Marquise / La Fille Du Regiment Barcelona, Teatro Liceu Debut
“It was a wonderful cast with great work coming from the magnificent Victoria Livengood as the
Marquise de Berkenfield. She was perfect for this role.” La Razon, Spain
“Victoria Livengood completed this effective case as the Marquise de Berkenfield, achieving the comic
character while also showing her human side.” El Mundo, Spain
“The winks continued with the fantastic Victoria Livengood as the Marquise de Berkenfield, catching
the public by surprise when she sang a few bars of Rosor.” El Pais, Spain
“Joining the cast was Victoria Livengood, a splendid Marquise de Berkenfield.” El Punt, Barcelona
“Victoria Livengood played a generous Marquise who did not hesitate to burst out with the
well-known Roso.” Avui, Barcelona
“The same happened with Victoria Livengood, the Marquise de Berkenfield, when she sang a satirical
Roso. She and Sulpice are the key figures in a show set in 3 different sceneries.”
El Periodico de Catalana
“The great Victoria Livengood was a good replica of the sophisticated Marquise de Berkenfield.”
ABC, Catalana
“Victoria Livengood's Marquise is a real find. Vocally there's no way to get into the role, but she
brings its limited possibilities into her comfort zone and magnificently makes the most of it. Stage presence which certainly recalls Margaret
Dumont, in the service of a more theatrical than musical character. And with an appropriate gag
sung in the second act, she put the audience in her pocket. She had a great success.”
Opera L
“As the Marquise, mezzo soprano Victoria Livengood made the most of some wonderfully sultry low passages - her voice is a lovely one, rich and deep.”
Washington Post
“Victoria Livengood threw herself into the role of the Marquise and her singing had an effective spark.” Baltimore Sun
“Kudos to the mezzo-soprano Victoria Livengood, whose Margaret Dumont-style histrionics and huge voice endowed the marquise with great authority spiced with a
dash of impetuosity.” Washington Times
“From the explosive entrance of the Marquise de Berkenfield, Victoria Livengood is an expressive and versatile actress and a mezzo soprano who gave a gala
interpretation of the Marquise not only of character but who can sing to perfection. She is Wagnerian in volume from her middle voice down to the weighty lower
register.”
El Mercurio, Santiago, Chile
“The mezzo soprano, Victoria Livengood imposed herself with a dark, homogeneous and weighty voice.” La Tercera, Santiago, Chile
“Victoria Livengood was a mezzo of good sound resources, in which the weight and firmness of her lower notes are a highlight. Her versatile acting chops took
her character's first act exuberance into authentic emotional drama in the 2nd Act." La Segunda, Santiago, Chile
“Victoria Livengood is another de lux singer. With great know how she gives the role vocal and acting exuberance which wins you over from the start.”
Las Ultimas Noticias, Chile
“Victoria Livengood's Marquise was as buffa as this role requires. Her entrance during the first act, coloratura singing included, showed many of the things
this artist has to offer, big voice and a homogenous register.” Opera Click
Klytemnestra / Elektra Victoria's Debut in the role and with this company
Festival de Opera de Las Palmas de Gran Canaria
"The mezzo soprano, Victoria Livengood, performs an amazing Klytemnestra, with the shadow of fear in her apparent royal majesty and a deep and expressive voice
with sudden high extensions." La Provincia
"There was a Sensational point of view of the compelling Klytemnestra of Victoria Livengood, offering a complete vocal scale, with powerful low notes. A
persuasive wave of sound that she modulates with extreme manageability, including screaming as well as frenetic laughter." Le Recensioni
"Victoria Livengood, was an amazing Klytemnestra, for her heartbreaking voice and stage presence, more centered in the affirmation of her own hate than on the
remorse that maintains her insomnia." Opera Actual
Marcelina / Le Nozze Di Figaro
Washington National Opera
Reviews:
"Memorable singers, though, go beyond what is
merely required of them in their roles, and on
Saturday, Victoria Livengood was unquestionably
memorable! Her Marcellina made for a striking,
rounded portrayal of a comic character and her
powerful voice could peel paint off the walls."
The Washington Post
“The evening's best surprise was mezzo-soprano
Victoria Livengood as the scheming old cougar,
Marcellina. This is a classic, comic role that
demands a fairly obnoxious performance. Ms.
Livengood went this one better, looking and sounding
almost like a brassy Ethel Merman in Annie Get Your
Gun. But she's a fine actress, too, making her
character's abrupt switch to the good-guys' side
completely believable. It was a great, selfless
performance, adding significantly to the evening's
light, humorous tone." The
Washington Times
"The supporting roles were filled with solid
actor-singers, notably Victoria Livengood as a
highly spirited, irresistible Marcellina. She
produced more sheer volume than all the rest put
together and filled that sound with myriad colors,
always rich in communicative force."
