Joyce DiDonato

“The staggering, joyful artistry of Joyce DiDonato reminds us that in any generation there are a few giants. Joyce is not only a great, brave and inspiring artist – one of the finest singers of our time- but she is also a transformative presence in the arts. Those who know her repertoire are in awe of her gifts, and those who know nothing of it are instantly engaged. Joyce sings and the world is suddenly brighter. She compels us to listen actively, to hear things anew.” Jake Heggie, Gramophone

© Simon Pauly


Kansas-born Joyce DiDonato entrances audiences and critics across the globe in operas ranging from Mozart and Handel to Rossini, Donizetti, Berlioz and Heggie. Winner of the 2018 Olivier Award for Outstanding Achievement in Opera, she is a multi-Grammy Award winner and a fierce advocate for the arts.

Joyce’s 2020/21 season began with performances of her baroque-inspired programme My Favourite Things with Il Pomo d’Oro in Bayreuth and Valencia, as well as a breathtaking recital for the Met Stars Live in Concert series. Further season highlights include performances of Joyce’s Songplay programme with Craig Terry in Oviedo, Madrid and Barcelona – a programme she will also tour around Europe during the summer. This year Joyce is also delighted to be an Artist Ambassador in partnership with the classical music streaming service, Primephonic.

Video & Audio

From The Green Room


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    HANDEL Agrippina

    Label: Warner Classics / Erato

    Release Date: 31 Jan 20

    Agrippina: Joyce DiDonato
    Nerone: Franco Fagioli
    Ottone: Jakub Josef Orlinski
    Poppea: Elsa Benoit
    Claudio: Luca Pisaroni
    Pallante: Andrea Mastroni
    Conductor: Maxim Emelyanychev
    Il Pomo d’Oro Orchestra
    *Best Opera Recording – Grammy Nominee 2020*

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    Label: Warner Classics / Erato

    Release Date: 01 Feb 19

    Mezzo-soprano: Joyce DiDonato
    Piano: Craig Terry
    Double bass: Chuck Israels
    Drums: Jimmy Madison
    Bandoneon: Lautaro Greco
    Trumpet: Charlie Porter

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    BELLINI Norma

    Label: Warner Classics / Erato

    Release Date: 16 Nov 18

    Met Live Recording

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    BERLIOZ Les Troyens

    Label: Warner Classics / Erato

    Release Date: 24 Nov 17

    Conductor: John Nelson

    Orchestre philharmonique de Strasbourg

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    In War & Peace

    Label: Warner Classics

    Release Date: 04 Nov 16

    Director: Maxim Emelyanychev
    Il Pomo d’Oro Orchestra

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    Joyce & Tony Live at Wigmore Hall

    Label: Warner Classics

    Release Date: 28 Aug 15

    Mezzo-soprano: Joyce DiDonato
    Piano: Antonio Pappano
    *Best Classical Solo Vocal Album – Grammy Award 2016*

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    DONIZETTI Maria Stuarda

    Label: Erato, Warner Classics

    Release Date: 07 Apr 14

    Conductor: Maurizio Benini
    Orchestra of the Metropolitan Opera

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    Stella di Napoli

    Label: ERATO

    Release Date: 01 Sep 14

    Conductor: Riccardo Minasi
    Orchestre et Choeur de l’Opéra de Lyon

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    Label: Erato, Warner Classics

    Release Date: 26 Aug 13

    This two-CD collection marks Joyce’s first 10 years with Erato,Warner Classics
    Arias by Handel, Mozart, Bellini and Rossini

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    Drama Queens

    Label: Erato, Warner Classics

    Release Date: 05 Nov 12

    Conductor: Alan Curtis
    Il Complesso Barocco

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    MOZART Don Giovanni

    Label: Deutsche Grammophon

    Release Date: 07 Sep 12

    Conductor: Yannick Nézet-Séguin
    Mahler Chamber Orchestra

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    Homecoming: Kansas City Presents Joyce DiDonato

    Label: Kansas City Symphony

    Release Date: 01 Jul 12

    Works by Rossini and Jake Heggie
    Conductor: Michael Stern
    Kansas City Symphony Orchestra

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    MASSENET Cendrillon

    Label: Virgin Classics

    Release Date: 07 May 12

    Conductor: Bertrand de Billy
    Orchestra of the Royal Opera House

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    HEGGIE Dead Man Walking

    Label: Virgin Classics

    Release Date: 01 May 12

    Conductor: Patrick Summers
    Houston Grand Opera Orchestra & Chorus
    Composer: Jake Heggie

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    ROSSINI Le Comte Ory

    Label: Virgin Classics

    Release Date: 12 Mar 12

    Conductor: Maurizio Benini
    Orchestra of the Metropolitan Opera

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    HANDEL Ariodante

    Label: Virgin Classics

    Release Date: 01 May 11

    Conductor: Alan Curtis
    Il Complesso Barocco

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    Diva Divo

    Label: Erato, Warner Classics

    Release Date: 14 Feb 11

    Conductor: Kazushi Ono
    Orchestre de L’Opéra National de Lyon

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    VIVALDI Ercole sul Termodonte

    Label: Erato, Warner Classics

    Release Date: 29 Nov 10

    Conductor: Fabio Biondi
    Europa Galante

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    ROSSINI Stabat Mater

    Label: Warner Classics

    Release Date: 10 Jul 10

    Conductor: Antonio Pappano
    Roma Orchestra dell Accademia Nazionale di Santa Cecilia

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    ROSSINI Il Barbiere di Siviglia

    Label: Virgin Classics

    Release Date: 05 Apr 10

    Conductor: Antonio Pappano
    Orchestra of the Royal Opera House

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    ROSSINI Colbran, the Muse

    Label: Virgin Classics

    Release Date: 02 Dec 09

    Conductor: Edoardo Müller
    Roma Orchestra dell Accademia Nazionale di Santa Cecilia

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    24 Sep 19 Handel Agrippina
    Royal Opera House

    “DiDonato presents a complex character: ambitious but tormented, seductive but lacking the capacity to love. Her performance, combining tonal radiance with showstopping bravura, is a tour de force.”
    Barry Millington, Evening Standard, 25 September 2019

    “Joyce DiDonato triumphs in Barrie Kosky’s vivid but heartless production…
    Joyce DiDonato is absolute mistress of the title-role, singing with authority, grandeur and high style..”
    Rupert Christiansen, The Telegraph, 24 September 2019

    “Joyce DiDonato shines…
    Joyce DiDonato effortlessly demonstrates why this extraordinary artist has become a leading star: her Agrippina is a tour de force of vocalism directed to dramatic ends combined with an acting performance that never misses an opportunity provided by either the text or the staging.”
    George Hall, The Stage, 24 September 2019

    “DiDonato formidable as power-hungry empress…
    The singing is often spectacular. Even by her own exacting standards, DiDonato gives one of her finest performances, wonderfully voiced and acted, and keeping us just the right side of empathy throughout. Pensieri, Voi Mi Tormentate, when the mask drops to reveal lacerating self-doubt, has tragic intensity. Later, celebrating Agrippina’s ascendancy in Ogni Vento, she becomes a rock diva, singing with a microphone and playing to the gallery.”
    Tim Ashley, The Guardian, 24 September 2019

