberg at the Frankfurt LAB.

Other opera roles include Woman in Zaide/Adama by Mozart/Czernowin at the Salzburg Festival, Frau Ocholowska in the world premiere of Johannes Kalitzke’s Die Besessenen at Theater an der Wien, La révérende Mère in François Parls’ Maria Republica for Angers Nantes Opera, Third lady in Mozart’s Die Zauberflöte at the Angers Nantes Opera, Madame Flora in Menotti’s The Medium and Philip Glass’ Akhnaten in Rotterdam, the madrigal opera La Barca for the Nationale Reisopera, Stockhausen’s Sonntag aus Licht at Oper Köln, conducted by Peter Rundel, Pnima by Chaya Czernowin at Oper Stuttgart. 

In concert, she has performed Bernstein´s Songfest with the MDR Sinfonieorchester, Brahms Alto Rhapsody with the Israel Chamber Orchestra, Handel’s Dixit Dominus with the Flemish Radio Choir, Donatoni’s Abyss at Casa da Musica in Porto, Luigi Nono’s Prometeo with the SWR Sinfonieorchester Freiburg/Baden-Baden and Ingo Metzmacher at Teatro alla Scala Milan, the Philharmonie Berlin, the Ruhrtriennale, Lucerne Festival and the Festival d’Automne Paris, Mahler’s Das Lied von der Erde with the Orchestre Symphonique de Mulhouse, his Symphony no 2 with the Israel Symphony Orchestra Rishon Lezion, his Symphony no 3 with the Jersualem Symphony Orchestra, Verdi’s Requiem at the Ljubljana Festival, Morton Feldman’s 3 Voices in Madrid, John Cage’s Songbooks with Israeli ensemble Musica Nova and Nono’s Guai ai gelidi mostri at the Salzburger Festspiele and the Wiener Festwochen.
Ms Frenkel has appeared with Baroque ensembles such as Les Arts Florissants, Elyma Ensemble, Combattimento Amsterdam, and the Utrecht Baroque Consort. She is a co-founder of the Kassiopeia quintet, an A-cappella group, which has recorded the complete madrigal books of Carlo Gesualdo.

As a sought-after interpreter of contemporary music, many composers have written works for her. She regularly performs at the main festivals in Europe with renowned ensembles such as Ensemble Modern, The Schönberg Ensemble, Klangforum Wien, L’Ensemble Intercontemporain, MusikFabrik, Ensemble Variences, The Israeli Contemporary Players, as well as the Experimental Studio Freiburg (SWR).

Until recently she was the soloist of the Dutch Maarten Altena Ensemble, a group dedicated to both improvised and written contemporary music, with whom she appeared in Europe, Japan, as well as North America and has recorded several CDs.
Constantly pursuing new ways to perform, Ms Frenkel has created the solo programme Solitude in the Age of Mass Media, combining new works with pieces by Mahler and Purcell in a multimedia performance, which she has presented in the Netherlands, Tel Aviv and Madrid.

Highlights in the season 2019-2020 include Luigi Nono´s Al gran sole carico d'amore at Theater Basel, a lead role in the world premiere of Heart Chamber by Chaya Czernowin at the Deutsche Oper Berlin, the role of Amba in Thierry Pécou’s world premiere Until the Lions at the Opéra national du Rhin as well as a new commission by Óscar Escudero at the Munich Biennale. She will also appear in concert with Ensemble intercontemporain, the SWR Experimentalstudio and Ensemble Variances.
DebussyPelléas et MélisandeGeneviève
GlassAchnatonAchnaton’s daughter
LottiAlessandro SeveroAlbina
MenottiThe MediumMadam Flora/Baba
MilhaudLes Malheur d’Orpheela Soeur cadette
MozartZauberflöte Dritte Dame
NonoPrometeo1st and 2nd Alto
PucciniSuor AngelicaMaestra delle Novizie,
PucciniSuor AngelicaZia Principessa
PurcellDido and Aeneas Sorceress
ShapiraThe Kastner TrialWitness
StockhausenSonntag Aus LichtEva
BachJohannes Passion*
BachMatthäus Passion*
BachMarkus Passion*
BachHohe Messe*
BachWeihnachts Oratorium*
BerioO King*
BerioFolk Songs*
BerliozLes Nuits d’été*
BoulezLe Marteau sans Maître*
BrahmsAlto Rhapsody*
CageSong Books*
CzernowinShu Hai practices javelin*
DvorakBiblical Songs*
ElgarSea Pictures*
HändelJudas Maccabäus*
HändelDixit Dominus*
HändelBelshazzar *
HaydnStabat Mater*
KodalyMissa Brevis*
MahlerDas Lied von der Erde*
MahlerRückert Lieder*
MahlerSymphony No. 2*
MendelssohnLaudia Sion*
MonteverdiMaria vespers*
MonteverdiLamento d’Arianna*
MonteverdiSelva Morale e Spirituale*
Mozart Requiem*
NonoGuai ai Gelidi Mostri*
NonoHomaggio a Kurtag*
PärtStabat Mater*
PergolesiStabat Mater*
PurcellOde for St. Cecilia’s day*
RespighiIl tramonto, poemetto lirico*
RossiniPetite Messe Solenelle*
Saint-SaënsOratorio de Noël*
SchumannSzenen aus Goethes Faust*
ShostakovichFrom Jewish Folk Poetry*
VivaldiNisi Dominus*

