“Vocally and dramatically, the most powerful performer Friday night was alto Victoria Livengood, whose nearly overwhelming voice was matched by a potent dramatic
performance as the old prioress.” The Dallas Morning News
“The challenge was met by a majority of the excellent cast, headed by extraordinary mezzo-soprano Victoria Livengood as the old prioress. Her enormous honey-coated
voice rattled the rafters in a death scene worthy of Maria Callas. After this powerhouse performance that closed the first act, the opening night audience had no
choice but to come back.” Fort Worth Weekly: Stage
“Among the singers, Victoria Livengood, known to Met audiences, was overwhelming as Mme. de Croissy, the death scene being stunningly sung and credibly acted.”
Compuserve Music Forum
“VICTORIA LIVENGOOD has taken on a new image with the role of the Old Prioress, I didn't even recognize her! Ms. Livengood's own Southern accent completely disappeared
for this important portrayal. Indeed, EVERY word was completely intelligible. The Old Prioress Death Scene was momentous, as Ms. Livengood wrenched herself out of
the bed to fall to the floor, writhing in agony, but never giving in to over-dramatizing. She is now up there in my books with Crespin, Gorr, and Dunn.”
Opera List Online
“Victoria Livengood sang Dalila, impressing the listener with varied tonal quality allied to deep imagination, shaping her line with seductive overtones that drove
the drama. She appeared tall and supple in her burgundy sheath gown, and she looked sensational and sang beautifully.” Opera News
“In Victoria Livengood, the company found a principal singer who filled the role with the musical richness that the score demands, and who taps the ardor and heroism
inherent in the music. Livengood, who was such a commanding Carmen with Cleveland Opera several seasons ago, depicted a Dalila of tunnel vision, a woman who must
succeed at her mission. With a pulsating mezzo-soprano that encompassed the vocal writing to splendid effect, Livengood vividly evoked the romantic duplicity in “Mon
Coeur s’ouvre a ta voix” and proved a force of nature when going about her dastardly deed.” Cleveland Plain Dealer
“Thomasville native and Met star mezzo-soprano Victoria Livengood, familiar to Triangle audiences for her steamy portrayal of Carmen in 2001, was in top form as
she took on the role of yet another sexual predator. Samson was no match for her, sexually, dramatically or vocally.” Classical Music Journal,
NC
"Victoria Livengood's Dalila was both riveting and commanding as a cross between Theda Bara and Joan Crawford and her incomparable phrasing and warmth as reminiscent
of Maria Callas's recordings." Boston Phoenix
Il Trovatore
"Best of the cast was mezzo-soprano Victoria Livengood as Azucena. Her voice was a size larger than anyone else's, yet only she came close to a clean trill. Her
singing and acting radiated intensity. She riveted attention before singing a note, even through the clanging anvils." Opera News
“I do not remember hearing such an enormous voice in the Discovery Theatre as that of Victoria Livengood. Also having the most impressive resume among the cast,
she demonstrated the above mentioned abundance of vocality when her voice topped not only the orchestra but the entire men’s chorus that was backing her up.