    “…with a new leading lady and chief schemer, Joyce DiDonato, who delivered a knockout performance…
    Mocking, Machiavellian, manipulative, DiDonato’s Agrippina dominates the stage from the start… Vocally, she was on outstanding form, zinging coloratura runs tossed off with ease, a vast range of colours, particularly in her chest notes. Her Act 2 aria “Pensieri, voi mi tormenti” was particularly stunning, bending her long opening note achingly, beautifully echoed by the Orchestra of the Age of Enlightenment’s oboe.”
    Mark Pullinger, Bach Track, 24 September 2019

    “She fully inhabits the taxing part of Agrippina which she delivers with virtuosity both vocally and dramatically. DiDonato’s energy and resources seem endless, her evident joy of being on stage is infectious, and her communication with the audience is ever present, whether by clear action or subtle gestures.”
    Agnes Kory, Seen & Heard International, 25 September 2019

    DiDonato is not only technically assured, with pitch-perfect coloratura, astonishing breath control, and complete control of dynamics, but she is also a superlative actress. When the libretto calls for her to be sexy, to seduce not only her henchmen, Pallante and Narciso, the servant, Lesbo, her returned husband, Claudio and even her son, Nerone, you can almost feel the pheromones circulating in the opera house.”
    Paul Levy, Critics Circle, 25 September 2019

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    11 Aug 19 Berlioz 'Les Nuits d’été' BBC Proms & Edinburgh Festival
    NYO USA tour / Sir Antonio Pappano

    “When Joyce DiDonato was singing Le spectre de la rose from Berlioz’s Les nuits d’été (Prom 32) — her voice so tender, so poignant, so full of meaning — it really was hard to imagine anything more perfect. Every word of French was finessed, every phrase unfurled naturally. Sentimentality could swamp this glimpse of an exquisite dying rose, yet DiDonato made it human and transcendent.
    The rest of this song cycle, filled with romantic yearning, lovesick angels and bitter fate, was equally superb.”
    Rebecca Franks, The Times, 12 August 2019

    “Joyce DiDonato belongs to the pantheon of superstars that even in the festival is something of a rarity in Edinburgh, and she did not for a moment disappoint. We were spellbound from the first note to the last, each song exquisitely framed both psychologically and emotionally, her gestures, facial expression, and tone perfectly matched to Berlioz’s sumptuous settings. She has a trick of throwing her head to the side, casting the voice into the wings, so that it seems to fill the hall several times over – masterful and extremely effective. Don’t miss her at the Proms on Sunday.”
    Christopher Lambton, The Arts Desk, 10 August 2019

    “Every intimate nuance of Gautier’s somewhat mournful love poems was spun out with exquisite control from DiDonato, the final line of The Ghost of the Rose capturing a magical hush across the auditorium.”
    Carol Main, The Scotsman, 12 August 2019

    “Berlioz’s Les Nuits d’été was ravishingly sung by Joyce DiDonato, her lower registers sounding wonderfully ripe and secure and then the soaring higher climes with that charming unmistakeable fluttery yet silky sound delighting the ear.”
    Alexander Campbell, Classical Source, 12 August 2019

    “DiDonato’s feeling for long, languid lines and way of handling Berliozian melody showed itself especially in the in the opening of “Le spectre de la rose” and in “Absence”.”
    Ivan Hewett & John Allison, The Telegraph, 12 August 2019

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    30 Mar 19 Mozart La Clemenza di Tito
    Metropolitan Opera

    “With the fiercely empathetic mezzo-soprano Joyce DiDonato as Sesto, a trouser role she has made her own, this revival made a strong case for the work’s rehabilitation on musical grounds…
    In the dazzling aria “Parto, parto,”Ms. DiDonato vividly rendered the moment at which her character, buffeted by hope and despair, snaps into action and commits to the conspiracy plan. The subtle electric charge that went through the house at that moment was yet another reminder that she is one the great singer-actors of our time.”
    Corinna da Fonseca-Wollheim, The New York Times, 31 March 2019

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    16 Nov 18 Bellini Norma DVD
    Metropolitan Opera

    “Joyce DiDonato’s achievement is even more significant in that it is hard to think of another Adalgisa who has responded so specifically (both as a singer and actress) to verbal meanings, employing a voice that…. allows every syllable to register stirringly….. her duets with Radvanovsky are both musically compelling and dramatically focused.”
    Stephen Hastings, Opera, April 2019

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    18 Feb 19 Songplay Release Tour

    “Almost every song was so beguiling in its own right that it only dawned on the listener slowly that these artists were performing a kind of musical transubstantiation — a water-to-wine feat that managed to honor both things at once, an intoxicating refreshment that left the original sweet taste shining through… In Giulio Caccini’s “Amarilli, mia bella” DiDonato shaded her own lush trills with a faintly husky tone, a lovely melding that gave the song’s floral metaphors a languid but carefully controlled air…. And then there were the moments of becalmed sublimity, to piano-only accompaniment, when DiDonato lavished her extraordinary technique on the deceptively simple beauty of Giuseppe Torelli’s “Tu lo sai” and Giovanni Paisiello’s “Nel cor più mio non sento.” Her judicious vibrato and peerless breath control, the variations of timbre and airily easy ornaments all served the cause and gave each song its particular tint and emotional effect.”
    Steven Winn, San Francisco Classical Voice, 22 February 2019

    “DiDonato’s ravishingly beautiful account of Giovanni Paisiello’s aria “Nel cor più non mi sento” — a series of hushed, impeccably controlled melodic phrases delivered for maximum expressive impact — pointed toward something even deeper and more rewarding than the promised fun.”
    Datebook, San Francisco Chronicle, 22 February 2019

    “DiDonato’s “Songplay” program was a captivating medley of the beloved baroque and classical “arie antiche,” transported into delicious harmonic la la lands of sheer sonic whimsy. Whereas these melodies in their original setting require a measure of tasteful and elegant restraint, it turns out they are well served by the free-inprovisational style of jazz arrangements, where exaggerated fermatas, multi-octave glissandi, accented ostinatos and generous rubatti merely add to the spontaneity of singing, as if sung by someone unaware that she is being watched.”
    Ching Chang, Operawire, 25 February 2019

    “For a singer who has made her mark with Handel, Mozart, and Rossini opera roles, DiDonato is in somewhat uncharted territory here. But she approached each song with the smooth sophistication of a veteran crossover artist. She shaped the music with subtle dynamics, and her lines coursed vibrantly, with delicate trills adding fire and intensity.”
    Aaron Keebaugh, Boston Classical Review, 2 March 2019

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    01 Feb 19 Songplay Warner Classics CD

    “DiDonato’s fantastic new album Songplay bridges the divide between jazz, opera and popular music and finally brings crossover into repute…This album deserves to be heard by anyone who admires exceptional singing and instrumental craftsmanship, whether in opera, jazz or popular music.”
    5*****, David Mellor, The Daily Mail, 16 February 2019

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    20 Feb 18 Jake Heggie Dead Man Walking
    Barbican Centre

    “DiDonato’s Sister Helen compelled total belief, the beauty of her singing flowed with the naturalness of ordinary speech.”
    ★★★★★Michael Church, The Independent, 21 February 2018

    “Joyce DiDonato shone in this semi-staged performance of Jake Heggie’s opera”…Hers was a veteran’s performance, defined by its subtlety and effortless grace”
    ★★★★★Hannah Nepil, Financial times, 21 February 2018

    “DiDonato performed with her usual purity of voice and perfectly weighted phrasing.”
    ★★★★★David Karlin, Bachtrack, 21 February 2018

    “Joyce DiDonato Schines in JakHeggie’ s Haunting Disarray of An Opera.”
    Sophia Lambton, Opera Wire, 22 February 2018 

    “Joyce DiDonato, reprising the role of Sister Helen, displayed a magnificent range of emotions, capturing frustration, piety, simplicity, anger and, above all, humanity.”


