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Hailed by the New York Times as "one of the world’s special young singers,” Emily D’Angelo has continued her meteoric rise and firmly established herself as one of the most exciting and critically acclaimed artists of her generation. Called "wondrous and powerful“ by The NY Times for her recent US recital debut, the mezzo-soprano is the first and only vocalist to have been presented with the Leonard Bernstein Award from the Schleswig Holstein Festival.  A 2020 Lincoln Center Emerging Artist, one of Canada's "Top 30 Under 30" Classical Musicians, and WQXR NYC Public Radio’s "40 Under 40" singers to watch, D'Angelo made her stage debut, at only 21 years of age, as Cherubino in Le nozze di Figaro at the Spoleto Festival dei Due Mondi, where she was awarded the 2016 Monini Prize.

The 2022/23 season marks numerous exciting role and house debuts for Emily D’Angelo in a season almost entirely dedicated to Handel. She kicks off the season with her role debut as Ruggiero (Alcina) at Royal Opera House in London. The mezzo-soprano returns to Paris Opera for her role debut as title role in Handel’s Ariodante and finishes her opera season at Munich State Opera with her role debut as Juno in the summer festival’s production of Semele.

A sought-after concert and recital performer Emily D’Angelo gives her debut at Park Avenue Armory with a recital presenting songs of her debut album enargeia. She performs Mozart’s Requiem in Salzburg together with the Camerata Salzburg on the anniversary of Wolfgang Amadeus Mozart’s death, and presents recitals at Koerner Hall in Toronto and at Barcelona Auditori, amongst others.  

Over the past seasons, Emily D’Angelo made a string of widely acclaimed role and house debuts.  Highlights include her house and role debut as Ottavia (L’incoronazione di Poppea) at Zurich Opera; her house debut as Cherubino at Berlin State Opera; her role and house debut as Sesto (La clemenza di Tito) at the Royal Opera House in London; her role debut as Idamante (Idomeneo) and performances as Cherubino (Le nozze di Figaro) at Bavarian State Opera; her house and role debut as Angelina in Rossini’s La Cenerentola at Semperoper Dresden; Prince Charming in Cinderella at the Metropolitan Opera; her house debut as Dorabella (Così fan tutte) and her role debut as Donna Elvira (Don Giovanni) at Teatro alla Scala; her house debut at Paris Opera presenting, in another role debut, Siebel in Gonouds’ Faust and Rosina in Il barbiere di Siviglia and her debut with Festival Aix en Provence with yet another role debut as Orphée in Berlioz’s Orphée et Eurydice.

D’Angelo won first prize in numerous international competitions including the Metropolitan Opera Competition, the Canadian Opera Company Competition, the George London Competition, the Gerda Lissner Competition, the Innsbruck Baroque Competition, and the Operalia Competition, where a historic win included First Prize, the Zarzuela Prize, the Birgit Nilsson Prize and Audience Prize. As a member of the Lindemann Young Artist Programme, Emily D’Angelo was heard on the stage of New York’s  Metropolitan Opera New York amongst others as  Annio in 2019 in La clemenza di Tito,  Second Lady in The Magic Flute, and Soeur Mathilde in Dialogues des Carmélites, conducted by music director Yannick Nézet-Séguin and broadcast in movie theatres across the world as part of the Met’s Live in HD series.  She performed Dorabella in Così fan tutte with Santa Fe Opera and Canadian Opera Company, where she also appeared as Rosina in Il barbiere di Siviglia: a role she debuted at the Glimmerglass Festival in a new production by Francesca Zambello in 2018. 

Emily D’Angelo is a keen recitalist and regularly performs in the world’s leading concert halls, collaborating with some of the world’s most acclaimed orchestras, ensembles, and conductors. With The English Concert and Harry Bicket, Emily D’Angelo recently made her Carnegie Hall debut as Handel’s Serse with further concert performances in the UK and Spain. In the last season, the mezzo-soprano performed a Donizetti-Rossini program with the Prague Philharmonic at Rudolfinum Prague, and recitals at the Konserthuset Stockholm, and the Peralada Music Festival. In 2021, she recorded a recital program for the Kennedy Center Vocal Arts DC recital series for their streaming platform.  In previous seasons D’Angelo has performed diverse repertoire including Stravinsky’s Pulcinella with the Montclair Orchestra, Respighi’s Il tramonto with Quartet 212 at the Princeton University Concert Series, and the world premiere of Ana Sokolović's song cycle dawn always begins in the bones, Unsuk Chin's snagS&Snarls, and the Canadian premiere of Matthew Aucoin's The Orphic Moment at the Toronto Contemporary Music Festival. Further recital appearances include the Los Angeles SongFest Recital Series, the New York Morgan Library Recital Series, Toronto Koerner Hall, the Santa Fe Festival of Song, Teatro del Lago in Chile, and The Society for the Four Arts in Palm Beach.


D'Angelo can be heard performing Vaughn Williams's Serenade to Music in a Grammy Nominated and JUNO Award-winning live recording with the Toronto Symphony Orchestra; Ravel’s Cinq mélodies populaires grecques with the Chamber Music Society of Lincoln Centre on their album “Odyssey,” which was filmed and recorded at the Stavros Niarchos Cultural Center in Athens for the first ever international production of PBS “Live From Lincoln Center;” and in excerpts from West Side Story on “The Magic of Mantovani.” 

Emily D’Angelo is a Deutsche Grammophon exclusive recording artist.  Her debut album energeia presents music from the 12th and 21st centuries by the composers Hildegard von Bingen, Hildur Guðnadóttir, Missy Mazzoli and Sarah Kirkland Snider, and is described by the artist herself as a “a soundworld, bound together by the multi-sensory ancient concept of enargeia.”  It was named one of the 50 best albums of 2021 by NPR, the best Canadian classical album of 2021 by the CBC, was featured on NPR's 100 best songs of 2021, and received JUNO and Gramophone awards in 2022. 

Toronto-born, D'Angelo is a graduate of the University of Toronto, the Metropolitan Opera Lindemann Young Artist Development Program, the Canadian Opera Company Ensemble Studio, and the Ravinia Steans Institute.  

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