American soprano Sondra Radvanovsky’s dramatic stage presence and stunning vocal gifts have firmly established her as one of the leading stars on the international stage today. The New York Times has praised her “rich, tremulous soprano voice and affecting intensity,” while The Times (UK) hailed her as “a true Verdian, with a big, juicy, vibrato-rich sound.” Most recently the San Francisco Chronicle declared, “even if nothing else happens during the rest of the San Francisco Opera's 2009 fall season, soprano Sondra Radvanovsky has already provided us with at least one extraordinary and indelible musical memory.”
Ms. Radvanovsky has sung in every major opera house in the world including Royal Opera House Covent Garden, Paris Opera, Teatro alla Scala, Vienna State Opera, Lyric Opera of Chicago, San Francisco Opera, and numerous others. Her home theatre however is the Metropolitan Opera, in whose studio she trained in the late 1990’s. After performances in smaller roles, she came to attention as Antonia in Les contes d'Hoffmann, and was marked as a soprano worth watching by critics and public alike.
The extraordinary versatility of her voice lends itself to a remarkable range of repertoire. She posses the unusual flexibility demanded in such roles as Donna Anna in Don Giovanni and the title role of Lucrezia Borgia, but the power and intensely plaintive quality of her sound allow her to include in her repertoire more dramatic roles such as the title role of Rusalka and Tatiana in Eugene Onegin. Many of her most memorable performances have come in the classics of the 19th century Italian repertoire, especially the iconic soprano roles of Giuseppe Verdi. In addition to her signature role of Leonora in Il trovatore, Ms. Radvanovsky’s Verdi repertoire includes Elvira in Ernani, the title role of Luisa Miller, and Lina in Stiffelio,as well as Elisabetta in Don Carlo and Elena in I vespri Siciliani in both their French and Italian versions. Plans to add Amelia in Un ballo in maschera and the title role of Aïda are about to be announced.
In addition to Verdi, Ms. Radvanovsky has had triumphs in verismo repertoire including Puccini’s Manon Lescaut conducted by Ricardo Chailly and Suor Angelica in a production by noted film director William Friedkin. She has appeared as Roxanne in Alfano’s Cyrano de Bergerac numerous times opposite the great Plácido Domingo, in new productions at La Scala, Covent Garden, the Met, and other theaters (a DVD from the Palau des Arts in Valencia was published on the Naxos label). Her first performances of Tosca are scheduled for the spring of 2010 in Denver.
On the concert platform Sondra Radvanovsky has performed Beethoven’s Symphony No. 9 with the Boston Symphony Orchestra and the Verbier Festival Orchestra, both under James Levine, and the Chicago Symphony under David Zinman. With the Orchestra of the Age of Enlightenment and the Pittsburgh Symphony she has sung Verdi’s Requiem. Recent concerts of opera arias in Moscow lead to her first solo recording of Verdi arias, which will be released in 2010 on the Delos label. Also in Russia she appeared in joint concerts of Verdi scenes and duets with acclaimed baritone Dmitri Hvorostovsky, which were recorded and will also be released on Delos.
Ms. Radvanovsky opened the 2009-10 season at the San Francisco Opera under the baton of their new music director Nicola Luisotti in Il trovatore. Other upcoming performances include Lina in Stiffelio at the Metropolitan Opera with Plácido Domingo conducting, Elvira in Ernani at the Lyric Opera of Chicago, and Elisabetta in Don Carlo at the Paris Opera – where she had her earliest European success . She travels to Vienna for the Verdi Requiem with the Vienna Symphony Orchestra under the direction of Fabio Luisi.
Ms. Radvanovsky and her husband make their home in Toronto, Canada.