“The true star of the evening—as evidenced by the audience’s final ovation—is Angela Meade, and for several reasons: after playing the title role, Meade is making her debut in this very production as Amneris. It was an unforgettable debut, especially because the singer—a dramatic soprano known for her stentorian, monumental, and powerful voice—now sings with perfect mezzo technique, darkening her tone where necessary without losing her brilliance and resonance. The versatility of Meade’s mezzo-soprano voice shines in all its brilliance in the duet with Aida in Act II—a scene rich in contrast—but is most indelibly evident in the sequence that follows the duet with Radamès in Act IV: the judgment scene with the priests. While in the duet Meade hits notes that are well-centered and penetrating—especially in the lower register—it is in the scene of Radamès’s judgment, with the famous triple curse against the priests—“infamous, bloodthirsty tigers”—that Meade’s Amneris establishes herself as the evening’s finest performance, earning thunderous applause.” Ape Musicale – Stefano Ceccarelli

“The undisputed star of the evening was Angela Meade as Amneris, whose singing showcased a beautiful voice—rich across all registers and, above all, employed with great theatrical and musical intelligence. Regal, spoiled yet authoritative, and deeply pained after a devastating judgment scene, she concludes the opera with her three “Pace,” in which the character’s entire life story is encapsulated.” GB Opera – Francesco Giudiceandrea

“Angela Meade’s Amneris starts off somewhat subdued, but gains brilliance and confidence as she approaches her big scene with the priests, demonstrating solid technique and an excellent understanding of the musical and dramatic text.” Banquot – Emiliano Metalli

“Two faces—those of Aida and Amneris—that seem like mirror images of one another, with the same ivory complexion and bright, clear eyes. Amneris, played by Angela Meade, really takes off in the second act, almost surpassing Aida in stage presence and vocal prowess, with her powerful emotions, her great passion for love, and her heartfelt plea for mercy—even when the couple is buried alive as punishment for their betrayal (Aida deliberately joined Radamés so as not to outlive him).” Gothic Network – Livia Bidoli

“Let’s start with the least predictable one: the mezzo-soprano role of Amneris, exceptionally cast with the American soprano Angela Meade. As the pharaoh’s daughter, she delivers an Oscar-worthy performance on both the dramatic and vocal fronts. Her authentic Verdi-style flair—a soft, rich timbre combined with passionate expression, solid technique, and powerful projection—serves merely as the foundation for her portrayal of an antagonist who instantly captivates and delights audiences on screen, on stage, and through the airwaves. Radiant from the middle register to the high notes—as befits a magnificent soprano—and with ample confidence in the lower register where she strengthens her sound, Meade already stands out with the bearing of a great lioness in the ensemble scenes of the first act; she soon goes on to dominate the female cast, delivering performances of intense and consistently vivid drama—superb both in her monologues and in her confrontations with Aida and Radamès—reaching the very highest acting and musical peaks at the opening of the fourth act and in the judgment scene.” Connessi all’Opera – Paola de Simone

“Among the leading performers, the dominant figure of the evening is undoubtedly Angela Meade. Her Amneris possesses, above all, a quality that is increasingly rare today: vocal authority. Her middle register maintains consistency, her lower register retains support without artificial darkness, and her upper register unfolds with natural amplitude. But what is most convincing is the musical construction of the character. Every phrase arises from a precise intention; every inflection finds its correspondence in the text. The great judgment scene carefully avoids any verismo self-indulgence and builds instead through constant control of the dramatic tension. The three concluding “Pace” do not seek external effects: they represent the slow dissolution of a power now incapable even of commanding itself.” Quotiano la voce – Davide Oliviero