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    26 Jan 18 Jake Heggie Dead Man Walking
    Teatro Real Madrid

    “Joyce DiDonato is superb as Sister Helen Prejean in Jake Heggie’s 2000 opera.”
    Fiona Maddocks, The Guardian, 4 February 2018

    “Joyce DiDonato’s identification with the character is remarkable, and both her singing and acting were excellent.”
    José M. Irurzun, Seen and Heard International, 29 January 2018

    “Joyce DiDonato sings and acts with unfailing sincerity.”
    Rupert Christiansen, The Telegraph, 21 February 2018

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    24 Nov 17 BERLIOZ Les Troyens
    Erato, Warner Classics

    “Joyce DiDonato is by turns fiery and sensuous as the legendary Carthaginian queen, the silvery top of her voice adding an unusual vulnerability. It will be DiDonato’s name that sells this recording.”
    ★★★★★ Richard Fairman, Financial Times, 17 November 2017

    “This is now unquestionably the version of Berlioz’s masterpiece to have at home.

    [It’s] Joyce DiDonato’s Dido who hogs the spotlight for the rest of the opera…”
    ★★★★★ Andrew Clements, The Guardian, 22 November 2017

    “And Michael Spyres and Joyce DiDonato are perfectly suited as the doomed lovers Aeneas and Dido, moving tragically from the almost supernaturally charged harmonic bliss of their Act IV love-duet to the spitting venom of the Act V break-up and then the final curse on the departing Trojans.”
    ★★★★★ Richard Morrison, The Times, 24 November 2017



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    19 Nov 17 ROSSINI Semiramide
    Royal Opera House

    “In the title-role, Joyce DiDonato is wonderfully expressive in her big aria “Bel raggio” , making this apparent monster of a woman credibly human and vulnerable. In two sublime duets that set my spine tingling, she blends exquisitely with the darker tones of her beloved Arsace – a swaggeringly virtuosic Daniela Barcellona – before electrifying us in a confrontation with her erstwhile partner-in-crime Assur, powerfully incarnated by the young bass Mirco Palazzi (standing in for Act 2 after an ailing Michele Pertusi withdrew).”
    ★★★★★ Rupert Christiansen, The Telegraph, 20 November 2017

    “Semiramide review: Stupendous singer triumphs in baffling modern Babylon

    Joyce DiDonato soars as Rossini’s troubled queen with an astounding performance at the Royal Opera House

    Rossini’s last Italian opera, Semiramide, has over the years served as a vehicle for such divas as Joan Sutherland (La Stupenda), June Anderson and Montserrat Caballé.

    Their modern counterpart is the US mezzo-soprano Joyce DiDonato, no less stupendous in the role. Whether incandescent with anger, haughty in triumph or tender in love, she delivers an account of the troubled queen that is both technically astounding and soul-searching.”
    ★★★★ Barry Millington, London Evening Standard, 20 November 2017

    “The role is a godsend for any lyric soprano or, as here with the stellar Joyce DiDonato, mezzo-soprano. Her first act duet of misunderstanding with Arsace (a travesti role) is an absolute stonker, with death-defying runs and vocal body-popping for both women.”
    Mark Valencia, What’s On Stage, 20 November 2017

    “…while in the title role Joyce DiDonato melds notes and drama together in a performance of extraordinary virtuosity and expressive mastery.”
    George Hall, The Stage, 20 November 2017

    “…the quality and artistry of her intonation, coloratura and trills are astounding – her brief injections of fuller tone in her lower-voice phrasing are so expressive they hurt – and she gets deep into the psyche of the wicked queen and her murky passion.”
    Peter Reed, Classical Source, 20 November 2017

    “A fine actor as well as a superb vocal technician, DiDonato probes Semiramide’s tortured psyche with remarkable veracity. There’s depth and meaning in every phrase, and even the most exacting coloratura passages are placed at the service of the drama. Her duets with Barcellona’s Arsace are both spectacular and moving, their voices perfectly blended.”
    ★★★★ Tim Ashley, The Guardian, 21 November 2017

    “We know what Joyce DiDonato can do, but the challenge of this title role is to make coherent the apparent contradictions in Semiramide’s personality – imperiousness, desperation, guilt and loneliness – and DiDonato does this vocally as much as visually. She has the surging power, but also the nous to use that sparingly, and deliver much of her music with affecting gentleness in a honeyed sotto voce.

    [The] sublime final duet with DiDonato – two voices floating symbolically in parallel thirds that never converge – is a heart-stopping moment.”
    Richard Morrison, The Times, 21 November 2017

    “Joyce DiDonato’s tremendous talent is virtually unequalled in today’s opera world; she brings to the stage the allure of a true diva without – it seems – any of the usual ‘baggage’ we would customarily expect… She is also one of the best actors amongst the current crop of ‘star’ opera singers and whilst her bearing was suitably regal throughout, this Semiramide was also undeniably human. DiDonato was emotionally engaged in the queen’s plight and I found myself holding my breath during her brilliant coloratura …though she clearly wasn’t! Her Act I ‘Bel raggio lusinghier’ was a masterclass and the long role seemed to have little effect on the excellence of her singing.”
    Jim Pritchard, Seen and Heard, 21 November 2017

    “No such fate awaits mezzo Joyce DiDonato, thank heaven, whose vocal and dramatic skills are so jaw-dropping as to leave one incredulous. She goes head-to-head with Rossini, and wins, hands down.”
    Warwick Thompson, The Metro, 24 November 2017

    “She is one wicked queen.

    DiDonato, in her prime, is in their formidable mould. She has an astonishing gift for singing pianissimo, and she can act. Instead of being two-dimensional, her Semiramide is a sentient and dignified figure.”
    Fiona Maddocks, The Observer, 26 November 2017

    “DiDonato sings a memorably beautiful Bel raggio lusinghier, the opera’s hit number, as part of a more sympathetic than usual portrayal of the queen; and she and Daniela Barcellona’s Arsace seduce the ear in duets that presage Bellini’s Norma.”
    Hugh Canning, The Sunday Times, 26 November 2017

    “This Semiramide is a triumph for Joyce DiDonato, a singer of power and refinement, now in her full maturity. She fills the house with a flow of glorious tone which, when married as it is to a complete understanding of her role, the murderous Queen Semiramide, is totally irresistible.”
    ★★★★★ David Mellor, The Mail, 26 November 2017

    “There could be no better choice for the role of Semiramide than stellar mezzo Joyce DiDonato. She takes the show-stopping coloratura in her stride and also finds a sympathetic side to the despotic queen.”
    ★★★★ Clare Colvin, The Sunday Express, 26 November 2017

    “But Joyce DiDonato as this monstrous Babylonian queen (who like Catherine the Great had disposed of her husband and kept the throne) displayed everything needed for the part by way of vocal colour and facility and elegance of interpretation. This was a performance that really deserved to be called world-class, with DiDonato’s top as thrilling as her effortless-sounding runs and passage-work.”
    Tom Sutcliffe, The Critics’ Circle, 26 November 2017

