Performer Biography
Victoria Livengood
Mezzo Soprano
The Washington Post declares Victoria Livengood as "unquestionably memorable," further praising her "striking, rounded portrayal of a comic character," and declares "her voice is a lovely one, rich and deep" and expressive within her command of "wonderfully sultry low passages." Engagements in the 2010-11 season for Ms. Livengood include her return to New York City Opera as Mrs. Doc in a new production of Bernstein's A Quiet Place directed by Christopher Alden and to the Gran Teatre del Liceu for Mamma Lucia in Cavalleria rusticana. She also returns to the role of Klytemnestra in Elektra with the Taipei Orchestra and to Fort Worth Opera for Azucena in Il trovatore and sings subsequent performances of the role with Nickel City Opera.
Sought after for nonpareil performances within the character mezzo repertoire, she recently made her debut as the Marquise in La fille du regiment at the Gran Teatre del Liceu and sang her first performances of Klytemnestra in Elektra with the Festival de Opera de Las Palmas de Gran Canaria in the 2009-10 season. Other recent performances include Marcellina in Le nozze di Figaro with Washington National Opera and Hawaii Opera Theatre; Herodias in Salome and Madame Larina in Eugene Onegin at the Metropolitan Opera; the Witch in Hansel und Gretel with Kentucky Opera; previous performances of the Marquise in La fille du regiment also with Washington National Opera and the Teatro Municipal de Santiago; the Old Prioress in Dialogues des carmelites with Fort Worth Opera; Akrosimova in War and Peace at the Metropolitan Opera and Spoleto Festival dei Due Mondi; Mamma Lucia in Cavalleria rusticana with Opera de Monte Carlo; the Baroness in Vanessa with Central City Opera; Baba the Turk in The Rake's Progress with the Teatro Colon and Vancouver Opera; and Mrs. Grose in Turn of the Screw with Edmonton Opera. She sang the title role of Menotti�s The Medium with the composer conducting at the Spoleto Festival dei Due Mondi as well as Opera de Monte Carlo and Florida Grand Opera. Also currently in her repertoire are Je!ibaba in Rusalka and Grammy in The Gambler, which she has prepared for the Metropolitan Opera in recent seasons.
Her other performances include Azucena in Il trovatore with Chautauqua Opera, Anchorage Opera, and Portland Opera; Ortrud in Lohengrin at the Spoleto Festival dei Due Mondi; Waltraute in Die Walkure with the Metropolitan Opera; Gertrude in Hamlet with Florida Grand Opera; Giulietta in Les contes d'Hoffmann with the Metropolitan Opera, Washington National Opera, and at the Teatro Municipal de Santiago; and Dalila in Samson et Dalila with Baltimore Opera. Also adept within modern repertoire, she created the role of Lampito in Mark Adamo's Lysistrata at Houston Grand Opera and reprised it with New York City Opera. She also sang the title roles in Louis de Pablo's La Senorita Cristina at the Teatro Real and Stephen Oliver's Beauty and the Beast for Opera Theatre of Saint Louis as well as Myrtle Wilson in Harbison's The Great Gatsby and Queen Isabella in Philip Glass' The Voyage at the Metropolitan Opera. Previously in more lyric repertoire, she found tremendous success as the title role of Carmen, having sung over 200 performances of the tragic heroine with companies that include the Metropolitan Opera, Oper Koln, and others throughout the United States. She has had a long relationship with the Metropolitan Opera where following her debut as Laura in Luisa Miller, her over 100 performances also included Maddalena in Rigoletto, Prince Orlovsky in Die Fledermaus, Margret in Wozzeck, Hippolyta in A Midsummer Night's Dream, Sonyetka in Lady Macbeth of Mtsensk as well as Helene in the company's premiere of War and Peace. Her earlier repertoire also comprises acclaimed performances of Charlotte in Werther with Seattle Opera, Idamante in Idomeneo and Sesto in La clemenza di Tito with Opera de Nice, Jocasta in Oedipus Rex at the Salzburg Festival, Marina in Boris Godunov with Washington National Opera, Meg Page in Falstaff with San Francisco Opera, and Orlovsky in Die Fledermaus at the Teatro Municipal de Santiago.
The North Carolina native's concert performances include Prokofiev's Alexander Nevsky with the National Symphony Orchestra and at the Spoleto Festival dei Due Mondi, Verdi's Requiem with the Brooklyn Philharmonic, Glass' The Civil Wars with the American Composers' Orchestra, and Del Tredici's Child Alice with the American Symphony Orchestra. Additionally, she has appeared as a soloist across the country in repertoire that includes Mahler, Mendelssohn, Verdi, Brahms, and Beethoven with the symphonies of Atlanta, Minnesota, Baltimore, San Diego, Honolulu, Memphis, Tucson, Jacksonville, and at the Cincinnati May Festival. Her discography includes her Grammy-nominated performance with theLondon Symphony in Edward Thomas' Desire under the Elms as well as the Thomas Pasatieri Songbook and Adler's AIDS Requiem, all for Albany Records. She recorded The Consul and War and Peace for Chandos, both with Richard Hickox conducting as well as Oberon with Ben Heppner, Deborah Voigt, James Conlon conducting the Kolner Philharmoniker for EMI. She has also recorded "Piercing Eyes," a solo program of Haydn songs for Albany.
Opera Carolina Performances:
Art to Poetry to Music (2013–2014)
Eugene Onegin (2011–2012)
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