Victoria Livengood | Opera's Dixie Diva
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Marcellina / Mozart's Nozze di Figaro

Opera Omaha

"OPERA OMAHA finished its mainstage season with a marvelous production of Mozart's Nozze di Figaro. This production is easily Opera Omaha's best production of the year. The ensemble's comedic timing was superb; one didn't want it to stop. 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." - Opera News Online, May 2023

Marthe (Role Debut) / Faust

Marthe (Role Debut) / Faust

Detroit Opera

"The scene-stealing Victoria Livengood drew belly laughs as Marthe." -

Madame Flora / The Medium by Gian Carlo Menotti

Madame Flora / The Medium by Gian Carlo Menotti

New Orleans Opera (April 2021)

"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. I'd love to see Livengood as Mrs. Begbick in Kurt Weill's The Rise and Fall of the City of Mahagonny." - Ambush Magazine

Filipevna / Eugene Onegin / Washington National Opera

Fillipyevna / Eugene Onegin by Tchaikovsky

Washington National Opera (March 2019)

"Where the production excelled vocally was in its veterans. Victoria Livengood, the American mezzo, was fabulous as the old nurse." - The Washington Post

"Throughout the opera a series of secondary characters help to advance the story's themes of love. Mezzo-Soprano Victoria Livengood is Tatiana's nanny and confident, Filippyevna. The bond between her and Nechaeva radiates warmth, providing some of the opera's lighter moments." -

"Rounding out the cast, Victoria Livengood is the old nurse Filippyevna, and sings with texture and expression." - Metro Weekly

"The luxury casting extended down to the casting of the servant Filippyevna in Act 1. Mezzo soprano Victoria Livengood was outstanding." - Washington Classical Review

"The other singers achieve moments to round out the themes of regret, lost youth, and the bittersweet rise of melancholy looking back at the crossroads of life. Elena Zaremba, as Olga's and Tatiana's mother, and Victoria Livengood, as the girls' old nurse and companion to Madame Larina, set just the right feeling in the first scene as they prepare a harvest festival and swap stories of romantic urgings of their youth. Livengood's assured performance is delicious, and their effective physicality and vocal harmonizing of two women who have grown old together make for a compelling duet." - DC Theater Scene

"Victoria Livengood sang very well as the nanny Filippyevna." - Seen and Heard International

"Victoria Livengood stole every scene she was in, exuding wisdom and warmth, as Tatiana's nurse, Filippyevna. In fact, the short duet in which Tatiana dispatches Filippyevna to convey her just-written letter to Onegin seemed like the real Letter Scene." - Parterre Box

Kabanicha / Katya Kabanova by Janacek
Kabanicha / Katya Kabanova by Janacek
Kabanicha / Katya Kabanova by Janacek

Kabanicha / Katya Kabanova by Janacek

Seattle Opera (Role Debut)

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. - The Seattle Times

As Katya's cruel mother-in-law, Kabanicha, Victoria Livengood evokes the specter of Joan Crawford at her Mommie Dearest worst, from her hair to her posture to her ice-cold cruelty. The freezing menace in Livengood's voice gave me the chills. - Madison Park Times, WA

As Katya's domineering mother-in-law Kabanicha, Victoria Livengood's deep voice reinforced her nastiness. - The Seattle Post Intelingencer

All of the opera's characters are oppressed by the walking storm cloud that is Kabanicha, the mother-in-law; Victoria Livengood turns her into one of Seattle Opera's more memorable villains, all the more chilling because you probably know someone like her. - The Seattle Weekly

Perhaps the character formed by the mezzo Victoria Livengood (Kabanicha) is responsible for much of the success of the opera. Victoria Livengood was an applauded Kabachina. The American mezzo coined a hypnotic mother-in-law. It was impossible to stop following her evolutions on the stage which left in the air the disturbing atmosphere Janáček had wanted. - Opera World, Spain

This is an opera about women. Victoria Livengood, in the critical role of Kabanicha, was perfectly cast. Her voice has a slight vibrato coupled with a sharp edge that perfectly encapsulated the dangerous self-absorption of a relentless matriarch. - Seattle Gay News

