If booked as soloist: for smaller venues: no technical requirements, but if booked to sing for a very large event in a huge, open space Nina may need amplification.
If booked together with her pianist, she needs a piano being available at the venue.
If booked as a soloist with backing tracks, Nina has a small speaker that she can bring, which is suitable for singing without a microphone, and sufficient for a small to medium sized room.

Only a small speaker for backing tracks (if booked to sing with tracks), suitable for singing with without a microphone for smaller gatherings.

1) If booked to sing with my pianist, we need to know if there is a piano available at the venue.
2) the exact address and post code of the venue - I don't need parking as I always travel by public transport.

No

Best Opera performance: Several! 1) a production of the Marriage of Figaro in a castle in Ireland, where each scene took place in a different room, finishing in the gardens for the finale of act 4; a UK tour of a 3 person opera, which took us to venues from pub theatres to large concert halls - each venue needed slight adaptations of the staging, I loved adapting the production to each venue.
Best corporate gig: Chivas Royal Salute, several product launches in fabulous venues throughout Scotland
Best recital: Private recitals in castles, a recital onboard Saga Sapphire, music societies around the UK.
Best Debut: my actual professional singing debut was in 2009 on tour in Bolivia with a chamber orchestra(as a viola player).I had to jump in as a singer as the soprano got ill last minute: I sang for several hundred people in a stunning church in the Bolivian Jungle, after not having sung as a teenager. This changed my life: I decided then to start taking lessons again, and here I am

The first opera I ever heard was the Magic Flute: first the Bergman production on TV and then a production that I was taken to as a choral scholar. I loved opera ever since, and especially the Magic Flute: I'm very lucky to now have the Queen of the Night as one of my most performed roles. As for artists I respect: Two sopranos who sang the Queen of the Night incredibly well are Diana Damrau and Edita Gruberova; for singers outside my voice type - Joyce di Donato is incredible as well.

I've sung since I was tiny, I went to a specialist music school as a choral scholar, but I then became a viola player: I did my degrees as a viola player and freelanced for many years, until 2009, when I had my singing debut in the Bolivian jungle. After that, I started re-training as a singer, and I had my UK singing debut in 2011, and I sang my first operatic role in 2012 (Susanna in The Marriage of Figaro). Since then, I've steadily built up my singing career, and I'm now working as a recitalist, concert singer and opera singer, as well as singing for weddings, funerals and corporate events. I've performed throughout the UK, as well as in Italy, Germany, Ireland, Bolivia, Brazil and Sweden.

Aside from my concert work, I do love to sing for wedding ceremonies: every time I sing at a wedding, I always enjoy contributing to the day, singing beautiful music, especially chosen by the couple, for their special day.

Set up: Solo: no setup, but 30 minutes available to rehearse with the organist, pianist or ensemble that she will be singing with; for a large event a soundcheck may be needed to check the levels: add 5 minutes
With pianist and there is a piano at the venue: 5 minutes setup time needed.
If the pianist needs to bring his digital piano: 20 minutes setup max.

It depends on the situation:
If it's in a walled garden for instance, I will still be heard without amplification as the sound can bounce off the walls: if so, that's absolutely fine.
However, if it's in a huge open space with no walls that the sound can bounce off, amplification ay be needed. If there is amplification already in place, then I'd be happy to; otherwise, I'm happy to try, but there is a risk that the sound may not reach everyone in the audience.

The clients always have a say in what I sing: I always work closely with the clients to make sure that they get the songs that they would love to hear for their ceremony/event. I only ask the clients to keep in mind before booking that I'm a classical soprano, so, if there is anything far outside classical/crossover/legit MT that they have their heart set on including, it may not sound quite as expected if I sing it. I'm always happy to talk through repertoire choices before booking, so that they are happy with the selection before confirming.

I've always been getting the feedback on my operatic performances and recitals, that I really tell the story of the piece well, that I convey the message of the words with the tone colours of my voice and my facial expressions.
I also usually get some "voice of an angel", "beautiful voice" comments. Outside the performing, I also usually get told that I'm a calm presence to have around on the day: I don't easily get stressed and am happy to work with everyone involved, to make sure that everything runs smoothly.

Yes of course! I'm happy to work with any ensemble that is booked for the event. If so, just book me as a soloist and let me know who I'm singing with.
All I'd need then, is the name of the contact person for the ensemble and their contact info, so that we can co-ordinate the repertoire, so that we can make sure that we are singing from the same hymn sheet, as it were!