NICOLE KOH
There is a moment, just before the curtain rises, when the weight of expectation settles on the shoulders of an opera star. The stage lights blaze, the orchestra swells, and the soprano must summon a character - sometimes a vengeful queen, sometimes a frolicking forest creature. For Nicole Koh, a rising resident artist at Opera San Jose, that immense pressure is not defeated by sheer willpower, but by a quiet, personalized, and wonderfully strange philosophy: the internalized mantra of Hello Kitty with Teeth.
NICOLE KOH: WHEN THE SHY GIRL BECOMES THE QUEEN OF THE NIGHT
BY VINCENT GOTTI
It is a designation that speaks volumes: playful and adorable on the surface, yet underpinned by an unyielding, razor-sharp determination. This playfully fierce alter ego, coined by her mentor, Rhoslyn Jones, was designed to exorcise the debilitating shyness that once plagued the girl from Daly City. And it has proven to be an astonishingly effective tool. It allows the artist to step out of the wings and embody a kaleidoscope of characters— from a whimsical bird-catcher’s wife and a mischievous maid to a notorious, vocally punishing villainess—a journey that started in a suburban minivan in California and has led her directly to the grandest stages of the operatic world.
THE ORIGIN STORY: KUNDIMAN, CAROLS, AND CALIFORNIA MAGIC
Koh’s world of music began not in a formal concert hall, but in a pink house in the Westlake area of Daly City. As a child, she sat silently through her grandfather’s voice lessons. It was there that Mrs. Mila, the warm Filipina teacher, first noticed the little girl’s unwavering presence and introduced her to the Kundiman, the deeply moving traditional Filipino love songs. This simple act of passing down cultural heritage forged a foundational bond; singing quickly became a special, intimate way for her to connect with her Papa (grandfather), a cherished memory she still returns to whenever she faces a challenge, serving as a gentle reminder of the core meaning behind her art. The pure, unadulterated joy that singing together brought him is a gift she carries into every performance today.
Her upbringing in Daly City was the emotional anchor for her art. It was a place defined by a close-knit Filipino community where singing, sports, and a delightful, loving, and sometimes chaotic energy were woven into the fabric of every gathering. Returning home provides essential perspective; she still considers her family and friends the “bigger picture,” the essential grounding force that keeps her soul intact against the demanding backdrop of a professional career. She laughs, remembering the girl "getting picked up from OLPH, spending time at Serramonte Mall, and singing along in my mom’s minivan on the way to basketball practice."
Yet, Daly City also nurtured a different, fantastical kind of magic. Even as a child, the pervasive California culture of anime—specifically the aspirational, transformative vision of a magical girl from Sailor Moon—sparked an imagination that now informs her approach to character and stage presence. It’s a sensibility that permeates her private world, leading her to collect Sanrio and read manga, hobbies that influence her fashion, how she decorates her space, and even how she approaches acting and navigates social situations.
Her professional trajectory found its roots at the Ruth Asawa San Francisco School of the Arts under the guidance of Todd Wedge and Rhoslyn Jones. These mentors introduced her to opera and guided her through rigorous study at the San Francisco Conservatory of Music and the University of British Columbia (UBC), setting her on a path she was initially hesitant to take.
THE CRAFT: PERSEVERANCE, SERENDIPITY, AND THE INNER BATTLE
Studying at SFCM and UBC hammered home an important lesson: perseverance. This wasn't just about pushing through vocal challenges but about staying fiercely true to her authentic self. "Art is about sharing a story, not just getting it right," she notes, realizing that joy and authenticity are just as crucial as flawless technique. It was a liberation from the striving for perfection.
Her mentorships formed a unique, supportive circle of development. Rhoslyn Jones, whom Koh affectionately refers to as her “opera mama,” taught her the technical yet personal necessity of truly listening to her own unique voice—to embrace its quirks and nuances. In a moment of professional serendipity, Jones’s own former undergrad teacher, Nancy Hermiston, completed the circle, proving crucial in helping Koh realize her precise vocal classification: a coloratura soprano.
But the greatest challenge wasn't a high note or a complicated score; it was internal. Plagued by self-doubt, she constantly allowed shyness to dictate her potential, telling herself she was a poor actor and restricting the kind of songs she could sing. This mindset, she admits, spilled into everything from education and sports to the simple act of ordering food. The turning point was a decisive, fed-upwith- myself moment where she had to ask if she truly wanted opera. If the answer was yes, the excuses had to stop. This was not about self-criticism but self-empathy, making a conscious choice to face her fears. It was high school teacher Todd Wedge who provided the vital mechanism for change, suggesting the concept of an alter ego, later brilliantly christened "Hello Kitty with Teeth" by Rhoslyn—a tool that allows her to be the fierce artist the stage demands, making the act of performing feel "a lot more fun" and far less intimidating.
IN THE REPERTOIRE: THE VIXEN’S INSTINCT AND THE QUEEN’S FEAR
Koh’s resume is a testament to her technical agility and emotional versatility, balancing the dramatic intensity of classical repertoire with the vital, innovative energy of new works.
