AngelBlue

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Soprano
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For availability and general enquiries:

Mathieu Levan

Mathieu Levan

Assistant Artist Manager

Representation

Worldwide general management with Askonas Holt

About Angel

Angel Blue has emerged in recent seasons as one of the most influential sopranos before the public today. The two-time Grammy Award winner, 2020 Beverly Sills Award recipient, and the 2022 Richard Tucker Award winner is celebrated worldwide for her honeyed soprano and affecting deliveries of many of the most beloved roles in the operatic repertory, such as Violetta in Verdi's La Traviata, Bess in Gershwin’s Porgy and Bess, Mimí in Puccini’s La Bohéme, and Destiny/Loneliness/Greta in Terrence Blanchard’s Fire Shut Up in My Bones.

The 2024/25 season is one of Ms. Blue’s most impressive to date, with a staggering itinerary of operatic title roles and concert programs on acclaimed stages worldwide. Beginning in London with the hugely popular Last Night of the Proms, Ms. Blue returns to her home stage at the Metropolitan Opera, where she spends a major portion of her season. In the fall, she plays Margarita Xirgu in Osvaldo Golijov’s first opera, Ainadamar, and in two separate stints over the winter and spring, she makes her long[1]anticipated debut as Aida conducted by Yannick Nézet-Séguin. Maestro Nézet-Séguin also plays a vital role in Ms. Blue’s concert schedule, when she joins the conductor and the Rotterdam Philharmonic on tour in the Netherlands, Germany, and France. The soprano makes two company debuts, as Mimì in the Bayerische Staatsoper’s production of La Boheme, and as the titular role in Verdi’s Luisa Miller – also a role debut. She appears twice at Carnegie Hall, first in recital with the legendary pianist Lang Lang, and again with the Met Opera Orchestra and Maestro Nézet-Séguin. Concert engagements include Beethoven’s Ninth Symphony with Michael Tilson Thomas and the Houston Symphony Orchestra, a solo recital at the Los Angeles Opera, and Aida in concert at the Baltimore Symphony conducted by Jonathon Heyward.

Angel Blue has performed in over forty countries including Hungary, Kazakhstan, India, Israel, Jordan, Lebanon, Turkey, South Korea, China, Bahrain, the United Arab Emirates, Russia, Brazil, and Mexico. She was raised in California and completed her musical studies at UCLA. She lives in New Jersey with her husband and son

Angel is based in New Jersey, USA

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Representation

Worldwide general management with Askonas Holt

Season Highlights

Sep 2024
Royal Albert Hall
BBC Proms: Last Night of the Proms (Soloist)
Oct 2024
The Metropolitan Opera
Golijov: Ainadamar (Margarita Xirgu)
Jan 2025
The Metropolitan Opera
Verdi: Aida (Title role)

Photos

Selected Repertoire

BizetCarmen (Micaëla)
BlanchardFire Shut Up In My Bones (Destiny/Loneliness/Greta)
BoitoMefistofele (Elena)
GershwinPorgy and Bess (Bess) (Clara)
GounodFaust (Maguerite)
OffenbachLes contes d'Hoffman (Giulietta)
PucciniLa boheme (Mimi) (Musetta)   •   La rondine (Magda)   •   Tosca (Tosca)   •   Turandot (Liu)
VerdiAida (Aida)   •   La traviata (Violetta)   •   Otello (Desdemona)   •   Il trovatore (Leonora)

News

Press

  • Il trovatore

    San Francisco Opera
    Sep 2023
    • Angel Blue‘s performance was the strongest sound on stage. Her lustrous voice was vibrant and immediately resounded from the outset. Whatever she sang was rich and strong. She didn’t have to do much acting to convince anyone. Verdi, having provided her with the rich musical vocabulary that is Leonora, gave her just what she needed. Her trills and high notes were definitive and dedicated. In her “D’amor sull ali rosee,” she was always able to go further up in volume and range. In fact, she never faltered. Her acting met the needs of the heroine quite well, and when she needed to, she enriched her presentation more than beautifully. The scene in Act one where she grabbed Di Luna’s hand, thinking it was her Manrico, Angel Blue played it straight and yet searingly. What she gave was direct and immediate. She emphasized a no-nonsense Leonora, determined and well-defined, steady and forthright. Never did she evince a doubt about who she was and what she was there to do. She was excellent and satisfying.

    • Returning to the San Francisco Opera after an absence of almost a decade and a half was California soprano Angel Joy Blue. She was impressive in her beautifully crafted first double aria of the performance, Leonora’s serene cavatina Tacea la notte placida and its lively cabaletta Di tale amor. Her performance drew a sustained ovation. Also well-received was her last act double aria, the enchanting D’amor sull’ali rosee and its cabaletta Tu vedrai.

    • Soprano Angel Blue, as Leonora, brought a lustrous voice, transfixing demeanor, and ultimately tragic dimension to the character beloved by the rivalrous Count and the opera’s titular troubadour, Manrico. Verdi gives Leonora plenty of melodically powered music to sing, including two arias in her opening scene, which Blue delivered with flowing, limpid phrasing. Blue was just warming up for the concussive scenes and vocal pyrotechnics to come.