She performed and recorded as the resident harpsichordist with the Bournemouth Sinfonietta and with other notable early music ensembles, such as the English Baroque Soloists under John Eliot Gardiner. During this period, she also worked as repetiteur with the English National Opera under the Music Directorship of Mark Elder. In 1989 Linnhe was invited to take up the position as Head of Music and Director of the Young Artists’ Programme at the Victoria State Opera based in Melbourne Australia, a position which continued with the merger of that company and the Sydney-based national company (renamed Opera Australia). Through the success of her work with the training and development of young opera singers, Linnhe was awarded a Churchill Fellowship in 1993, which she used for further research into varying world-wide training systems for young singers.

On returning to the UK in 1999, Linnhe completed a Masters degree in Arts Management at City University, London. After a period of working in London as an artists’ manager with a London based artists’ agency, and as General Manager of a contemporary classical music ensemble, she was offered the position in 2002 as Deputy Head of Vocal Studies and subsequently Head of Vocal Studies at the Guildhall School of Music & Drama until 2013. She now has the role of ‘Artistic and Research Consultant for Opera & Voice’ at the Guildhall School. Linnhe also coaches the Jette Parker Young Artists at the Royal Opera House, Covent Garden, London. Linnhe continues to give masterclasses and performs regularly as recital accompanist with singers throughout Great Britain and Europe.

He was principal baritone at the Netherlands Opera, the Nürnberg Opera, and the Hamburg State Opera and sang in several world premieres in Europe.His discography includes When the Empire Calls: Kipling’s Barrack-Room Ballads (ABC Classics), O for a Muse of Fire: Australian Shakespeare Settings (Vox Australis), The Oriental Song Cycles of Amy Woodforde-Finden (Toccata Classics),That Bloody Game: Australian WWI Songs (Wirripang).

He is Vice President of the International Association of Word and Music Studies and has published widely in the field. His books include, Opera and the Novel: the case of Henry James (Rodopi, 2005), and National Identity in Contemporary Australian Opera (Routledge, 2018). He is on the staff of the University of Sydney Conservatorium of Music.

Her many roles include Traviata, Lucia, Armida (Rinaldo), Alcina, Merry Widow, Rosalinde, Susanna, Countess Almaviva, Donna Anna, Marguerite (Faust), Manon, Marie (Wozzeck), Jenny (Mahagonny), Aida, Carmen, Contesse de la Roche (Soldaten); just to mention a few.

Noëmi Nadelmann has sung major roles at opera houses such as the Metropolitan Opera in New York, Opéra National Paris, Vienna State Opera, Deutsche Oper Berlin, Komische Oper Berlin, State Opera Berlin, State Opera House Hamburg, Dutch National Opera Amsterdam, Lyric Opera of Chicago, Operhaus Zürich, New National Theatre Tokio, Bolshoi Theatre in Moscow, Bavarian State Opera in Munich, Dresden Semper Opera and many more.

Conductors Noëmi Nadelmann had the honour to work with include Nicolaus Harnoncourt, Christian Thielemann, Simone Young, Franz Welser-Möst, Teodor Currentzis, Vladimir Jurowski, Christoph Eschenbach, Kurt Masur, Asher Fish. There are several CDs and DVDs available on the market. In the french Chopin Film la note bleue she embodied the role of the opera singer Pauline Viardot-Garcia with french actress Sophie Marceau.

Noëmi Nadelmann was awarded the esteemed Wolfgang Amadeus Mozart Prize by the Goethe-Stiftung for her outstanding artistic achievements.