A Whirlwind summer of Verdi, Martinu, Mahler, Rossini, and more! Angela Meade’s summer included a “power-house” (Washington Post) performance for the Washington Concert Opera 30th Anniversary Concert, a recital with Performance Santa Fe where Opera Today stated that “When we listen to Meade, we begin to know the sound of golden age singing”, Martinu’s The Epic of Gilgamesh with the Grant Park Music Festival where it was said that her “plush dramatic soprano was made to order for the courtesan’s seductive solo” (Chicago Tribune), Mahler’s 8th Symphony with the NHK Symphony, Rossini’s Ermione with the Russian National Orchestra, and a debut with Madrid’s Teatro Real as Lucrezia Contarini in Verdi’s I Due Foscari where it was said that “Her voice is especially well suited to the character, with sufficient amplitude and a beautiful timbre.” (Seen and Heard International).
Angela returns to Madrid this fall to bring her acclaimed interpretation of Bellini’s Norma to Teatro Real, then joins Alberto Zedda to make her debuts at the Opéra de Lyon and Théâtre des Champs-Élysées as the title role in Rossini’s Ermione, and Seville will see her debut in Donizetti’s Anna Bolena with the Teatro de la Maestranza.
Angela Meade offered a “glittering performance” (New York Times) in the title role of Donizetti’s Parisina d’Este with the Opera Orchestra of New York presented at the Rose Theater at Jazz at Lincoln Center under the baton of Eve Queler.
In its review of her performance the New York Times stated “The final act contains some stunningly dark and desperate music, with a funerary chorus, ominous drums and a bravura aria for Parisina, “Ugo è spento,” in which she veers between shocked grief and vindictive rage. Ms. Meade’s plush soprano, with a silvery glint that sharpens when she sings forte, eloquently expressed her character’s volatility and pain. The leaps, runs and ornaments of this role, which presses at the extremes of a soprano’s register, held no terrors for her.” New York Times
Photo © Rebecca Fay Photography
Angela Meade is excited to announce the February 26, 2016 release of her debut recording with Opera Rara! She and Michael Spyres are a vocal match made in heaven (Presto Classical) and she dispatches her sizzling arias with magnificent power and assurance (The Times UK). This Donizetti rarity is a thrilling masterpiece, conducted brilliantly by Sir Mark Elder.
Head to OPERA RARA to purchase your copy today! Listen below for a sneak peak.
Angela Meade returns to the Metropolitan Opera in one of her signature roles, Leonora in Il Trovatore, through February 13th.
“One of the primary reasons to see Il Trovatore before the end of the month is to get a glimpse of the female lead—Angela Meade. Arguably the best young American soprano. This role provides her with an excellent opportunity to show her abilities–including the wonderful color of her voice and an outstanding high register. Meade’s talent alone should bring you into the opera house to see Il Trovatore.” NY Sports Day.
Performances of David McVicar’s production continue on February 9th & 13th under the baton of Marco Armiliato. Find tickets to Il Trovatore and more information here.
Angela Meade rang in the New Year with a “masterful evening of operatic works (that) brought the audience to their feet on multiple occasions” (Philadelphia Magazine) with Yannick Nezet-Seguin and the Philadelphia Orchestra. “If you heard some vocal fireworks before midnight on New Year’s Eve, it was Angela Meade at Kimmel Center’s Verizon Hall. The remarkable soprano was in absolute breathtaking form as she returned to the ensemble for her first ever December 31st gala.”
Angela Meade “made a formidable Norma” (Orange County Register) at Los Angeles Opera’s opening night performance of the Bellini tragedy on November 21. “A sturdy, powerful soprano with exacting control, Angela Meade offers a textbook example of how to handle every nuance of Bellini’s exquisite melodic writing for his title character,” praised the Los Angeles Times, continuing in a description of Angela’s performances opposite castmate Jamie Barton’s Adalgisa that “the Meade-Barton amalgam is a sound so stunning that in the audience Saturday there were laughs of pure pleasure.” “She’s got a big, lyric voice that can rise above fortissimo climaxes, yet remains nimble and supple enough for the graceful singing and pianissimo point required in bel canto,” said the Orange County Register.
Performances of Anne Bogart’s production continue on November 29 as well as December 2, 5, 10, and 13, under the baton of James Conlon. Find tickets to Norma and more information here.
Angela Meade brings her “astounding” (New Yorker) portrayal of Bellini’s Norma to the Los Angeles Opera, opening November 21. She sings opposite the Adalgisa of Jamie Barton and Russell Thomas as Pollione, telling the story of a love affair that brings two mortal enemies together during a time of war. “Angela Meade and Jamie Barton [in Norma]… are a duo that every opera lover should hear,” wrote the New York Times of a previous performance.
James Conlon conducts Anne Bogart’s production, which opens on November 21 with repeat performances on November 29 as well as December 2, 5, 10, and 13. Find tickets and more information here.
Photo © Scott Suchman / Washington National Opera
Angela’s “plush-voiced, wise” (New York Times) portrayal of Alice Ford in Verdi’s comic opera Falstaff is now available to own on DVD and BluRay. James Levine conducts Robert Carsen’s production in this performance, which was originally transmitted to movie theaters worldwide on December 14, 2015 as part of the Metropolitan Opera’s Live in HD series. The Decca Classics release features a cast that also includes Stephanie Blythe as Mistress Quickly, Lisette Oropesa as Nannetta, Jennifer Johnson Cano as Meg, and Franco Vassallo as Ford.
Photo © Jonathan Tichler / Metropolitan Opera
Stepping in at the last minute and reuniting with conductor Markus Stenz, Angela Meade makes her St. Louis Symphony debut on Friday, October 9 as soprano soloist in Beethoven’s monumental Symphony No. 9. Joining Angela for the triumphant “Ode to Joy” are mezzo-soprano Theodora Hanslowe, tenor Thomas Cooley, and bass-baritone Eric Owens, as well as the St. Louis Symphony Chorus under the direction of Amy Kaiser. Repeat performances of the program, which also includes Wagner’s Parsifal, take place on Saturday, October 10 and Sunday, October 11.