    “[Barcellona’s] final act duet with DiDonato provided one of those rare moments at Covent Garden when the audience, totally entranced by the music, stopped all their coughing. This was pure magic.”
    ★★★★ William Harston, The Express, 29 November 2017

    “DiDonato’s understanding of her character – and how to communicate it – and her utter commitment are reason alone to see this production.”
    Claire Seymour, Opera Today, 30 November 2017


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    25 Sep 17 BELLINI Norma
    Metropolitan Opera

    “…and the mezzo-soprano Joyce DiDonato as Adalgisa, a novice druid priestess who unwittingly becomes Norma’s rival in love, and then, in a twist, her most devout friend. Both singers give their all in affecting performances…Her melting tone and natural richness were ideal for Adalgisa’s elegant, wistful phrases.”
    Anthony Tommasini, The New York Times, 26 September 2017

    “…Joyce DiDonato, whose performance as the romantic rival Adalgisa provided yet more evidence–as if we needed any–of her status as a supreme bel canto stylist. Her technique as firm as bedrock, she built a gripping character on her fiery vocal interpretation. Her confession to Norma in the Act I duet “Sola, furtiva al tempio” showed palpable sorrow, and a special urgency, as she sang every word as though it were the most important in the libretto.”
    Eric C. Simpson, New York Classical Review, 26 September 2017

    “Joyce DiDonato (Adalgisa) is vocal heaven. She has sung many of the Met’s recent high profile bel-canto roles – the title role of Maria Stuarda prior to her co-star last night and a breathtaking Cinderella in the Met’s La Cenerentola. This season, she again sings Cinderella, now in Massanet’s rare and anticipated Cendrillon. DiDonato’s…voice…is round, plushy, nuanced and intelligently produced. No singer, and I repeat no singer singing today, understands bel-canto better than DiDonato. She’s also a solid actor. She’s beautiful. So my advice is not to miss Joyce DiDonato. In anything.”
    Mark McLaren, Zeal NYC, September 26, 2017

    “Joyce DiDonato brought her detailed artistry and flexible mezzo to Adalgisa, skillfully matching Radvanovsky in their duets. Their time onstage together remained the most exciting and musically satisfying of the evening.”
    Kim Feltkamp, Opera Wire, 26 September 2017

    “DiDonato, who so often plays tough characters, also revelled in the opportunity to show her softer side, deploying warmth and power as the vulnerable young novice.”
    ★★★★ Heidi Waleson, Opera Now, November 2017

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    06 Jul 17 MOZART La clemenza di Tito
    Festspielhaus Baden-Baden

    “En Sesto, Joyce DiDonato emporte à nouveau tous les suffrages tant par la vérité de l’incarnation que par la musicalité de l’interprétation… son Sesto est d’une crédibilité dramatique, d’un engagement et d’une intégrité vocale superlatifs avec ses attitudes d’adolescent attardé et sa voix qui suit impeccablement la moindre intention expressive. Comme avec tous les autres interprètes, les récitatifs sont vivants, vécus de l’intérieur, interactifs avec les partenaires, ce qui contribue là aussi au dramatisme. Les deux morceaux de bravoure « Parto, parto, ma tu ben mio » à l’acte I et « Deh per questo instante solo » au II en constituent bien évidemment l’acmé et sont accueillis par une ovation du public.”

    Michel Thomé, Res Musica, 8 July 2017

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    24 May 17 'In War & Peace'
    European Tour

    Philharmonie Essen, Essen

    “C’est évidemment le mérite de Joyce DiDonato elle-même. La beauté de son timbre argenté, la facilité de ses vocalises, son art des nuances et des couleurs font de chacune de ses interventions un véritable moment de grâce. La fureur d’Andromaque, le désespoir de Didon, la tristesse d’Almirena : chaque air touche droit au cœur. Et il en est de même avec les airs « paisibles » de la deuxième partie qui se termine par un « Da tempeste » (Giulio Cesare) d’une exubérante joie.”

    Joyce DiDonato credits are undeniable. The beauty of her silvery timbre, the ease in the virtuosic coloraturas, her nuances and colours make every piece a great moment of grace. Andromaca’s rage, Dido’s sorrow, Almirena’s torments: any of these arias touches the most inner part of human soul. Same happens with the the ‘Peaceful’ arias in the second half of the programme which ends with the exuberant joy of ‘Da Tempeste’ (Giulio Cesare)”


    Andreas Laska, ResMusica, 31 May 2017

    National Concert Hall, Dublin

    “Few Opera singers of the highest calibre would feel the need to dramatize their concert performances in this way; fewer enough would have the panache. Yet fewer still could convince as firmly as DiDonato did on this occasion that if an aria is to be more than just heard, it has got more than just sung. Musically speaking, the pairing of Joyce DiDonato’s lyric coloratura voice with the baroque instruments of Il Pomo d’Oro augured well for the developing rapprochement between mainstream and period technique.”

    Andrew Johnston, The Irish Times, 14 June 2017

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    30 Apr 17 HANDEL Ariodante
    The English Concert

    Carnegie Hall, New York

    “On Sunday, the mezzo-soprano Joyce DiDonaro, singing the role in a concert performance of the opera with the conductor Harry Bicket and his English Concert chamber orchestra, held Carnegie Hall’s audience in thrall for nearly nine minutes as she wrung every bit of emotion from this music.”

    Anthony Tomassini, New York Times, 1 May 2017

    “There was little question as to Sunday’s star—DiDonato gave a sensational performance of the title role…She handled even the most treacherous runs with ease, making a true tour de force out of the demanding aria “Con l’ali di costanza.” A cool, flowing sound and soft glow come naturally to her, and yet she can inject passionate fire seemingly with the flip of a switch.

    Her most stunning moments came not when she was flashing that splendid coloratura technique, but in her character’s most intimate thoughts. Act II’s “Scherza infida,” a quiet expression of anguish at Ginevra’s apparent infidelity, was spellbinding, as DiDonato showed a softer luster to her tone, contrasting with the role’s dominant direct, forward fire. She allowed herself for a bar or two to drop to a pianissimo in a shattering instant of vulnerability.”

    Eric C. Simpson, New York Classical Review, 1 May 2017

    “The mezzo sounded in peak form from her first mellow arioso, ‘Qui d’amor’, and gave a generous, deeply chiseled and resonantly projected reading of one of her great assumptions. For such hearfelt artistry and beauty of tone in such technically and psichologically remarkable music, what could one offer but grateful smiles (with a healthy mixture of tears)?”

    David Shengold, Opera News, July 2017

    Kennedy Center for the Performing Arts, Washington DC

    “There are few singers more committed than DiDonato, but she manages the alchemy of converting dogged hard work into pure artistry. Even with this strong cast, she remained a step above the others, sending out her voice in long, clear, radiant lines of pure music that repeatedly, and deservedly, stopped the show.”