Ms. Livengood is a genuine, natural, fully-qualified Verdian, her pitches accurate, phrasing comfortable yet dramatic. She maintained a high level of energy in one
grueling scene after another while amply filling the house to the back-row seats.” Anchorage, Alaska
“As the distraught and avenging gypsy-witch, mezzo-soprano Victoria Livengood, plays her role with relentless intensity, keeping her huge, grief-crazed eyes thrust
on the audience. With the stage designed to hang partially over the orchestra pit, Livengood brought this already dramatic production to a high pitch.” The Columbian, Oregon
“Livengood’s Azucena – all twitching, tortured anguish – lived up to one of her lines in the opera: “It still raises my hair to think about it.” Livengood is a
first-rate singing actress; disarming naturalness of gesture, unexpected shading of phrasing, and something scarily raw in her horror at the murder of her own heart
made for a mesmerizing performance.” Willamette Weekly, Oregon
Boris Godunov
“Mezzo-soprano Victoria Livengood was vocally brilliant as Princess Marina.” Opera Canada
“As Marina , Victoria Livengood sang with welcome vocal power and intensity of expression.” The Washington Post
“Victoria Livengood's Marina is a preening peacock and is done with great relish, style and vocals.” Le Concertographe
Lysistrata - World Premiere
“Victoria Livengood exulted in the vaudeville-ish “foreign” accent that Adamo bestowed on Lampito, wife of the Spartan general.” Opera News
Magazine
“Victoria Livengood (Lampito) stood out among the women." New York Times
“In the Houston Opera Production, Victoria Livengood was excellent.” New Yorker Magazine
"The 17-member cast sang vibrantly and eloquently. Mezzo-soprano Victoria Livengood was all Amazon in attitude, height and voice as Lampito, leader of the Spartan
women.” Houston Chronicle
“Victoria Livengood upheld the vocal honors of Sparta as the general Leonides’ wife Lampito.” Houston Grand Opera assembled a hot cast and Ms. Livengood was among
the standouts.” MusicalAmerica.com
"Houston Grand Opera gave Lysistrata a first-class sendoff, fielding a cast of excellent singers who seized the vocal and comic elements with relish. Of
Lysia's fellow warriors, Victoria Livengood was a hoot with her Zsa Zsa Gabor accent as Lampito, the Amazon Spartan." South Florida Sun-Sentinel
“Playing the Spartan women's leader, Lampito, Victoria Livengood commands the scene with a big, lustrous mezzo and campy Elmer Fudd accent.” Dallas Morning News
“HGO has assembled a sterling cast. Lampito, is powered by mezzo-soprano Victoria Livengood's huge freight locomotive of a voice.” San Antonio
Express
“As Lampito, wife of the Spartan General, Mezzo-soprano Victoria Livengood blasted the assemblage with sheer vocal power and regal bearing.”
College Station Eagle
‘The excellent cast also included two powerful mezzos, Myrna Paris, as a cohort of Lysistrata, and Victoria Livengood, as the wife of the Spartan general Leonidas.”
Financial Times
”Victoria Livengood was the real deal - a big, well-controlled voice and a strongly sexy stage presence.” Opera List Online
The Rake's Progress
¨In the colorful role of the bearded lady, Baba the Turk, Victoria Livengood returned to The Colon. The voice of the North American filled the hall with its multitude
of colors to the obvious pleasure of all. Her participation brought to the production the necessary quota of humor along with a strong and secure voice. She justifiably
received the most enthusiastic ovation of the evening.¨ La Nacion, Buenos Aires
¨The largest round of applause was for Victoria Livengood who presented the role of the bearded lady with the necessary panache. This mezzo with her gifted and
splendid instrument must also be taken very seriously as an actress. These are aspects of her talent which she previously demonstrated on this stage as the chilling
Secretary in the Consul of Menotti.¨ Ambito Financier, Buenos Aires
¨Victoria Livengood as the bearded Baba was extraordinary and on an equal level with the fantastic Samuel Ramey.¨ Pagina Doce, Buenos Aires
¨North American mezzo Victoria Livengood comically lit up the scene with a voice of both power and consistent color.” La Prensa, Buenos Aires
“Applause to mezzo-soprano Victoria Livengood, who as the bearded lady, Baba the Turk, was suitably larger than life and sultry-hued.” The Globe, Vancouver, BC
“Mezzo-soprano Victoria Livengood, brought power and outrageousness to Baba the Turk, the bearded-lady society grand dame.” The Sun, Vancouver,
BC
“In a nearly perfect dream production, one cannot imagine a better Baba the Turk than American mezzo-soprano Victoria Livengood.” The Westender. Vancouver, BC
“Victoria Livengood's campy and show-stealing Baba is in good hands as a minx-like girl-boy with a golden heart in this effervescent production.” The Arts Journal, Vancouver, BC
Die Fledermaus
“The Prince Orlovsky of the mezzo Victoria Livengood was adequately brought to life in the personage.” Critica de Opera, Chile
“In the ambiguous and little agreeable role of Prince Orlovsky – the mezzo Victoria Livengood displayed a natural stage sense and a timbre of exceptional quality
in the ‘Chancun a son gout'.” Critica de Opera, Chile
“Victoria Livengood's Prince was idiomatic, perfectly sung, and vividly portrayed. She sang the role with great fluency and a full, rich voice.”
