Nina Kozlova graduated from the Anatoly Lunacharsky Belarusian State Conservatoire (currently the Belarusian State Academy of Music) where she had studied under M.G. Ludwig.
In 1972 she joined the Belarusian State Philharmonic. She joined the opera company of the Bolshoi Theatre of Belarus as a leading soloist in 1977 and was promoted to manager of the opera company in 2003.
The title of the Honoured Artist of the Republic of Belarus was bestowed on her in 1984.
In 2013, she was decorated with the Francysk Skaryna Medal in recognition of her professionalism and outstanding achievements in the development of Belarusian culture.
Nina Kozlova, who possesses a unique spinto soprano, outstanding scenic charm and brilliant acting talent, created inimitable characters in performances of operas from classical and national repertoire, such as Donna Anna, Cherubino, Papagena (Don Giovanni, Le nozze di Figaro, The Magic Flute by Wolfgang Amadeus Mozart), Berta (The Barber of Seville by Gioachino Rossini), Élisabeth, Leonora, Aida and Amneris, Amelia, Anna (Don Carlos, Il trovatore, Aida, Un ballo in maschera, Nabucco by Giuseppe Verdi), Mercedes (Carmen by Georges Bizet), Cio-Cio San (Madama Butterfly by Giacomo Puccini), Giulietta (Les contes d'Hoffmann by Jacques Offenbach), Nedda (Pagliacci by Ruggero Leoncavallo), Innkeeper (Boris Godunov by Modest Mussorgsky), Tatyana, Liza, Iolanta (Eugene Onegin, The Queen of Spades, Iolanta by Pyotr Tchaikovsky), Kupava, Saburova (The Snow Maiden, The Tsar’s Bride by Nikolai Rimsky-Korsakov), Natasha Rostova (War and Peace by Sergei Prokofiev).
She sang leading roles in premiere performances of operas by contemporary Belarusian composers, including the roles of Klava in Life Path by Heinrich Wagner, Kobi and Paola in The Lady’s Visit and Giordano Bruno by Sergey Kortes, Iryna in The Grey Legend by Dmitry Smolski, Nastya in The New Land by Yury Semeniako. She took part in radio recordings of Kastus Kalinousky by Dmitry Lukas and Mother Courage by Sergey Kortes. Her rich chamber repertoire included old Russian art songs, arias from operas by European and Russian composers, as well as chamber and vocal music by national authors.