Katya is silenced by her mother-in-law, a dyed-in-jewel-colored-wool villainess sung by Victoria Livengood, who pours every ounce of her strong mezzo and callous body language into her heartless character. She is a villain to reckon with, and Livengood relishes playing this part. - Oregon Artswatch

Baba / The Medium by Gian Carlo Menotti

Phoenicia Festival of the Voice (July-August 2015)

"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." - Opera News

Filipevna / Eugene Onegin / Opera Carolina

Fillipyevna / Eugene Onegin by Tchaikovsky

Opera Carolina (March 2012)

"But the main reason for the success of the evening was its principals and even the smaller roles were adeptly handled. Victoria Livengood's Filippevna was solid and steady." - Opera News, 2012

"The women in the cast were electrifying. Victoria Livengood showed phenomenal acting. She was perfect in all scenes, and the younger actresses had a bit of a hard time getting the focus of the attention back on them, since Ms. Livengood, a very seasoned performer, threatened to steal the scene every time she was on. Victoria Livengood was phenomenal! This veteran singer not only has a sensational stage presence as described above, but also has a booming voice that doesn't show signs of wear and tear beyond the age-appropriate stage. Boy, she is good!" - Opera Lively, March 18, 2012

"The cast was - in a word - spectacular. It's funny how, sometimes, artists who play comprimario parts can come to dominate the proceedings. This was often the case in Act I, wherein the singing and acting of the great Victoria Livengood, the Nurse, consistently drew attention (in invariably favorable ways, and never ostentatiously). Vocally she was resplendent, reminding senior listeners of her many great leading roles. Dramatically, she was "on" at every moment, whether singing or not, engaging actively with eye-contact and facial expression." - CVNC, Arts Journal of NC

"I was very pleasantly surprised with two other singers who were just as extraordinary in their roles. Victoria Livengood almost stole the show from her younger colleagues. Our dear "Dixie Diva" veteran, a North Carolina native with 80 roles in her repertory, who sang 120 performances at the Met and is still going (most recently seen there as the Fortuner Teller in Arabella), was simply excellent as Filippyevna, a role that is a lot more important in this opera than it seems. Victoria's voice has no wobble, and remains strong with great projection and diction (her Russian was arguably the best one on stage)." - Opera Lively

Sarelda / The Inspector / Boston Lyric Opera
Sarelda / The Inspector / Boston Lyric Opera

Sarelda / The Inspector by John Musto

Boston Lyric Opera (April 2012)

"Boston Lyric Opera's "The Inspector" is a comic opera that's actually funny, with a cast possessing solid vocal skills and dead-center comic timing! Special mention must be made, however, of mezzo-soprano Victoria Livengood, who nearly stole the show as the Mayor's Wife, the power-hungry matron whose notion of absolute power seemed to consist primarily of acquiring lots of hats and shoes." - Opera News

"On the other hand, the first act solo for Sarelda, in which she conjures visions of shoes, hats, and gowns, is suave, hilarious, and convincing. Boston Lyric has cast The Inspector with near perfection. Victoria Livengood as Seralda is a clear standout, with clarion top notes and a thrilling contralto." - Boston Classical Review

"The solo singing is excellent across the board, with mezzo-profundo Victoria Livengood running off with the show in the flashy comic role of Sarelda, the mayor's scheming, ambitious wife." - The Edge, Boston

"The cast is all but upstaged, however, by mezzo Victoria Livengood as her crass, calculating mama; Ms. Livengood is a world-class comic talent as well as a Met-level mezzo, and she expertly crosses Imelda Marcos with Carol Burnett to create an indelibly, almost brutally hilarious performance as, in her husband's words, "the shrewdest of shrews - who'd screw for new shoes." In fact, I'll call this one right now - there will be no one, and nothing, funnier than Ms. Livengood on a Boston stage this year. (And she's a terrific mezzo to boot.)" - The Hub Review, Boston Arts

"There are many laugh-out-loud moments, thanks to a terrifically funny libretto and great comic timing. As the Mayor's wife, Sarelda, Victoria Livengood was brilliant. Her aria about shoes was one of the evening's most memorable moments, evoking a character that was half Miss Piggy, half Imelda Marcos." - BachTrack Online