The Baltimore Sun
"Livengood is equally effective as the selfish
Marcellina, a character who threatens Susanna's and
Figaro's well-being and who wants Figaro for
herself." The Washington Examiner
“Dynamic singing and focused acting combined last night for a very strong opening with a delightful physical characterization given by Victoria Livengood as
Marcellina.” The Blade, Ohio
Herodias / 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
Old Prioress / Dialogues of the Carmelites
“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
Azucena / 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 Daily News, 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
Baroness / 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
Madame Flora / The Medium
"It is logical that Victoria Livengood dominated the stage as Madame Flora. The American mezzo has an exacting range, total comfort of her body and delivers a
hallucinogenic portrait of her final mad scene which leaves the spectator in a state of shock. Her portrayal is perfect, in particular for her dedication to
project the English text.” Opera International Magazine
“Posthumous homage to the composer, Menotti, was given an electrical representation of this lyric drama by the convincing and sincere Victoria Livengood. She
is a dramatic actress equipped with a contralto voice with an impressive lower register and is a fascinating Madame Flora, worthy of praise.”
Tribune Bulletin, Cote d'azur, Monaco
“This representation unfolds in a grave mood, strangely haunted by the memory of the composer himself. The performance was admirable and poignant and dominated
by the fascinating singer-actress, Victoria Livengood.” Nice-Matin, France
“Victoria Livengood creates a bigger than life impression as Baba, her approach is like a graduate of the actor's studio or as one would see in a Tennessee
Williams' play.” Chroniques Opera, France
“Victoria Livengood's performance is mysterious, scholarly employing silences, maintaining a constant dramatic tension that stretches one towards a feeling of
oppression. She inhabits the true-false role of Madame Flora brilliantly. She is a formidable mezzo that masters an entire range of vocal sounds, from murmurs to
screams, from soft hallucinogenic melodies to loud declamations that could freeze your blood.” Scenes Magazine
"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
“The portrayal of the mezzo soprano, Victoria Livengood, was nothing short of magisterial. She knew how to heighten even further the dark hues and somber
tones of Menotti's music, adding her own dramatic engraving stamp to Menotti's imprint.” Dell Umbria, Italy
“Victoria Livengood, rather than entering into the character of Baba, was possessed and embodied by it so completely that the performance concluded as if we
were all in a trance.” Il Giorno, Italy
“Mezzo soprano Victoria Livengood, a major Metropolitan Opera diva, graced the stage for opening night and was like a force of nature. She was powerful
and dominating as the crude, coarse Medium. She inhabited her role, it consumed her. Menotti's music was about mood and setting atmosphere and her big
voice had plenty of edge throughout the often sung dialogue and screaming with loads of color and dynamic contrasts in her lyrical moments. The combinations of
words were like poetry.” Daily Gazette, NY
Baba the Turk / 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
Giulietta / 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
“Victoria Livengood, with her abundant voice and measured performance, surprised and astonished the public with her interpretation of the courtesan Giulietta.”
El Tiempo Latino, Spain
Secretary / 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
Helene / 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
“Victoria Livengood was appropriately arch as Pierre Bezukhov's amoral and mischief-making wife, Helene, in the Met's new production.” Musical America Magazine
Maddalena / Rigoletto
“The mezzo-soprano Victoria Livengood was a naturally seductive and vocally alluring Maddalena.” The New York Times
Prince Orlovsky / 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
Marina / 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
Ortrud / 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
Lampito / 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
Cristina / 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
“In the title role, Livengood's powerful voice and stage presence easily projected over De Pablo's enormous orchestra, as she fully inhabited the title role of
Senorita Cristina.” Opera Canada Magazine
“Victoria Livengood demonstrated the highest vocal quality. Dramatically, she was larger than life and totally fascinating. She is a perfect modern
artist with a Diva type persona as the figure Cristina and one could imagine she would be the perfect Kundry.” Das Opernglas Magazine, Germany
“The American Mezzo, Victoria Livengood, possesses and emits a full and robust voice full of color and dramatic intent.” Opera International
Magazine
“Victoria Livengood portrayed in splendid form the title role. She overcame the difficulty of the Spanish diction and exhibited a voice of abundant
qualities.” La Musica Magazine
“The vocal cast was first rate, lead by the magnificent dramatic mezzo and contemporary music specialist, Victoria Livengood, who possesses a splendid voice.”
Mundo Classico Magazine
Sonetka / 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
Gertrude / 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
Sesto / 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)
Laura / Luisa Miller
“Mezzo-soprano Victoria Livengood, as Laura, produced a lovely dark sonority, even and well-supported.” The New York Times
Beauty / 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