    Anne Midgette, Washington Post, 3 May 2017

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    03 Mar 17 ROSSINI Semiramide
    Bayerische Staatsoper, Munich

    “Joyce DiDonato’s enormous talent is unparalleled in today’s opera world; she has the allure of a true diva without the baggage associated with that word. Her regal bearing spoke volumes, her emotional involvement in the title role was riveting and her brilliant coloratura took one’s breath away. DiDonato’s “Bel raggio lusinghier” brought down the house in Act I, and she amazed and stupefied her audience throughout the entire evening. ”

    Jeffrey A. Leipsic, Opera News, March 2017

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    04 Nov 16 In War & Peace CD
    Warner Classics

    “The album’s second half spotlights peaceful gardens, outbursts of joy and lovers who “never think of war again.” DiDonato unleashes some of the most rousing coloratura singing of her recorded career in two virtuoso arias (never before recorded) by the neglected Neapolitan Niccolo Jommelli… . In “Sprezza il furor del veto,” she’s a “sturdy oak,” unbending to a constant flurry of stratospheric runs and trills. The voice is completely engaged in the emotional and technical content without resorting to aspirating or scooping up to notes.

    …if beautiful singing displays humanity at its best, she, and we, can consider it a complete success.”

    Tom Huizenga and Charles T. Downey, The Washington Post, 16 November 2016


    “In the company of Il Pomo d’Oro, conducted by Maxim Emelyanychev, DiDonato kicks up a storm in the war arias and soothes the spirit with lambent tone when she turns to peace.

    The American mezzo is at the peak of her career.”

    Richard Fariman, Financial Times, 4 November 2016


    “…her coloratura is tightly sprung, her diction is flawless, and her phrasing of the often underrated poetry is sympathetic and sophisticated…”

    BBC MusicMagazine, December 2016


    “In War & Peace’ finds DiDonato back on Baroque ground for the first time in a while, and it’s a joyful musical homecoming. …Drama, as ever with DiDonato, is everything. Ornamentation serves narrative first, ego second.”

    Grammophone, November 2016



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    19 Jun 16 MASSENET Werther
    Royal Opera House, Covent Garden

    “…how beautifully and sensitively she sang, her Yankee freshness of personality irradiating every note: the Letter scene of the third act became all the more powerful for being so restrained and her cradling of Werther’s dying corpse was heart-rendingly tender.”

    Rupert Christiansen, The Telegraph, 20 June 2016

    “Joyce DiDonato perceptively conveys the torment of Charlotte’s struggle to reconcile her duty to Albert and her stirring love for Werther,…the expression is thrilling…. outstanding singing.”

    Edward Bhesania, The Stage, 20 June 2016

    “Indeed, the tenor’s passion for DiDonato’s magnificently riven Charlotte persuaded me, for once, that he could conceivably survive imminent death for the whole of act four—even though logic should dictate otherwise—in order to buy a few precious moments with her. That’s something only proper stars can do.”

    Mark Valencia, What’s On Stage, 20 June 2016

    “Cradled in sable strings and serenaded by an alto saxophone, her Va! Laisse couler mes larmes has the intimacy of a chanson. [DiDonato’s] emotional nakedness and scrupulous attention to the text make this belated confession devastating. It’s a pivotal moment in the opera and the performance: a bridge between her style and his that allows proper connection in the final scene.”

    Anna Picard, The Times, 20 June 2016

    “In mezzo Joyce DiDonato and tenor Vittorio Grigolo this second revival of Benoit Jacquot’s elegant production certainly gets the right voices…DiDonato’s delicately-inflected Gallic sound makes the perfect foil.”

    Michael Church, The Independent, 20 June 2016

    “…and Joyce DiDonato’s Charlotte: the gentle radiance of the latter’s supple mezzo rises to…liberated passion in Act 3, when the reluctantly married heroine’s stoical attempt to keep her true feelings under wraps gives way under the violent impact of Werther’s unexpected reappearance.”

    George Hall, The Guardian, 21 June 2016

    “Neither Joyce DiDonato (Charlotte) nor Vittorio Grigolo (Werther) had sung their roles before, but they proved perfect for the parts.

    DiDonato has one of the finest mezzo-soprano voices around today, together with the acting ability and intelligence to cut through the slush and bring real emotional substance to the part.”

    William Harston, The Express, 21 June 2016

    “In terms of singing performances Grigòlo and DiDonato are both phenomenal as they chart the difficult course of the relationship between Werther and Charlotte…The characterisation is all there in the singing voices and they are both utterly compelling and impressive.”

    The Opera Journal/ Keris Nine

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    27 May 16 Joyce DiDonato Recital
    Gran Teatre del Liceu

    “Obviously, singing is crucial in a recital, but the artist’s ability to connect with the audience is almost as important, and the American diva showed a skill available to few artists.”
    Seen and Heard, Jose M. Irurzun

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    30 May 16 BELLINI I Capuleti e I Montecchi
    Gran Teatre del Liceu

    “She has sung the part of Romeo in the most important opera houses for many years and has an exceptional voice,…The best part of her performance, and of the whole opera, was the singing lesson she gave at the tomb scene, where she proved that she is both a great singer and a compelling artist.”
    Seen and Heard, Jose M. Irurzun

    “La mezzo-soprano nord-américaine, lauréate du Grammy Award de la Meilleure Soliste Vocale Classique en 2016 et 2012, excelle dans le rôle de Roméo…Elle nous enchante par son magnifique legato et sa puissance vocale. Parfaitement à l’aise sur le plan musical et scénique, elle s’investit pleinement dans l’interprétation du personnage proposée par le metteur en scène.”
    Opera Online, Xavier Pujol

    “El Liceu ha tenido la gran suerte y también el gran mérito de sustituir a la mezzo soprano letona por Joyce DiDonato,…Aquí es donde Joyce DiDonato demostró ser una gran cantante y una gran artista.”
    Beckmesser, José M. Irurzun

    “Esa potencia y energía de perfil masculino que es su firma personal engrandece el personaje en el aspecto teatral y seduce en el vocal.”
    Bachtrack,  Juan José Freijo

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    11 Dec 15 ROSSINI La Donna del Lago
    Metropolitan Opera Company

    “As Elena, the incandescent mezzo Joyce DiDonato commands the necessary vocal backbone to focus the drama on herself: steely in confrontational exchanges, she can sound meltingly tender when daydreaming about Malcolm and produce a more juicy, complex tone when the arrival of the hunter complicates her emotional landscape.
    Ms. DiDonato’s mastery of the gymnastic elements of bel canto singing is absolute, and the seeming ease with which she binds them into the musical and emotional context of each phrase and scene is breathtaking.”
    Corinna da Fonseca-Wollheimdec,The New York Times, 13 December 2015

    “Returning to the role of Elena, the Highland maiden of the title, Joyce DiDonato is an absolute marvel… to hear her now is to hear a great voice in its prime: an easy, honeyed tone, ample volume, accurate pitch, a quick coloratura. Everything simply works for her, and on the foundation of that security she builds a sublime musical interpretation.
    DiDonato’s most memorable moment is “Tanti affetti” right before the final curtain–she builds stunning arches in the aria, the lines achingly crafted with breathtaking beauty. The following cabaletta, a bubbling effusion of joy, sparkles like a diamond. DiDonato’s portrayal at this point is a complete vocal and dramatic achievement, and truly must be experienced in person to be appreciated.”

