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Puccini’s schmaltziest, most melodic, most dramatically limp, most cynical, most obscure mature work
Angel Blue’s “experience in the role shows as the voice sails over the arching lines of Verdi’s cantilena like liquid velvet.”
Angel Blue‘s refulgent, lush soprano blooms as Violetta’s vocal lines broaden and soar.
I have a horrible confession. I’ve always judged the quality of an opera largely on the number of dead characters at the finale.
After putting a hiatus on their awards in 2020 and 2021 (for reasons that are all too well-known to all of us), the Richard Tucker Foundation Gala returned on Sunday evening November 13 honoring soprano Angel Blue the 2022 Award winner.
Soprano Angel Blue has been named the winner of the 2022 Richard Tucker Award.
With composer Terence Blanchard and librettist Kasi Lemmons‘ incendiary Fire Shut Up in My Bones, the Met makes long overdue history and Will Liverman ascends to superstardom.
Performance from October 2, 2017: Alexander Soddy conducts Angel Blue (Mimì), Brigitte Kele (Musetta), Dmytro Popov (Rodolfo), Lucas Meachem (Marcello), Duncan Rock (Schaunard), David Soar (Colline), Paul Plishka (Benoit/Alcindoro).
Bess is clearly Angel Blue’s part—set in the richest and most shimmering upper middle portion of her voice, and optimally suited to her persona.
Opera’s latest superstar, Angel Blue, in a compleat and enthralling portrayal, gloriously sung and rivetingly acted.
“What happens when that music no longer comes easily, or when the public’s attention shifts elsewhere?”
Ardent Angel Blue will jump into performances vacated by the collapsible Sonya Yoncheva at La Scala.
At the center of the Met’s revival of Puccini’s La bohème, one found the rich and layered talent of Angel Blue.
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