Internationally renowned Metropolitan Opera star Victoria Livengood is a GRAMMY-winning mezzo-soprano that has been hailed by audiences and critics worldwide for her multi-faceted and powerhouse performances in a remarkably varied repertoire. Ms. Livengood has been acclaimed by the New York Times as "naturally seductive and vocally alluring." Opera News raved that "her singing and acting radiate intensity," the Italian press proclaimed that "the power of her voice could straighten the Tower of Pisa," the Boston Phoenix Magazine compared her acting to Joan Crawford and her singing to Maria Callas and the Buenos Aires Herald named her "one of the leading singer-actresses of her generation."
Recent seasons for Ms. Livengood have included Marthe in Faust at Detroit Opera, bringing her celebrated Marcellina to Opera Omaha’s Le nozze di Figaro, the cover of Filippyevna in Eugene Onegin with San Francisco Opera, a return the Lyric Opera of Kansas City for dual roles as the Mother and the Witch in Hansel and Gretel, reprising her role as Eunice in A Streetcar Named Desire for Hawaii Opera Theater, a return to the Seattle Opera for a role début as Kabanicha in Katya Kabanova, a company and role début with Opera Omaha in Jonathan Dove’s Flight, the Mother in The Consul with Long Beach Opera and Chicago Opera Theater, soloist in the The Defiant Requiem- Verdi at Terezin at UNC Charlotte, the Old Lady in Candide with Anchorage Opera, and Madame Flora in The Medium with New Orleans Opera. Additionally, she brought her Old Lady in Candide to the Seoul Philharmonic, sang Filippyevna in Eugene Onegin with Washington National Opera, Eunice in A Streetcar Named Desire with Teatro Colon, and the cover of Larina & Filippyevna in Eugene Onegin with the Seiji Ozawa Music Academy. [read more...]
"... incredibly entertaining..." – Opera News
Le nozze di Figaro – “The cast was filled with strong actors. Victoria Livengood’s caricature of Marcellina was incredibly entertaining. After her first scene the audience relaxed and responded to the rest of the opera as if they were in their living rooms watching a movie, reacting to every little twist. To have that much control over the audience requires a true mastery of drama and comedic timing. Clearly, Livengood raised the bar for the rest of the cast, who stood their ground against this true tour de force."
“... Livengood is ideally cast as Madame Flora…” – Ambush Magazine
The Medium – “Metropolitan Opera veteran mezzo-soprano Victoria Livengood is ideally cast as Madame Flora. With her carrot-orange hair and sensationally expressive face, Livengood, an outstanding singing actress, does not shy away from bringing out the ugly, abusive side of this battleaxe who finds relief in the bottle. One may not entirely sympathize with Livengood’s Flora, but she makes clear she’s a survivor who’s fiercely searching for the truth."
"... fabulous…” – Washington Post
Eugene Onegin– “Where the production excelled vocally was in its veterans. Victoria Livengood, the American mezzo, was fabulous as the old nurse.”
"... dramatically effective..." – Chicago Classical Review
The Consul – “Victoria Livengood—an acclaimed Secretary in this opera throughout her long career–has graduated smoothly to the role of the Mother. The veteran mezzo-soprano was dramatically effective, bringing poignance to her lullaby to Magda’s sickly child.”
"... thoroughly chilling Kabanicha..." – Seattle Times
Kát’a Kabanová – “Victoria Livengood was a thoroughly chilling Kabanicha, a master of psychological manipulation who used her dusky low notes to embody the cold-as-dry-ice matriarch.”
"... like an old-style Broadway professional..." – Opera News
The Medium – “From her Mama Rose-style entrance up the aisle, Victoria Livengood imbued Mme. Flora with her wonted theatrical energy. Her barrelhouse contralto suits the role's scary moments; but, admirably, she brought legato-based soft tone to quieter passages, furnishing welcome contrast. Livengood is a seasoned Menotti interpreter who worked with the composer on this opera and The Consul and has also appeared in Maria Golovin. Her phrasing of the disintegrating fraud's final soliloquy proved expertly judged. She made every syllable of the text crystal clear, like an old-style Broadway professional.”