    Eric C. Simpson, The Classical Review, 13 December 2015

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    30 Oct 15 HEGGIE Great Scott
    Dallas Opera

    “The opera’s title character, Arden Scott, is a celebrated American mezzo-soprano, played to perfection by American mezzo-soprano Joyce DiDonato.”
    Joshua Kosman, San Francisco Gate, 31 October 2015

    “DiDonato, displaying her renowned virtuosity in coloratura excerpts, is deeply engaging as a performer full of self-doubt.”
    Scott Cantrell, Dallas News, 31 October 2015

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    28 Aug 15 "Joyce and Tony" - CD
    Live at Wigmore Hall

    “…DiDonato capturing the huge emotional swings of Haydn’s “Arianna a Naxos” in an incandescent performance that threatens to overshadow the rest of the programme.
    But a jaunty dash through Rossini’s “La Danza” helps shift gears for the second half, in which both she and Pappano offer light-spirited takes on Kern, Berlin and Arlen, before a yearning “Over the Rainbow” finds her, heels clicked, back in her native Kansas.”

    4**** Andy Gill, The Independent, 21 August 2015
    “DiDonato’s immaculate voice relishes every vowel sound, Pappano responds with pianistic wit and idiomatic invention. Ad libs and applause are judiciously included. All a delight.”

    5***** Fiona Maddocks, The Observer, 16 August 2015

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    14 Apr 15 Brentano Quartet / Jake Heggie
    Milton Court Concert Hall

    “It’s immaculately tailored to DiDonato’s voice, with its remarkable flexibility and expressive range. Coloratura flourishes suggest Camille’s volatility. Long lines, full of immaculate pianissimos, convey her retreat into a private world of memory… and Hahn’s ravishing Venezia, which DiDonato has made her own, with Heggie himself her weighty, persuasive accompanist.”
    Tim Ashley, The Guardian, 15 April 2015

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    10 Apr 15 BERLIOZ La Damnation de Faust
    Berliner Philharmoniker / Sir Simon Rattle

    “Und Joyce DiDonato, die Mezzosopranistin aus dem robusten amerikanischen Mittelwesten, schwingt sich als Marguerite sofort in silberdurchwirkte Höhen auf, in denen sie dann engelsgleich verweilt.”
    Udo Badelt, Der Tagesspiegel, 14 April 2015

    “Auf einem eigenen Qualitäts-Planeten und doch ganz wach für Orchester und Partner ist Joyce DiDonato eine Ausnahmesängerin. Jede Stimmfärbung ist bei ihr Ausdruck der Seele und eines Zustandes. Ein Glanzpunkt und emotionaler Anker dieser Aufführung!”
    Clemens Goldberg, Kulturradio, 11 April 2015

    “Ihre eher hell konturierte Mezzo-Stimme, derzeit eine der gefragtesten auf den Bühnen der Welt, erfüllt alle Ansprüche famos, die der Rolle wie die des Publikums. Makellos die Tonbildung, eindrucksvoll die sängerische Gabe, der psychischen Verfassung der jungen Frau zwischen Verführung und Verirrung, Innerlichkeit und Entsagung Manifestationen zu geben.”
    Ralf Siepmann, Opernetz, 11 April 2015

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    16 Feb 15 ROSSINI La Donna del Lago
    Metropolitan Opera Company

    “Joyce DiDonato can do almost anything. She can sing high and low, loud and soft, and somehow make it all seem natural. She can manage florid runs and agitated climaxes as if they were expressive devices, not just vocal pyrotechnics. She can look sweetly demure, fondling flowers, or awesomely heroic, confronting royalty. She can make a simple gown look elegant, and a small gesture look big. Most important, she can reinforce such achievements with a mezzo-soprano — maybe a soprano sfogato — equally notable for richness and purity.”
    Martin Bernheimer, Financial Times, 17 February 2015

    “Ms. DiDonato, playing the heroine Elena in the Met’s premiere production of this rich, tuneful Rossini melodrama, sang the opening of the aria with melting warmth and tenderness…Ms. DiDonato sang Rossini’s beguiling phrases with soft yet penetrating richness, subtly folding ornaments and runs into the long melodic arcs…The aria eventually breaks into joyous bursts of dazzling coloratura passagework, with rousing exclamations from the chorus, and Ms. DiDonato delivered.”
    Anthony Tommasini, The New York Times, 17 February 2015

    “DiDonato, looking very bonny as the red-haired Ellen Douglas, takes control of the evening from her opening aria, a tender and delicate “O mattutini albori,” and by the time of her breathtaking “Tanti affetti” in the grand finale she has scored a major triumph…Vocally she is at the top of her game. Technically a mezzo, her range is such that she can easily take soprano roles and soar. She is also a first-rate actress, convincing both as the maiden in love we first meet and as the reluctant bride-to-be. Her smile alone would melt any king’s heart.”
    Wilborn Hampton, Huffington Post, 17 February 2015

    “Joyce DiDonato emerges triumphant. It doesn’t take much courage to tell the listening public that DiDonato is among the world’s greatest singing actors of any voice type; on Monday she was beyond perfect. Given the opportunity to introduce a major role to the Met’s audience, she gave a performance that may ultimately stand as a high point in her already lofty career. What we heard was one of the world’s best voices in top form—her tone was pure honey, her coloratura effortlessly fluttering, her ornamentation fearless.”
    Eric C. Simpson, New York Classical Review, 17 February 2015
    “The heroine, Elena, is sung by Joyce DiDonato, whose voice here has extraordinary range and displays the most subtle attention to colour and detail… The scenes between him [Juan Diego Florez] and DiDonato are pure show-stoppers…”
    Colm Tóibín, The Spectator, 17 February 2015

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    10 Oct 14 HANDEL Alcina
    International Tour with The English Concert/Harry Bicket

    “…it was Joyce DiDonato who held us in thrall. As the ruthless, desperate enchantress whose charms and powers are tragically fading, she radiated dazzling glamour and authority – abetted by a magnificent coiffure and some sumptuous Vivienne Westwood couture, as well as a regal deportment and command of gesture that was always histrionically appropriate…What more can one say about her singing that hasn’t been said a thousand times now? The word “perfect” might cover the matter, did it not suggest something frigid and contrived rather than something always born in the moment of its utterance. But surely her clarity of projection, control of dynamics, precision of articulation and range of colour are all beyond reasonable criticism: she is absolute mistress of her art, with an instrument totally obedient to her will. So if this isn’t vocal perfection, I don’t know what is.”

    Rupert Christiansen, The Telegraph, 11 October 2014

    “And DiDonato gave the title role seductive malice, together with a voice of radiant beauty, and a dazzling technical display, from a heart-stopping messa di voce at the repeat in “Ah! Mio cor!” to the fireworks in “Ma quando tornerai”. Catch this if you can.”
    Laura Battle, The Financial Times, 13 October 2014

    “A luminous DiDonato leads superb cast in Handel’s “Alcina” at Carnegie. The rich sound and incredible power of her voice are apparent, and underneath is a level of intensity of thought and feeling that is rare for any performing artist, in any field. Even at low volume, and in introverted passages, this intensity gives every note she sings tremendous musical and expressive volume. She can also go from flickering candle to flamethrower in the breadth of a note, always focussed and under control.”
    George Grella, New York Classical Review, 27 October 2014

    “To convey the mystique of a sorceress, Ms. DiDonato wore an exotic gray dress with puffy shoulders and a punkish hairstyle. But she did not need a costume to practice sorcery on her audience. This she did with her brilliant, plush and charismatic singing. Though Alcina is a soprano role, Ms. DiDonato tossed off chilling, full top notes and floated finespun pianissimo phrases. She commanded the stage during the great Act II finale, when Alcina summons her powers, and nothing happens, an uncanny exploration by Handel of mental and psychic confusion.”
    Anthony Tommasini, The New York Times, 27 October 2014

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    01 Sep 14 Stella di Napoli
    Erato Classics

    “La mezzo semble ici au sommet de son potentiel vocal. Côté diction, prosodie et expressivité, on ne pouvait rêver mieux.
    [trans.]… here, this mezzo seems at the peak of her vocal potential. Clear diction, prosody and expressivity, you could not ask for more.”

