|“It was Radvanovsky’s night for triumph. Still in the first decade of a career focused largely on Verdi, she has made Leonora her signature role. She employs her richly hued voice with ease and -- although a modern woman would have the sense to escape this matted mess immediately -- she made Leonora both credible and sympathetic. The intensity of her portrayal grew throughout the evening” (Musical America)
"I could list details, but Ms. Radvanovsky is a bundle of what we must refer to as "intangibles." She engages you and touches you in ways hard to describe. She is an uncanny communicator, sometimes reminding me of the great Polish contralto Ewa Podles. And there is more than a hint of Maria Callas in her, frankly - in the sound of the voice, in the intelligence of her approach, and in the possession of those "intangibles." (New York Sun)
Soprano Sondra Radvanovsky’s dramatic stage presence and stunning vocal qualities have firmly established her as one of the rising stars on the international stage today. She has been hailed as one the great Verdi singers of the new generation, critically acclaimed for her performances as Elvire in Ernani, Leonora in Il Trovatore, Hélène in Les Vêpres Siciliennes and Elisabetta in Don Carlo. Her performance as Hélène in the rarely performed Les Vêpres Siciliennes at the Paris Opera took the opera world by storm. The press was unanimous in its praise: “…singing Hélène with dramatic flourish and lyric radiance, who roused the audience from her first entry (International Herald Tribune); "Not since I first heard the young Cheryl Studer 20 years ago have I been so excited by a soprano voice. It has a tender, softly coloured personality, with a light tremolo that blossoms at the top (Financial Times). Her Elvira at the Metropolitan Opera elicited no less praise : The role’s high As, Bs and Cs were fearlessly attacked; she sang with tenderness when called for and is a fine actress. There’s a unique buzz to her powerful, secure top notes that is very appealing.” (Classics Today)
Sondra/s 2009-2010 season will include Don Carlos at the Bastille in Paris and Tosca in Denver, Colorado.
Sondra’s 2008-2009 season began with a return to the Los Angeles opera for her debut in the title role of Suor Angelica. Performances as Lucrezia Borgia at the Washington National Opera and gala concerts in New York (Richard Tucker Foundation) and Washington completed the fall. February and March marked a return to the Metropolitan Opera in one of her signature roles – that of Leonora in Verdi’s Il Trovatore, a role she reprised at the ROH Covent Garden in the spring.
In the 2007-2008 season, in addition to her debut at the Teatro Carlo Felice in Genoa as Elena in I Vespri Siciliani, she made a highly acclaimed role debut as Elvira in Ernaniat the Teatro Verdi di Trieste, which she later reprised at the Metropolitan Opera in New York. Sondra also debuted at La Scala in one of her favourite roles — Roxanne — in Cyrano de Bergerac, with Placido Domingo in the title role, returned to Oper Leipzig as Manon Lescaut and to the Vienna Staatsoper as Elena in I Vespri Siciliani. Concert appearances took her to Moscow with Dmitri Hvorostovsky and to Festival de Lanaudière with Richard Margison.
Recent highlights also include critically acclaimed performances of Cyrano de Bergerac with Plácido Domingo in New York and London, Hélène at the Vienna Staatsoper (I Vespri Siciliani) Lucrezia Borgia in the Canary Islands, Lina in Stiffelio at the Royal Opera House Covent Garden, Susannah at the Lyric Opera of Chicago, Leonora in Il Trovatore with the Deutsche Oper Berlin, the Houston Grand Opera, the Metropolitan Opera and the Bregenz Festival. In earlier seasons she was featured in New York, Bilbao, Santa Fe, Paris, Cologne and Japan. A new production of Il Trovatore took her back to her hometown of Chicago where she also debuted with the Chicago Symphony in Beethoven’s Symphony No. 9 under David Zinman. Sondra’s first appearance in Toronto, at the LUNA Opera Gala presented by the Luminato Festival took the city by storm – “It was almost shocking how much power she could muster in her upper range, though as she proved in the D'amor sul'ali rosee (from Verdi's Il Trovatore) she could also shrink to pianissimo in the same territory with no loss of tone or projection.” (Globe & Mail)
In addition to being a winner of the 1997 George London Foundation Competition, Sondra Radvanovsky also won the 1995 Metropolitan Opera National Council Auditions and received first prize in the 1995 Loren L. Zachary Society Competition. A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, Ms. Radvanovsky’s training has also included advanced studies at Tanglewood Music Center and the University of Cincinnati's College Conservatory of Music.
Sondra and her husband make their home in Toronto, Canada
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