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:

  • 28.10.2018 - Sondra Radvanovsky Is On A Different Level As Puccini’s Tragic Heroine

  • "Sondra Radvanovsky is like fine wine. She just seems to get better and better with time, her singing more powerful and secure, her characterizations more complex and fascinating. She doesn’t just sing and act, she does both at the same time, acting through her singing and singing through her acting.

    And as Puccini’s most iconic diva, she was at a level that few others today manage to obtain."


    "Sondra Radvanovsky’s last turn at the Met as Puccini’s legendary diva came in 2013. Her performance then was memorable, and her command of the role has only grown since then. Her Tosca is a woman of many layers: she is ferocious because circumstance demands it, getting down on the floor after stabbing Scarpia for a third time to taunt him with her famous barb, “E avanti a lui tremava tutta Roma,” almost whispered into his ear. But her scenes with her cherished Cavaradossi betrayed an innocent glee; even as Mario prepared for his date with the firing squad, she playfully demonstrated how he should fake his death when they fired their blanks.

    Radvanovsky’s blazing soprano has lost none of its weight or power; it’s all fire, from top to bottom, and that she manages to control it enough to reflect the softer moments of Puccini’s vocal writing is itself a marvel. This was a shattering performance, and not a careful one: her “Vissi d’arte,” though sung with beautiful lyricism, was made all the more powerful by the boldness of her choices, often sacrificing technical precision for impact. Some rough attacks as she came down from the A at the top read as twinges of emotion finding their way into the vocal performance."

    New York Classical Review

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