"The cast was strong. Its top stars were bass-baritone Jake Gardner and mezzo Victoria Livengood, who had already amused us as a married couple, Doc and Mrs. Doc, in NY City Opera's A QUIET PLACE and here had more to sing and act as Mayor and wife. As always, Livengood held center stage with rich voice and riveting stage presence including plenty of movement. Her biggest moment was the "Shoes" aria, the only solo piece that drew applause (and it was intense). Her character Sarelda (Sarah Palin and Imelda Marcos) was dreaming of thousands of shoes, dresses, and hats - the high fashion she would wear when she ascended to status in Rome. But her costumes (by designer David O. Roberts) were already showy. As wife she was publicly fond and privately standoffish, as mother doting and imperious - a complete characterization." - Opera List Online

"Victoria Livengood as Sarelda, the Mayoress, sang with all the self-importance of a diva; she gave an exciting reading of the shoe song (more of a Broadway style than operatic)." - The Boston Musical Intelligencer

Azucena (Fort Worth Opera Production)
Azucena (Fort Worth Opera Production)
Azucena (Fort Worth Opera Production)

Azucena / Il Trovatore by Verdi

Fort Worth Opera Production

"This production put together impressive, hefty-voiced singers. As the crazed Azucena, mezzo-soprano Victoria Livengood had many memorable moments. Her voice seems to be three distinct insturments: a strong lower register of remarkable clarity; a smooth, flexible middle voice; and a bright trumpet of an upper range that cuts through chorus and orchestra with amazing force. Dramatically it was in the final prison scene, in which she sat trance-like, holding a crumpled blanket to her cheek, gently crooning to it as if her heart would break, that Livengood impressed the most." - Leonard Eureka, "Il Trovatore - The Voice" (Fort Worth Weekly)

"I had to keep pinching myself Saturday night, to make sure I was actually sitting in Bass Performance Hall and hearing the glorious sounds filling - and I do mean filling - the room. Enrico Caruso famously quipped that the only thing you need for a great Il Trovatore is four of the greatest singers in the world, and you'd be hard pressed to outdo the four Darren Woods has booked for the Fort Worth Opera Festival. This is one of the operatic thrillers of the year. Then there's Victoria Livengood capturing both the sheer weirdness and the maternal warmth of the gypsy Azucena, her potent mezzo including a fearsome chest voice. It's not just that the voices are thrilling per se, but that the singers deploy them so dramatically and expressively. They sing quietly and conspiratorially as well as ferociously and they bring Verdi's tragic figures vividly to life." - Scott Cantrell, Classical Music Critic (Dallas News, May 22, 2011)

"The Fort Worth Opera gave a powerful demonstration on Saturday night of why Il Trovatore has remained one of the most popular operas down through the years. Verdi's Gothic horror story has lost some of its punch through familiarity, but with the right ingredients -- especially four topnotch singers in the leading roles -- it can send a shiver down the spine once more. The Fort Worth Opera has those ingredients and mixed them well on Saturday night. The Fearsome Four included alto Victoria Livengood as Azucena, who sang her taxing role with strength and ear-pleasing vocalism and her acting was Verdi-capable." - Olin Chism (Fort Worth Star Telegram, May 22, 2011)

"The real star of this production, however, is the simply awe-inspiring Victoria Livengood in her role as Azucena. I probably could have done the entire review singing her praises. Having recently heard Dolora Zajick give a rousing performance of the role for the Metropolitan Opera, I was incredibly surprised to hear a mezzo-soprano top that performance so soon, and in Fort Worth. The role of Azucena is one that requires the singer to bring out their inner-crazy. It is by no means a dainty, femme-fatale character, because in the end, everyone is simply acting according to Azucena's plan. Ms. Livengood brings out the role like I've never heard. Her ability to utilize her chest-voice and bring out her extended lower range sends the character over the top. The audience almost gets the sensation that two women are singing. The "earthy" quality of the sound not only invokes fear and mystery, it demonstrates the true power of the character. It allows the audience to see the two sides of Azucena - the one telling Manrico she loves him, and the one plotting the continued pain of the Di Luna family. Everytime Ms. Livengood took the stage, you could feel the excitement level rise in the hall. I'm still shouting "Brava!" today." - David Weuste (Everyday Opera, May 23, 2011)