NOA FRENKEL: G. Mahler, Symphony No. 3,

Jerusalem Symphony Orchestra, conducted by Frédéric Chaslin

NOA FRENKEL: J. Cage, Aria

NOA FRENKEL: Solitude in the Age of Mass Media

"Der Höhepunkt des Abends war, als eine der beiden Eulen ganz unerwartet (?) anfing zu singen. Die herausragende Sängerin Noa Frenkel, Spezialisten für gegenwärtige Musik, kann offensichtlich auch so gut Vogelstimmen imitieren, dass die Eule ihr „antwortete“. Das war tief berührend, weil vollkommen authentisch und das zahlreiche Publikum hielt den Atem an."
Der Opernfreund, Opéra de Rouen - Thierry Pécou, Nahasdzaan, April 2019
"Noa Frenkel fasziniert mit ihrem ingeniösen Spiel von Stimme und deren elektronischem Echo"
Kurier, SWR Experimentalstudio - Wiener Konzerthaus - Luigi Nono, Omaggio a György Kurtag (Markus Hinterhäuser), March 2018
"Die fantastische Altistin Noa Frenkel etwa berührt nicht nur mit ihrer musikalischen Vermittlung der Texte von Can Xue und ihrem fast schamanisch sattem Timbre, sondern vor allem mit ihren Haltungen, mit dem Erleiden, wo vielleicht gar nicht gelitten werden muss, mit dem Erzählen, wo eigentlich keine Geschichte ist."
Die Deutsche Bühne, Chaya Czernowin, Infinite Now, Vlaamse Opera, May 2017
"In an extravagant, register-leaping aria for contralto voice—delivered spectacularly in Ghent by Noa Frenkel, a regular Czernowin collaborator—the woman sings of crawling outside the gate, in search of familiar grasslands, and encountering “something hard and moving” under her feet."
The New Yorker (Alex Ross), Chaya Czernowin, Infinite Now, Vlaamse Opera, May 2017
"[the] cantata Signor dall’Empia Gente was sung by Ms. Frenkel with an outpouring of vocal lava. It bears mentioning that Ms. Frenkel is that rare bird – a true contralto, and her vocal color, the very lowest a female voice can ever be, is arresting in the best possible way. I found myself hearing Mahler and Wagner even while Frenkel performed this refined baroque music. Far from undermining the piece, her rich Erda-like instrument expanded rather than obscured the significance of the work’s spiritual message."
Seen and Heard International, Concert in New York, October 2015
"The contribution of singer Noa Frenkel, authentic soul of this piece and of the whole set, has a lot to do with the brilliance of Nikodijevic's work. Her admirable version, full of musicality and diversity of registers, of Berio's classic, turns this Folk Songs to a recording of reference."
Scherzo Magazine, Folk Songs CD with SWR Experimentalensemble, May 2015
“But nothing in all this array of pitches and timbres, every one of which Boulez precisely placed so even the tiniest tones could be heard like tiny birds flitting through the gapped light of a leaf-filled forest, could have prepared us for the first entry of Israeli contralto Noa Frenkel’s voice.
Every listener sucked in an astonished breath at the powerful vibrancy, depth, richness and sweet edges of Frenkel’s voice, not to mention the artistry of her interpretation.
She is a true contralto[...]Frenkel’s vocal clarity, and the sweet buzz of her quick vibrato, lent an exciting edge to the vocal colour in this piece, which is a live, audio catalogue of refined and delicate instrumental sounds.”

The Cronical Herald, Aventa Ensemble, Canada - Boulez, Le Marteau sans Maître, April 2010

Noa Frenkel

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Noa Frenkel

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