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:

  • 30.03.2016 - Sondra Radvanovsky receives extraordinary critical acclaim for 'Roberto Devereux' at The Met

  • "The applause and bravos for the soprano Sondra Radvanovsky were so frenzied at the end of Donizetti’s “Roberto Devereux” at the Metropolitan Opera on Thursday night that she looked overwhelmed, almost a little frightened.The audience members knew, it seemed, that they had just witnessed an emotionally vulnerable and vocally daring performance, a milestone in the career of an essential artist.

    Portraying Elisabetta (Elizabeth I), Ms. Radvanovsky completes a marathon at the Met, having sung all three of Donizetti’s daunting Tudor queens in a single season. Her run began in September with a poignant, fervent account of Anne Boleyn in “Anna Bolena,” and continued in January with wrenching singing as Mary Stuart in “Maria Stuarda.”

    Elisabetta may be the best match for her distinctive gifts. The opera presents the queen late in life, still regal and intimidating, yet frail, wobbly on her feet and consumed with insecurity: She believes that the younger Earl of Essex, Roberto Devereux, once her fawned-upon favorite, has been disloyal. True to form, Ms. Radvanovsky sings with searing power, flinty attack and incisive coloratura passagework. There has always been a slightly hard-edged quality to her sound that takes some getting used to. But that grainy tint suits her take on this aging queen. During moments of doubt, when Elisabetta expresses her isolation, Ms. Radvanovsky shows that she can bend phrases with aching tenderness."

    Anthony Tommasini - The New York Times

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