    Thierry Hillériteau, Le Figaro, October 2014

    “…this luscious collection of Italian bel canto opera arias presents the incandescent DiDonato on top form, the creamy tones whipped into kaleidoscopic threads of melody.
    DiDonato’s gorgeously fluid voice is this album’s special joy.”

    Geoff Brown, The Times, August 2014

    “As expected, DiDonato has virtuosity to spare, but what makes this disc special is the shimmering radiance of emotion she brings to operas such as Bellini’s Adelson e Salvini and Pacini’s Saffo. In Mary Stuart’s radiantly sung solo before her execution DiDonato leaves no doubt that her own star is at its height.”

    Richard Fairman, Financial Times, August 2014

    “[The arias] allow this adored US mezzo to display her dizzying technical virtuosity, her acting skills and her extravagant sense of drama…You may think bel canto recital discs are not your thing. Let Joyce DiDonato convince you otherwise. She did me.”

    Fiona Maddocks, The Observer, August 2014

    “She’s got it all. Fantastic voice, striking looks, a rigorous work ethic, a respect for her audience, and a desire to smother them with love… Vocally, she’s the best mezzo soprano currently active.””
    5***** ‘Album of the week’

    David Mellor, Mail on Sunday, September 2014

    “Joyce DiDonato – bright, intelligent, curious – is at the peak of her career.”
    Manuel Brug, Die Welt, August 2014

    “What we hear here is stunning: beautiful timbre, smooth projection, fullness in medium and deep registers, ease in treble, trills of the highest calibre… nothing is missing.”
    Richard Martet, Opéra Magazine, September 2014

    “World-class magnificence and gems from the Kansas-born mezzo-soprano who displayed true vocal fireworks…”
    Clotilde Maréchal, Qubuz, September 2014

    “She skilfully mastered the game with the audience, who hung on her every word… Joyce DiDonato lures with virtuosic coloratura and the sensuality of her perfectly appealing mezzo-depth.”
    Frederik Hanssen, Der Tagesspiegel, September 2014

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    06 Sep 14 Wigmore Hall
    Recital with Antonio Pappano

    “They were queuing round the block for the second of her Wigmore dates, and rightly so – there’s no female singer around today who can match her immediate warmth of personality, depth of musicality, beauty of tone and superlative technique.”
    Rupert Christiansen, Daily Telegraph, September 2014

    “Expert in her textual definition in both languages, mezzo-soprano Joyce DiDonato was persuasively communicative in music ranging from Haydn to Jerome Kern.”
    George Hall, Guardian, September 2014

    “Daring vocal pirouettes, vivid acting, wide dynamic swings, amazing breath control: all had been masterfully blended…”
    Geoff Brown, The Times, September 2014

    “Her golden mezzo, fiery or resolute or shimmering with barely controlled emotion, sounds impressively at its peak now…DiDonato showed how beauty of tone and a love for the music could turn each number into an intimate art song in its own right. By the time she reached her heavenly first encore, Kern’s “All the Things You Are”, it was as if she had turned the Wigmore into her own private soirée.”

    Richard Fairman, Financial Times, September 2014

    “Her can-do attitude and glorious voice make her one of the most in-demand singers today…DiDonato’s dazzling vocal technique.”
    Clare Colvin, Sunday Express, September 2014

    “…the world’s deservedly favourite mezzo… Book fast. Expect fireworks.”
    Fiona Maddocks, Observer, September 2014


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    01 Aug 14 Teatro Colon
    Recital with David Zobel

    “(We can be sure that)…DiDonato, one of the great singers of our time – handling both opera and chamber singing with the same degree of excellence – is a complete artist, a master of musical expression…her singing is glorious, its expressive power and range of style are amazing, as are the thousands of nuances of her voice in their ability to narrate stories, situations, dramas, tales of sadness and personal meditations…she copes with the most fiendish coloratura and the most intricate passages with absolute ease…”

    Pablo Kohan, La Nacion, August 2014

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    01 Jul 14 DONIZETTI Maria Stuarda
    Royal Opera House, Covent Garden

    “What the Royal Opera’s production and McVicar’s at the Met have in common is of course Joyce DiDonato in the title role…There’s a spontaneity to her ornamentation here that is less embellishment than organic emotional outpouring, connecting absolutely with body and mind. Her tone is endlessly flexible, colouring Donizetti’s four-square phrases with unexpected shades and stretching the predictable arc of his melodies into shapes that are at once unfamiliar and completely inevitable. It’s a performance that would batter its way into life on recording, and in the flesh is deeply and seriously moving.”
    Alexandra Coghlan, The Arts Desk, July 2014

    “Joyce DiDonato’s performance as Donizetti’s Mary Queen of Scots leaves one bereft of adequate superlatives. So let me just start by claiming that bel canto of this quality has not been heard at Covent Garden for more than a generation and that on the strength of this night alone, her name should rank in the operatic pantheon alongside the greatest legends of the past.

    Flawless technical virtuosity – based in firm legato, lucid projection, clean diction, breath control, fast trills and precisely articulated runs – makes every note tell. But this is the mere machinery, the hard work.
    DiDonato has the rarer gift of imaginative musicality too, and it’s the glowing beauty of tone, warm shaping of phrase, delicate colouring of words and intense commitment to character which cast the magic and make the drama meaningful.

    Proud yet vulnerable, impulsive, arrogant, deeply unsure of herself and her own worst enemy, DiDonato’s Mary is not just heart-rendingly beautiful but also vividly real – aching with nostalgia in her opening aria, fiercely defiant when confronted with Elizabeth, bitterly remorseful in the duet with Talbot, and poised in the face of death with a mixture of courage, terror and spiritual calm that I found almost unbearably moving.”
    Rupert Christiansen, Daily Telegraph, July 2014

    “There is, however, one compelling reason to see the show. Even by her own feisty standards, Joyce DiDonato is mesmerising in the title role. She is the full regal package. The voice is at its peak: powerful enough to sing everyone else off the stage, yet with a beguiling silvery thread, the flexibility to throw off those curls of coloratura with insouciant ease, and the musicality to turn them into profound expressions of the doomed queen’s turbulent emotions.

