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ORCHESTRAL
Prokofiev: ALEXANDER NEVSKIJ
“Victoria Livengood, the excellent and sensitive mezzo-soprano (...) with her moving singing, an hymn to the Russian courage.” La Repubblica
, Italy
“Victoria Livengood a truly revelation.”
La Gazzetta , Italy
“Prokofiev music has been splendidly performed live by the Festival Orchestra and by the mezzo-soprano Victoria Livengood.” L'Unità, Italy
“Mezzo-soprano Victoria Livengood sang eloquently for the scene in which a woman wanders over the corpse-strewn battlefield looking for her lover.”
The Washington Post
“Livengood's brief solo, ‘The Field of the Death', is a heart-rending threnody accompanying a young girl's search of the battlefield for the two men wanting to
marry her. Livengood's rich, honeyed voice was a perfect match for this piece."
Tulsa Times
Verdi: REQUIEM
“Of all the four, the mezzo-soprano Victoria Livengood , was the most satisfying in every direction. She has a wonderful sound, obviously understood what she
was singing and how to get it across and she did it with musicianship and presence.” Connecticut Post
“Livengood and Ginsberg excelled in a very in a very moving duet begging for remission of sin. Later, they paired again for a beautifully thoughtful, even
pleading, Agnus Dei (Lamb of God), alternating with the chorus. Livengood's solos, such as Lux Eterna (Eternal light) over a hushed orchestra, were stellar with
her warm, crystalline mezzo. She went from strength to strength.” Connecticut Post
“Victoria Livengood has a wonderfully expressive face, great intensity of feeling, an appealingly vibrant sound and a hair-trigger articulation of notes that
was very exciting.” The Boston Herald
“Victoria Livengood has a warm, naturally resonant mezzo-soprano voice and affecting communicative skills, I think she wore a sparkling fuchsia dress just to
give her Judgment Day prophesy that ‘nothing shall remain unavenged' a theatrical boost that made it all the more unsettling.” The Boston Globe
“Mezzo-soprano Victoria Livengood possesses a keen musicianship, particularly evident in passages in which she joined other soloists. Her duet with
bass-baritone Wells during the ‘Lacrimosa' section was unsurpassed in its evocation of sorrowful resignation and petitioning for mercy.” The
Advertiser, Honolulu
Mahler: RESURRECTION SYMPHONY
“Then mezzo Victoria Livengood quietly began the fourth movement, ‘Ulricht'. It is a cry of faith, which Mahler insisted must be sung with a childlike
simplicity and honesty. Livengood understood this, and applied her youthful voice, not excessively dark, to a reading entirely free of artifice.”
The Arizona Daily Star
Mahler: DES KNABEN WUNDERHORN
“Guests soloists Victoria Livengood and Paulo Szot faced the challenge of moving between life-and-death pathos and romantic satire within one coherent musical experience.
The pair found an easy energy of partnership. Mezzo soprano Livengood was unafraid to live large with her voice and emotions. Livengood showed her substantial emotional range in
her subdued vocal painting of a horror story (Das Irdische Leben) and again in her over-the-top flirting in the duets.”
Times Union, Jacksonville, Florida
“Mezzo-soprano Victoria Livengood's operatic presence, dramatic presentation and evenness of tone over her entire range empowered her solos in the following
movement with a plaintive purity reflective of the text's longing for redemption.” Tucson Citizen
Rossini: ERMIONE
“Victoria Livengood was a sensitive, dusky Andromaca in a uniformly solid cast.” The New York Times
“Mezzo Soprano Victoria Livengood sang the role of the captive Andromaca with a wide range and impressive power.” Opera News
Elgar: THE DREAM OF GERONTIUS
“Best of the lot was mezzo-soprano Victoria Livengood, who as the guardian angel, joined heart melting beauty of tone to volume of sound in a manner
reminiscent of the great English alto Helen Watts.” The Patriot Ledger, Boston
Haydn: THE SEASONS
“A newcomer to these programs, Livengood was impressive with her seamless voice that descended into her lower register without a change in timbre, her splendid
breath control and her studied but effective stage presence."
The Greenwich Times
Rossini: PETITE MESSE SOLENNELLE
“But the color and richness of Livengood's mezzo-soprano made the biggest impression. Her ‘Agnus Dei' emerged smooth as satin, shining high in the powerful
moments and glowing warmly in the lower register.” The Oregonian, Portland
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