"The women rule the night, as the performance given by Victoria Livengood as Azucena is brilliant. While the role does not have as wide a vocal range as that of Leonora, it makes up for it in stamina - and Livengood has that in spades. In addition to having a magnificent voice, she is easily the best actor of the evening. A remarkable moment for her is in the second act when she recounts the story of her mother's death to the rest of the gypsies; as part of the staging, she is seen to be physically drawing in the crowd. Her control often has the same effect on the audience: everyone seems physically drawn in whenever she sings. Do not miss this production. The vocal fireworks alone make the price of admission worth it. You will not leave disappointed." - John Norine Jr. (Theater, May 22, 2011)

"Fans of great singing who make the drive over to Fort Worth can experience a steady flow of wonderful vocal performances, presented with a level of devotion that imbues Verdi's sometimes twisted plot with momentum and credibility. This dream cast includes Mezzo-soprano Victoria Livengood. She owns a dusky, auditorium-filling voice and emphasized the crazed, post-traumatic delusional aspects of the character of Azucena, the old gypsy woman. - Dallas Front Row Critic

"A fine cast of established, first-rate singers has been assembled, and they do a good job of selling this uncompromising creation. Victoria Livengood, as Azucena, is the stuff bad dreams are made of - in other words, PERFECT! She rules the stage, not only with her haunting, resonant voice, but with her intensity." - Buffalo News (June 25, 2011)

Other Performances

"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

Mrs. Doc / A Quiet Place
Mrs. Doc / A Quiet Place
Mrs. Doc / A Quiet Place

Mrs. Doc / A Quiet Place (by Leonard Bernstein)
New York City Opera

"The whole cast was strong, especially Victoria Livengood as the loud-mouthed Mrs. Doc, Dinah's co-dependent friend." The New York Times

"The Minor Characters were superbly appropriate. Take the character of Mrs. Doc. Victoria Livengood, a bold mezzo-soprano, was both Horne-esque, and Blythe-esque." New York Chronicle by Jay Nordlinger

"Victoria Livengood gave a colorful performance." Musical America

"Among the supporting roles, Victoria Livengood as Mrs. Doc threatened to steal the show with her acerbic asides delivered in a ringing alto." The Classical Review

"In general, New York City Opera's performers are stronger singers than actors, though some acting performances stand out, including Victoria Livengood, who makes a strong impression as a mourner with no time for insincerities." Backstage

"The cast to a one were excellent. As Mrs. Doc, Victoria LIvengood was delightful and funny."
Berkshire Fine Arts

"The early part of the opera is dominated by veteran mezzo-soprano Victoria Livengood as Dinah's friend, larger than life as the Doctor's wife, never at a loss for a scathing remark." On Stage

"The performances are universally excellent with mezzo soprano Victoria Livengood as a haughty friend of the family." The Hour

Marquise In La Fille Du Regiment
Marquise In La Fille Du Regiment
The Marquise de Berkenfield
The Marquise de Berkenfield
The Marquise de Berkenfield

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
Taipei National Symphony Orchestra

Family matters: As Klytemnestra in Taipei, Victoria Livengood's dynamic with Elektra was riveting and even descended into a cat fight. In spite of the concert situation, there were some interesting confrontations. The American mezzo-soprano was compelling, visually and aurally, in regal embroidered robe and bejewelled wig. Opera Magazine, London, May, 2011

Festival de Opera de Las Palmas de Gran Canaria
(Victoria's debut in the role and with this company)

"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
Marcelina / Le Nozze Di Figaro

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

The Old Prioress

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


Dalila / Samson and Dalila

Click here to read "A daughter of the South becomes a diva of the world" from
The Boston Globe (June 3, 2005)

"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

The Baroness
The Baroness

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
Madame Flora
Madame Flora
Madame Flora

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
Baba the Turk

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

The Secretary

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

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."

"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