Opera News Online
Lohengrin
“An exemplary cast was vocally dominated by the incredible Ortrud of Victoria Livengood. She has a rich, full chest voice and with the power of her high voice
she could straighten the Tower of Pisa ." Il Tempo, Italy
"The mezzo Victoria Livengood exuded malevolence as Ortrud and was especially impressive in her final testing outburst!" The Telegraph, London
“The dark round voice of Victoria Livengood along with her strong and magnetic personality painted the horrors of the demonic world of Ortrud perfectly.” Opera Magazine, Spain
“The highest level of performing came from a Spoleto Festival favorite, Victoria Livengood, who was a precise and strong Ortrud and she owns the role dramatically.”
Corriere, Italy
“The vocal instrument of the largest capacity and highest quality is that of Victoria Livengood.” La Stampa, Italy
“When we talk about the scene on stage, the biggest impact was made by Victoria Livengood, an Ortrud as wicked and slimy as Lady Macbeth.” Il
Giornale, Italy
“The most positive impression was made by the full of temperament, Victoria Livengood, as Ortrud.” Corriere, Italy
“Best of the cast was the Lady Macbeth type Ortrud of Victoria Livengood, who dominated with nails and eroticism.” Il Giorno, Italy
“The wicked Ortrud of Victoria Livengood deserves much applause for both her Ortrud this season and last year's most memorable title role in Menotti's Medium.” Il Messaggero, Italy
“Victoria Livengood had the voice most full of all the right colors for Wagner.” Gazzetta del Sud, Italy
La Senorita Cristina - World Premiere
“The composer was well served by a fine cast. The superb Victoria Livengood, was an imposing Cristina, both physically and vocally.” Opera Now
Magazine
“From the magnificent work by the singers in general, the protagonist Victoria Livengood stands out. This is a mezzo with an extended range and beautiful voice
who took on with ease three very important and difficult scenes with an extraordinary richness of colors.” Opera Actual Magazine, Spain
“Victoria Livengood is a convincing Cristina of powerful presence and abundant resources who lavishly succeeded from the first moment as the apparition without
ever losing her ghost like condition to a fascinating result. She provided an interpretation full of contrast and intensity with a firmness of conviction.” El Mundo, Spain
“The character of Cristina, personified by the mezzo soprano Victoria Livengood, is brilliant as both a singer and an actress of merit and magnificent in every
detail.” ABC Magazine, Spain
“The audience came seeking wealth and Victoria Livengood gave them their treasure. Her responsibility for bringing this master work to reality has been splendid.
Her performance reached a truly high level and she lived up to the impressive credits in her biography.” La Razon, Spain
“Of special value was Victoria Livengood as the carnal ghost, Cristina, who displayed great conviction and an exemplary delivery.” Diario, Spain
“Special mention must go to the stand out in the cast, on the night of her debut, American mezzo soprano Victoria Livengood as Cristina, a woman thirsty for love
and blood.” Actualidad, Spain
“This world premiere of La Senorita Cristina was a triumphant occasion for the composer and for the American mezzo, Victoria Livengood. She was simply magnificent.