Her recent experience with Mozart offers a fascinating duality. Papagena in Die Zauberflöte felt like a joyful homecoming—a character who is quirky, playful, outlandish, and "unapologetically herself." The Queen of the Night, however, was a different battlefield. While she adores the character, vocally, the role felt tough, almost "out of reach," and she had been avoiding it for years out of fear. Stepping up to face those iconic arias forced her to confront her limits, and she remains grateful to Opera San José for believing in her and giving her the necessary opportunity to bring the Queen to life. It remains a work in progress, but one that has dramatically pushed her boundaries.
She cherishes her time playing Gretel in Hansel and Gretel for the Chautauqua Opera Company. A self-described "child at heart," playing a child in a fairytale opera was literally "living inside a dream." She embraced the magic, the dancing, the angels, and the climactic satisfaction of tossing the iconic witch into the oven—all punctuated by her absolute favorite reward: cake.
In striking contrast, her title role as the female fox in Janáček’s The Cunning Little Vixen was the most physically demanding role she has ever undertaken. More profoundly, playing an animal— a creature that acts purely on instinct—was incredibly liberating for the habitual over-thinker. It helped her step out of her head and tap into her gut instincts and raw, unfiltered emotions, pushing her balance of intense physicality with singing to new limits. She feels incredibly lucky to have embodied such a beautiful, fierce character.
Furthermore, she found unique fulfillment in the world premiere of City of Specters, with music composed by her dear friend Theo Popov and starring her best friend Chea. The inherent ambiguity of a new work created space for immense creativity and discovery. Working alongside friends, unraveling the piece together felt "truly magical," proving that the shared experience and laughter were just as valuable as the performance itself.
THE UPCOMING SEASON AND THE ARTISTIC COMPASS
Having recently triumphed as the thrilling, challenging Despina in Così fan tutte—a character she describes as mischievous, clever, sexy, and a bit raunchy—Koh is now preparing for the more serious and reserved maid, Annina, in La Traviata. This constant pivoting between contrasting roles is what keeps the work exciting. Her preparation is delightfully idiosyncratic: before rehearsals, she often follows her gut feeling, sometimes sketching a little manga character to visualize the role. She also turns to TV shows, movies, and anime for character inspiration, noting that Despina’s notary and doctor disguises were famously inspired by the "cute little quirks" of her cousin Cora.
Once rehearsals start, the role takes on a life of its own, transforming through collaboration. The constant lesson she carries forward is one of humility and growth: "I'm always learning, always growing, and always being humbled," a cyclical realization that ensures she never settles into a comfortable spot and is constantly pushed to discover new layers.
Looking toward the future, her dream roles show the scope of her ambition: she yearns to perform Madame Mao in John Adams's Nixon in China and the virtuosic doll Olympia in Jacques Offenbach's Tales of Hoffman.
THE GREENHOUSE, THE CAKES, AND THE GROUNDING
For an artist whose professional life demands such dramatic intensity and travel, Koh’s private world is a carefully curated haven of softness and grounding. She is candid about still "figuring out" work-life balance, calling her residency at Opera San José, which keeps her close to home, a "rare gift" in the opera world.
Her need for a non-operatic project led to the creation of her cozy cafe greenhouse. The idea started as a spontaneous joke with her best friend Chea about saving money on coffee, which escalated into questionable DIY attempts, "lots of injuries," and a month of trial and error. It now serves as a powerful, tangible reminder: "I can really do anything I set my mind to, no matter how crazy or weird the idea might seem!"
Her other simple pleasures, like her love for cake, are essential to her grounding. She highlights the cute and yummy strawberry tiramisu from Diamond Cafe N Pastry and the affordable, rich chocolate sheet cake from Trader Joe’s. Even her enjoyment of Mario Party is passive; she isn't competitive herself, preferring instead to witness the contagious joy when her cousin Cora and friends Chea and Luke "light up with excitement when they win a round." This is the core truth of her balance: she loves opera, but she loves her family and friends more than anything. They are the priority, the grounding force. "Without them, I’m not sure I could keep doing this."
A MESSAGE FROM THE HEART
When asked about her artistic vision, her goal is simple: to tell a story that truly resonates, to offer an escape from reality, or to inspire a meaningful moment of reflection. She operates from a place of "deep sense of gratitude" for the simple blessing of telling stories for a living, trusting the journey, and taking things one day at a time.
For aspiring opera singers, she offers the wisdom gained from her own transformation: "Really discover what makes you unique... find your own special light; that’s when the magic happens." She advocates for finding the joy in the tough moments and surrounding yourself with people who not only lift you up but also challenge you to grow.
To her fans and supporters, she shares a massive thank you: "Your support means everything to me and makes it possible for me to do what I love every day… I hope you’re having as much fun as I am, and I can’t wait to keep sharing this amazing journey with you all."
