Sondra Radvanovsky Profile Photo

Sondra Radvanovsky

Soprano Sondra Radvanovsky is a globally celebrated artist. The depth and exquisite color of her voice are matched by her dramatic acting ability and versatility across a remarkable range of repertoire, from the title roles in Rusalka and Lucrezia Borgia, to Roxanne in Cyrano de Bergerac and the title role in Manon Lescaut. She is widely regarded as one of the premiere Verdi sopranos alive today, as well as one of the premiere interpreters of bel canto.

Latest News:

  • 22.04.2016 - "Already hailed by the press, Sondra Radvanovsky’s singing defied belief—her all-time best." - Examiner reviews the Met's 'Roberto Devereux'

  • "Donizetti queens have lost their heads left and right this season, starting with Anne Boleyn (“Anna Bolena”), then Mary, Queen of Scots (“Maria Stuarda”). Sondra Radvanovsky admirably embodied them both and survived to tell the tale. History dealt more kindly with this monarch, Elizabeth I, daughter of King Henry VIII and the aforementioned doomed Anne. In “Roberto Devereux” she keeps her head—though she loses her heart and, ultimately, her mind—when the Earl of Essex goes to the scaffold, and she, despite all her regal power, is a moment too late to save him.

    Already hailed by the press, Sondra Radvanovsky’s singing defied belief—her all-time best. She seems to have found her niche in operatic roles: perhaps not the big-voice Verdi and Puccini heroines (Aida, Amelia in “Ballo,” Tosca) after all, since bel canto demands strictly reining-in all that horsepower to control all faculties to produce the requisite sheer beauty so apparent in this performance. Very few sopranos can negotiate the pyrotechnics of lickety-split, ornamented, elongated phrases, trills and roulades, and make it sound beautiful too. Sondra Radvanovsky has finally managed to do so.

    As the 67-year-old Elisabetta, the much younger soprano is an utterly honest actress. She truly inhabits her roles. Before our eyes she became the Virgin Queen and conveyed her character, not through grand gestures and exaggerated postures, but in innumerable subtleties: snatching her skirt away at the precise moment the 36-year-old Devereux sought to kiss its hem, dismissively flicking the wrist at a courtier whose hand had just kindly supported her, walking slightly stooped, an occasional wobbly unsteadiness and a discreet use of a cane.

    Her incredibly varied singing was just as nuanced, ranging from the soprano’s lowest chest-register growl to her world-famous stratospheric pianissimo note spinning somehow audible above orchestra and chorus; from the improved trills to the always immaculate coloratura; from the heart rending messa di voce to the searing intensity of personalized interpolated ornaments … Now that she has added a more beautiful tone to the equation, what might she be capable of? Certainly a widened bel canto repertoire, bringing other convincing interpretations to roles not always taken seriously because of their until-now seeming implausibility."

    Richard Carter -

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