It is a rare pleasure to hear such a gorgeous voice combined with an outstanding stage presence. Her lush, rich and powerful mezzo rang out and filled the Teatro
Real with a resonant sound that I have not heard since the opening of the theater three years ago. Ms. Livengood was awarded a thunderous ovation by an audience so
wrapped up in her performance, that one never heard a single sound during the evening.” La Salle University Magazine, Spain
“For the singers, this music is very complicated but Victoria Livengood in the title role of Cristina was at a very high level and responded to the task at hand
with generosity and an undeniable quality of the highest artistry.” El Diario Vasco/ San Sebastian, Spain
“A name to remember is that of Victoria Livengood, who as the protagonist was fantastic and brilliant in every scene.” La Nueva Espana, Spain
“In a very strong cast, special emphasis must go to Victoria Livengood for her intense portrayal of Cristina as the ultimate victim, hoping to obtain love and
passion. Cultura, Spain
“The vocal cast was spotless headed by the excellent mezzo soprano Victoria Livengood in the title role who gave life to the protagonist.” Ritmo
Spain
War and Peace
“A real revelation was the Mezzo-soprano Victoria Livengood.” La Repubblica, Italy
“Victoria Livengood found an edgy expressiveness in the awful Hélène Bezukhova.” The New Yorker Magazine
“The mezzo-soprano Victoria Livengood was appropriately catty as his sister Helene, the self-appointed czarina of Moscow society.” The New York
Times
“Mezzo Soprano Victoria Livengood stole every scene she was in with her large and rich voice, terrific acting skills and her eye-catching figure.” Opera News Online
Salome
“Victoria Livengood sang a nicely furious Herodias in the Met's unveiling of its fifth production of Salome.” Opera News
“When Mattila was not dominating the stage, Victoria Livengood's Herodias
was. Her tall frame and very well made-up face embodied the imperious princess and every move she made was well motivated. Livengood also sang her role powerfully
and authoritatively with great mezzo tone from top to bottom of the range.” Opera List Online
The Tales Of Hoffmann
“Victoria Livengood made a convincing Giulietta, displaying a likable mezzo and attractive presence.” Opera News
“Miss Livengood, in body language and with her huskier, more sensuous voice, easily becomes one with the seductress Giulietta.” The Washington
Times
"As Giulietta, the woman who steals Hoffmann's reflection, Victoria Livengood produced terrific vocal firepower and expressive nuance." The
Baltimore Sun
“The trio of heroines vaults this production into world class. The mezzo-soprano Victoria Livengood, as the courtesan Giulietta, acted sturdily to her character
type but sang with delicious abandon.” Richmond Times Dispatch
“Victoria Livengood made a convincing Giulietta, displaying a likeable mezzo and attractive presence.” Opera News Magazine
The Consul
“Victoria Livengood was certainly her equal playing the bureaucratic formality of the secretary.” Opera Magazine
"Victoria Livengood a memorably odious Secretary.” Opera News
“Newcomer Victoria Livengood showed why she is considered one of the leading singer-actresses today. She could head a straight version of the play, and her wonderful
voice complemented her acting superbly.” The Buenos Aires Herald (Argentina)
“Victoria Livengood as the Secretary is an excellent singer but also a splendid actress. She has a perfect brazen face: that means she created a masterpiece of
interpretation.” La Repubblica , Italy
“Special remarks must go to Victoria Livengood in the part of the Secretary for her dramatic impersonation and vocal mastery.” La Nazione, Italy
Beauty and the Beast - American Premiere
“The part of Beauty was sung by Victoria Livengood, listed as mezzo-soprano, but with a soaring full lyric range and a captivating warmth of spirit reminiscent
of Sheri Greenwald.” San Francisco Chronicle
“Victoria Livengood, a mezzo with pure, candid tones, was a touching Beauty.” The New Yorker
“Victoria Livengood's vocal projection was as virtuous as her characterization.” The Chicago Tribune
“Victoria Livengood as Beauty lived up to her delicate use of a fine, full-toned mezzo.” The London Times (England)
“Victoria Livengood's Beauty is sung and acted with panache. Livengood's powerful, sweet mezzo-soprano is a consistent delight, and her diction is excellent.”
