Victoria Livengood | Opera's Dixie Diva
Victoria Livengood | Opera's Dixie Diva
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Victoria Livengood with Gian Carlo Menotti

Wonderful News! Performing with New Orleans Opera in "The Medium"

I have never been more thankful and excited to announce that next month, I get to return to my life's passion of performing. It will be exactly one year since I last sang in an opera. The New Orleans Opera has engaged me to sing the title role in a production of The Medium in an outdoor venue. I have been singing the role of Baba since graduate school, when my mentor, John Moriarty, mounted a production of it at the Boston Conservatory, back in 1984. Then, I went on to perform the role multiple times with the composer and my dear friend, Gian Carlo Menotti, guiding and directing me. I cannot think of a more appropriate role to bring me back to the stage. Of course, Covid protocols make it more complicated than usual so my Mama and I are driving to New Orleans a week early so that we can quarantine there before outdoor rehearsals begin. That means, not only am I teaching full time, but I am also dusting off my favorite score and warming up my pipes in preparation. I hope I remember how to pack and how to drive. LOL.

Ghosts of Versailles

LA Opera - Ghosts of Versailles
Victoria backstage at the LA Opera preparing for her role as The Lady with the Hat/Duchess in "Ghosts of Versailles".

Latest Recording Release

LA Opera - Ghosts of Versailles

Now available, Vickie's newest recording release.The production of the Ghost of Versailles that she did with the LA Opera last season has just been released and it is the premiere audio recording of this opera.

Available now on iTunes

From Opera News

Victoria Livengood in The Medium at the Phoenicia International Festival of The Voice:

"From her Mama Rose-style entrance up the aisle, Victoria Livengood imbued Mme. Flora with her wonted theatrical energy. Her barrelhouse contralto suits the role's scary moments; but, admirably, she brought legato-based soft tone to quieter passages, furnishing welcome contrast. Livengood is a seasoned Menotti interpreter who worked with the composer on this opera and The Consul and has also appeared in Maria Golovin. Her phrasing of the disintegrating fraud's final soliloquy proved expertly judged. She made every syllable of the text crystal clear, like an old-style Broadway professional."

Latest Rave Reviews

Where the production excelled vocally was in its veterans. Victoria Livengood, the American mezzo, was fabulous as the old nurse.
-- The Washington Post
"The cast was - in a word - spectacular. It's funny how, sometimes, artists who play comprimario parts can come to dominate the proceedings. This was often the case in Act I, wherein the singing and acting of the great Victoria Livengood, the Nurse, consistently drew attention (in invariably favorable ways, and never ostentatiously). Vocally she was resplendent, reminding senior listeners of her many great leading roles. Dramatically, she was "on" at every moment, whether singing or not, engaging actively with eye-contact and facial expression."
-- CVNC, Arts Journal of NC
"I was very pleasantly surprised with two other singers who were just as extraordinary in their roles. Victoria Livengood almost stole the show from her younger colleagues. Our dear "Dixie Diva" veteran, a North Carolina native with 80 roles in her repertory, who sang 120 performances at the Met and is still going (most recently seen there as the Fortuner Teller in Arabella), was simply excellent as Filippyevna, a role that is a lot more important in this opera than it seems. Victoria's voice has no wobble, and remains strong with great projection and diction (her Russian was arguably the best one on stage)."
-- Opera Lively
Mezzo Victoria Livengood - the only cast member who had previously sung her role - imbued Salome's manipulative mother, Herodias, with equal portions of imperiousness and sleaze.
-- Opera News Magazine
The cast is flawless. The other female prisoners are given fleshed-out distinctive roles. Standouts include Victoria Livengood as Old Woman.
-- The New York Times

GRAMMY Award Winner!

Victoria Livengood won her first GRAMMY award on Sunday, February 12, 2017. She sang three roles for the LA Opera's "The Ghosts of Versailles," which won the GRAMMY for Best Opera Recording of 2016. Victoria had been previously nominated as the leading lady in Edward Thomas' "Desire Under the Elms," which was nominated in the same category, but this marks her first GRAMMY win.

"Corigliano: The Ghosts Of Versailles," winner of the 2016 GRAMMY Award for "Best Opera Recording" (James Conlon, conductor; Joshua Guerrero, Christopher Maltman, Lucas Meachem, Patricia Racette, Lucy Schaufer & Guanqun Yu; Blanton Alspaugh, producer (LA Opera Orchestra; LA Opera Chorus), Label: Pentatone Music).

Latest Press

Listening to Legends - Victoria Livengood - North Carolina Music Hall of Fame
North Carolina Music Hall of Fame
Light Shall Lift Us: Opera Singers Unite in Song
OPERA America
"I Am Easily Assimilated" Victoria Livengood on the old lady's tango from Bernstein's Candide [Video]
Utah Symphony
Victoria Livengood: From the farm to the Met
The News & Observer (Raleigh, NC)
Thomasville's Livengood to make her Greensboro Opera debut
High Point Enterprise
Dixie Diva Dishes! Mezzo Victoria Livngood Shares Her iPod with BWW
BWW Classical

Latest Videos

Meet The Dixie Diva

Welcome to the official website for Victoria Livengood, a Grammy-nominated Metropolitan Opera star who is better known by her family and friends as the Dixie Diva. The internationally renowned mezzo-soprano's artistry has been hailed by audiences and critics worldwide for her multifaceted and powerhouse performances in a remarkably varied repertoire.

International Accolades

Victoria's unforgettable performances have enchanted critics to label her "the ideal Carmen of our time" and "one of the leading singer-actresses of her generation."

The New York Times called her "naturally seductive and vocally alluring."

Opera News magazine raved that "her singing and acting radiate intensity."

The Italian press proclaimed that "the power of her voice could straighten the Tower of Pisa!"

Boston's Phoenix Magazine described her "riveting and commanding Dalila as a cross between Theda Bara and Joan Crawford and her incomparable phrasing and warmth as reminiscent of Maria Callas's recordings."

Carmen Dalila Marina Azucena Marquise Giulietta The Medium
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