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ORCHESTRAL
Prokofiev: ALEXANDER NEVSKIJ
“Victoria Livengood, the excellent and sensitive mezzo-soprano (...) with her moving singing, an hymn to the Russian courage.” La Repubblica
, Italy
“Victoria Livengood a truly revelation.”
La Gazzetta , Italy
“Prokofiev music has been splendidly performed live by the Festival Orchestra and by the mezzo-soprano Victoria Livengood.” L'Unità, Italy
“Mezzo-soprano Victoria Livengood sang eloquently for the scene in which a woman wanders over the corpse-strewn battlefield looking for her lover.”
The Washington Post
“Livengood's brief solo, ‘The Field of the Death', is a heart-rending threnody accompanying a young girl's search of the battlefield for the two men wanting to
marry her. Livengood's rich, honeyed voice was a perfect match for this piece."
Tulsa Times
Verdi: REQUIEM
“Of all the four, the mezzo-soprano Victoria Livengood , was the most satisfying in every direction. She has a wonderful sound, obviously understood what she was
singing and how to get it across and she did it with musicianship and presence.” Connecticut Post
“Livengood and Ginsberg excelled in a very in a very moving duet begging for remission of sin. Later, they paired again for a beautifully thoughtful, even pleading,
Agnus Dei (Lamb of God), alternating with the chorus. Livengood's solos, such as Lux Eterna (Eternal light) over a hushed orchestra, were stellar with her warm, crystalline
mezzo. She went from strength to strength.” Connecticut Post
“Victoria Livengood has a wonderfully expressive face, great intensity of feeling, an appealingly vibrant sound and a hair-trigger articulation of notes that was
very exciting.” The Boston Herald
“Victoria Livengood has a warm, naturally resonant mezzo-soprano voice and affecting communicative skills, I think she wore a sparkling fuchsia dress just to give
her Judgment Day prophesy that ‘nothing shall remain unavenged' a theatrical boost that made it all the more unsettling.” The Boston Globe
“Mezzo-soprano Victoria Livengood possesses a keen musicianship, particularly evident in passages in which she joined other soloists. Her duet with bass-baritone
Wells during the ‘Lacrimosa' section was unsurpassed in its evocation of sorrowful resignation and petitioning for mercy.” The Advertiser, Honolulu
Mahler: RESURRECTION SYMPHONY
“Then mezzo Victoria Livengood quietly began the fourth movement, ‘Ulricht'. It is a cry of faith, which Mahler insisted must be sung with a childlike simplicity
and honesty. Livengood understood this, and applied her youthful voice, not excessively dark, to a reading entirely free of artifice.” The Arizona
Daily Star
“Mezzo-soprano Victoria Livengood's operatic presence, dramatic presentation and evenness of tone over her entire range empowered her solos in the following movement
with a plaintive purity reflective of the text's longing for redemption.” Tucson Citizen
Rossini: ERMIONE
“Victoria Livengood was a sensitive, dusky Andromaca in a uniformly solid cast.” The New York Times
“Mezzo Soprano Victoria Livengood sang the role of the captive Andromaca with a wide range and impressive power.” Opera News
Elgar: THE DREAM OF GERONTIUS
“Best of the lot was mezzo-soprano Victoria Livengood, who as the guardian angel, joined heart melting beauty of tone to volume of sound in a manner reminiscent
of the great English alto Helen Watts.” The Patriot Ledger, Boston
Haydn: THE SEASONS
“A newcomer to these programs, Livengood was impressive with her seamless voice that descended into her lower register without a change in timbre, her splendid
breath control and her studied but effective stage presence."
The Greenwich Times
Rossini: PETITE MESSE SOLENNELLE
“But the color and richness of Livengood's mezzo-soprano made the biggest impression. Her ‘Agnus Dei' emerged smooth as satin, shining high in the powerful moments
and glowing warmly in the lower register.” The Oregonian, Portland
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