The Riverfront Times
“Mezzo-soprano Victoria Livengood sang the title role with a big, vibrant, well-projected tone and gave a poignantly dramatic portrayal.” The
Houston Post
The Medium
"The lead role of Madame Flora was wonderfully portrayed by Victoria Livengood. The mezzo soprano, who has made a name for herself above all in the USA as Carmen,
seemed wonderfully at home with the part of the Medium and gave the drunken character fitting vulgar undertones in the voice." Opernglas Magazine
"At the center of the drama was a Flora incarnate portrayed with dark intensity by the authoritative and superb Victoria Livengood, who was moved to tears by the
final applause. The performance concludes as if in a trance. Victoria Livengood, rather than entering into the character of Baba, was possessed by it." Il Giornale, Italy
La Clemenza di Tito
"As Sesto, debutante Victoria Livengood is nothing short of a revelation." Nice-Matin (France)
"The pants role of Sesto was remarkably portrayed by Victoria Livengood." Nice-Journale (France)
Lady Macbeth of Mtsensk
“Victoria Livengood reveled in the earthy corruption of the seductive convict, Sonetka.” British Opera Magazine
"Victoria Livengood, as Sergei’s final conquest, showed a rich mezzo well able to fill the Met’s large auditorium.” The Winston-Salem Journal
Hamlet
“Victoria Livengood’s Gertrude was richly persuasive both in strong, focused mezzo and in her volatile yet meaningful exchanges with Hamlet.”
Miami Herald
“As Gertrude, Victoria Livengood used her solid, penetrating mezzo tellingly, notable in the ‘Toi, partir’ aria.” Fort Lauderdale News/Sun-Sentinel
Rigoletto
“The mezzo-soprano Victoria Livengood was a naturally seductive and vocally alluring Maddalena.” The New York Times
Luisa Miller
“Mezzo-soprano Victoria Livengood, as Laura, produced a lovely dark sonority, even and well-supported.” The New York Times
Vanessa
“For some reason, the old Baroness gives her daughter Vanessa the silent treatment, but when Victoria Livengood did speak, she roared.” Musical
America
“Also deserving praise is mezzo-soprano Victoria Livengood as the Baroness. She gives this puzzling yet key character, who is seen more than she is heard, a powerful
stage presence.” The Denver Post
“The principal cast completes the picture with three-dimensional acting, marvelous singing and a chemistry that draws us in from first moment to last. Most impressive
was their concluding quintet. Victoria Livengood did her best with the cruelly ungrateful role of the Baroness, cashing in on her rare vocal turns with a powerful
mezzo that could bring more damage to the Opera House's legendary loose plaster.” The Rocky Mountain News
“If looks could kill, Victoria Livengood as the Baroness would take home the Grand Prize. Behind the piercing glare, lives a beautiful smile. In Central City Opera's
magnificent production of Samuel Barber's American Opera, Vanessa, the smile is never seen. Not until overwhelming applause when the Baroness resumes her stance of
silence with her granddaughter, Erika, and the orchestra plays its last note, does the smile appear. With few lines, and fewer bars to sing, the commanding, demanding
presence of this Baroness nearly steals the show. Behind the Baroness' mask of a cold shoulder lives mezzo-soprano, Victoria Livengood. What an honor for Central
City to capture this international Metropolitan Opera star. The New York Times called her “naturally seductive and vocally alluring,” and I would add that she is
“a master of silent communication with her straight as a ramrod royal stance, and her icy cold demeanor.” Colorado Backstage
“There's only one person in Samuel Barber's "Vanessa" who knows all, but she's not talking. That's the Baroness/Grandmother, marvelously portrayed by Victoria
Livengood in the superlative cast that the CCO has assembled.” The Boulder Camera
“Victoria Livengood uses her powerful mezzo to echo the Baronness' disappointment.” Colorado Drama
