Angela Meade debuts at the Opéra National de Paris

Angela Meade made her highly anticipated debut with Opéra National de Paris this season, starring as Amelia in Verdi’s Un Ballo in Maschera. Widely acclaimed for her commanding Verdian artistry and soaring vocalism, Meade brings emotional depth and vocal brilliance to one of Verdi’s most demanding heroines in this new production at one of the world’s leading opera houses. Her Paris debut marks another major milestone in an international career celebrated on the foremost stages of opera.

“”Renato’s wife was sung by Angela Meade. Mme. Meade possesses a voice of purity that is in prime estate, that she used with musical intelligence and high style, making her an ideal late Verdi heroine” Opera Today – Michael Milenski

“”All honor to the sovereign, the show will remain memorable thanks to Angela Meade’s incandescent Amelia, who honorably succeeds Anna Netrebko. Having played several Verdi ladies at the MET (including Elvira in Ernani, which revealed her to a global audience), her bel canto style is a major asset in a transitional score. From her entrance as Ulrica, her presence is assertive (where so many others struggle to exist). Opening the floodgates in Act II with “Ecco l’orrido campo!”, she generously overcomes every obstacle without holding back, like a true dramatic soprano, slipping majestically into this already more declamatory style as well as into the arcane bel canto. The most challenging segments are tackled boldly, with a constant balance between impeccably seamless registers. In contrast, she must be heard negotiating the prayer “Morrò, ma prima in grazia” like a truly anguished woman, without the gratuitous languor that has too often been used as an interpretative alibi for ages. The intensity of sections such as “Morrò, ma queste viscere” precedes sublime, heart-rending pp nuances, without resorting to the slightest expressionism. This evokes – disturbingly – the heyday of Zinka Milanov, minus the pathos. Similarly, never before have we heard a live performance of “sugli occhi d’una madre” with such remarkable intensity from a Donizetti queen. In an uneven context, the stunning Angela Meade asserts herself as nothing less than one of the best Amelias we have ever heard on stage, after Anna Tomowa-Sintow.” Resonances Lyriques – Patrick Favre-Tissot-Bonvoisin