Everyday Opera: You heard her here first  

Victoria Livengood
Mezzo soprano
New England Regional First Place Winner 1984
National Council Winner 1984

1984 National Winner Victoria Livengood returned to Boston last season for her Boston Lyric Opera debut as Sarelda in The Inspector, she also appeared as Filippyevna in Eugene Onegin with Opera Carolina and as Adelaide in Arabella in her Santa Fe Opera debut. Next Vicki made her Lyric Opera of Chicago debut as the First Maid (and covered Klytemnestra) in Elektra, and visited Taipei to sing Amneris and Azucena in a Verdi gala. This winter Vicki sang Madame Croissy in Dialogues des Carmélites at Hawaii Opera Theater. She also recently stepped in at short notice as Eunice in “A Streetcar Named Desire” at Carnegie Hall, and encored the role this spring at Chicago Lyric. After a summer of master classes and concerts, Vicki sings Herodias in Salome with Utah Opera, joins Houston Grand Opera as Die Alte in Mieczyslaw Weinberg’s Die Passagierin (The Passenger), and returns to the Met as the Fortune Teller (and covers Adelaide) in Arabella.

 

Raised on a farm near Thomasville, North Carolina, Vickie attended UNC Chapel Hill planning for a law career. An audition for the choir director led to another for the voice faculty and a subsequent music scholarship. After receiving a Masters of Music degree in Opera at The Boston Conservatory and the Met Auditions, the mezzo went on to win prizes in the Luciano Pavarotti International Vocal Competition, the Rosa Ponselle International Competition, the National Institute of Music Theatre Competition and the D'Angelo Competition. Vicki received grants from the Leiderkranz, Sullivan, and Puccini Foundations, and made her professional debut at the Ash Lawn Opera Festival in Charlottesville, Virginia as Cherubino.


1991 saw both her Met debut as Laura in Luisa Miller under James Levine and her European debut as Sesto in Idomeneo, followed by La clemenza di Tito with L’Opéra de Nice. Other European credits include the title role in the world premiere of Luis de Pablo’s La señorita Cristina for the Teatro Real in Madrid, Carmen with Oper der Stadt Köln, Jocasta in Oedipus Rex at the Salzburg Festival, the title role in The Medium at Italy’s Spoleto Festival under the direction of Gian Carlo Menotti and in Monte Carlo, Ortrud in Lohengrin and the Secretary in The Consul in Spoleto, La Marquise de Berkenfeld in La fille du régiment at the Gran Teatre del Liceu, Mamma Lucia in Cavalleria rusticana with Gran Teatre del Liceu and Opéra de Monte Carlo; and Klytämnestra in Elektra with the Festival de Ópera de Las Palmas. Vicki has also appeared as Prince Orlovsky in Die Fledermaus and La Marquise de Berkenfield with the Teatro Municipal in Santiago, Baba the Turk in The Rake's Progress at Teatro Colón in Buenos Aires and Vancouver Opera, and Mrs. Grose in Turn of the Screw with Edmonton Opera.


Still, the self-styled “Dixie Diva” has primarily based her career in America. Her Met roles have included Herodias in Salome, Giulietta in Les contes d’Hoffmann, Myrtle Wilson in The Great Gatsby, Maddalena in Rigoletto, Prince Orlovsky in Die Fledermaus, Queen Isabella in The Voyage, Preziosilla in La Forza del Destino, Lola in Cavalleria Rusticana, Margret in Wozzeck, Hippolyta in A Midsummer Night’s Dream, Waltraute in Die Walküre, Sonyetka in Lady Macbeth of Mtsensk, Hélène in War and Peace, and the title role in Carmen, which she has also performed over 200 times worldwide. A few of her other major roles include Meg Page in Falstaff with San Francisco Opera, Marina in Boris Godunov with Washington Opera, Charlotte in Werther with Seattle Opera, Dalila with Baltimore Opera, Azucena with Fort Worth Opera, Chautauqua Opera, Anchorage Opera, and Portland Opera, Giulietta in Les contes d’Hoffmann with Washington National Opera, and Gertrude in Hamlet with Florida Grand Opera. Vicki also created the role of Lampito in the world premiere of Mark Adamo’s Lysistrata at Houston Grand Opera, and reprised the role with New York City Opera.


In addition to appearing in many concert performances as a soloist with symphony orchestras across the country, Vicki has made a number of recordings: her discography includes her Grammy-nominated performance with the London Symphony in Edward Thomas' Desire under the Elms as well as the Thomas Pasatieri “Songbook” and Adler's “AIDS Requiem,” and “Piercing Eyes,” a solo program of Haydn songs, all for Albany Records. She also recorded The Consul and War and Peace for Chandos with Richard Hickox conducting, and Oberon with James Conlon and the Kölner Philharmoniker for EMI.

 

 

For more information about this artist, please visit her official website at www.victorialivengood.com.

 

Ms. Livengood is represented by Guy Barzilay Artists Management.

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