    And what a stage animal she is! I thought nothing could better her ferocious denunciation of Elizabeth – “harlot…bastard”, delivered with incandescent force – while she smashes the sherry glasses to smithereens. Her prayer at the scaffold, however, is even better, because without sacrificing the haughty passion with which she infuses this Queen of Scots, she also musters heartbreaking poignancy.”
    Richard Morrison, The Times, July 2014

    “Maria Stuarda is essentially a vehicle for two cracking divas, however, and in Carmen Giannattasio and Joyce DiDonato this production has exactly that. DiDonato in the title role exudes moral fire, terror and nobility of spirit, negotiating the coloratura with aplomb. She has an impressive trill and moulds a golden legato line.”
    Barry Millington, Evening Standard, July 2014

    “DiDonato’s Mary is magnificent; she is fiery, proud, dignified, and sumptuously sung. Her confession duet with British bass Matthew Rose’s staunch Talbot is intensely moving.”
    Graham Rogers, The Stage, July 2014

    “Joyce DiDonato is taking the role of Mary Stuart around many of the world’s top opera houses and her wonderfully sung portrayal is worth travelling a long way to catch. The dramatic music is sung with fire and impetuosity; the coloratura sparkles with virtuoso clarity; and, as Mary contemplates execution, she sings with a voice touched with a very personal emotional tremulousness, and so iridescent with subtle colours, that no other singer today could surely come close to her. DiDonato simply gets better and better.”
    Richard Fairman, Financial Times, July 2014

    “As Maria, DiDonato, however, rises regally above all this, singing with supreme technical command and style, and bringing heartbreaking nobility and pathos to the drawn-out final scene — her prayer was exquisite, not least in the way that she blended with the excellent chorus.”
    Hugo Shirley, Spectator, July 2014

    “Then the scene shifts to Fotheringay where Mary is imprisoned and Joyce DiDonato lifts the standard still higher. DiDonato has, over the past few years, established herself as one of the world’s most gifted sopranos, but even for her this was a sensational performance. Her voice is a joy to listen to and her vocal control is astounding. When the two sopranos were on stage together, the effect was electrifying.”
    William Hartston, Daily Express, July 2014

    “DiDonato’s strength lies not only in her technical wizardry but in her imaginative handling of the text. With absolute control, especially when singing softly, she can order a trill or an ornament to behave however she likes. She hits top notes with the driving power of Usain Bolt. Her boldness, her delicacy, her audacity in every part of her vocal range mesmerise. Yet above all, her humanity and musicianship win out.”
    Fiona Maddocks, Observer, July 2014

    “I have never heard DiDonato in such glorious form, as she soars to the heights in a succession of flawless trills and coloratura. Her sympathetic portrayal keeps you on the edge of your seat when the beleaguered Mary, too proud to plead with the dominant Queen for her freedom, hurls insults that have her followers blenching in horror.”
    Clare Colvin, Daily Express, July 2014

    “The American mezzo’s Mary certainly rises to the standoff with a stinging “Figlio impura di Bolena”, and her bel canto musings and flourishes are sublime…DiDonato spins out ravishing bel canto lines as she prepares for the block.”
    Hugh Canning, Sunday Times, July 2014

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    01 Jun 14 Salzburg Whitsun Festival
    Recital with David Zobel

    “Freilich gibt es auch nicht so viele Stimmen von ähnlich kostbarem Timbre und technischer Bravour wie den Mezzosopran von Joyce DiDonato… DiDonato mit stupender..Geläufigkeit. [trans.] Of course there are not many voices of similar precious timbre and technical bravura as the mezzo-soprano Joyce DiDonato…DiDonato was resplendent, with stupendous fluency.”

    Walter Weidringer, Die Presse, June 2014

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    01 May 14 ROSSINI La Cenerentola
    Metropolitan Opera

    “…[DiDonato’s] own distinct, immensely appealing stage persona still shone through, and so did her musical gifts. She drew on a vast palette of colors to shade the basic clarinet-like timbre of her voice, in singing that was notable for its legato: even the most intricate passagework emerged within essentially lyric lines.”
    Fred Cohn, Opera News, July 2014

    “…she [DiDonato] sang the Rossini with her expected brilliance, rising to real command by the end.”
    John Rockwell, Opera, July 2014

    “DiDonato is a natural Rossini soprano, attractive and with a lovely lilting voice that is full of longing, especially in the aria ‘Una volta c’era un re’, and that is also capable of soaring to great heights, as in the finale ‘Nacqui all’affanno’. She has an amazing vocal agility that makes all the trills natural and graceful, and she and Camarena create exciting chemistry onstage together.”
    Wilborn Hampton, Huffington Post, April 2014

    “Joyce DiDonato exuded purity and sweetness in the title role… She sang with casual brilliance and bravado, especially as the ornate line ascended.”
    Martin Bernheimer, Financial Times, April 2014

    “Joyce DiDonato beautifully dispatched the ever-increasingly florid lines with seeming ease, and the audience roared when the final curtain fell.”
    Richard Carter, Examiner, May 2014

    “And if the subtitle of the opera means “Goodness Triumphant”, DiDonato served as its embodiment. Her singing was perfection and warmth in every note. As if there was nothing more natural than quietly singing all those notes at a frantic pace.”
    Věra Drápelová, Idnes, May 2014

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    01 Apr 14 DONIZETTI Maria Stuarda
    Metropolitan Opera (DVD)

    “DiDonato suffers with grace, sheds real tears and invests the bel canto songs of loss, especially in her touching final scene, with gorgeous pliancy and tenderness.”
    David J Baker, Opera News, August 2014

    “As Mary, Joyce DiDonato is an absolute knock-out. She makes a tender impression with her cavatina, the regretful cantabile followed by perfectly placed coloratura in the cabaletta. She holds herself back in the ‘false canon’ that opens the confrontation before, goaded beyond endurance, she lets rip. In prison, shaking uncontrollably, she has a moving confessional scene with Talbot; at the scaffold, her preghiera (prayer) builds up to mighty climax before she forgives Elizabeth and bids farewell to Leicester. In all this, DiDonato is spellbinding through a perfect combination of singing and acting.”
    Richard Lawrence, Gramophone, July 2014

    “A tantalising foretaste of what will surely prove one of the summer’s operatic highlights – the appearance of the peerless Joyce DiDonato at the Royal Opera House in the title role of Donizetti’s tremendous melodrama Maria Stuarda. In this production, recorded at the Metropolitan Opera last year she is simply magnificent. One might have guessed that she could sing this demandingly florid and intensely lyrical music with crystalline Italian diction, impeccable technical security and dazzling stylistic finesse, but the fierce ardent passion she brings might surprise those who have only heard her in lighter histrionic fare. Even those with indelible memories of Janet Baker in this part will be blown away.”
    Rupert Christiansian, Daily Telegraph, July 2014

    “Joyce DiDonato offers a physically plain, emotionally determined martyr-monarch, her singing closely and impressively aligned with the character’s emotional journey.”
    George Hall, BBC Music Magazine, June 2014

    “…Joyce DiDonato’s central performance is so riveting that it alone makes this disc worth purchasing…the most vocally adept and dramatically detailed performance. Her coloratura is always meaningful (as well as pinpoint accurate) and her sense of line immaculate. Mary’s descent to the proud but palsied queen of the final scene is immeasurably moving.”
    Francis Muzzu, Opera Now, June 2014

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    01 Mar 14 MOZART La clemenza di Tito
    Lyric Opera of Chicago

    “Joyce DiDonato is Sesto. A consummate actress, she has a voice for the ages. Sir David McVicar, whose production this is, says no one digs deeper than DiDonato. Yet only the effortlessness of a disciplined artist is apparent. She gave us lesson in the use of breath to form tone, dynamics and phrasing.

    In the beginning was the breath, and you do not even notice it when DiDonato sings the lovely Mozart music. The most famous air from the opera is her first act “Parto, parto ma tu ben mio.” Accompanied beautifully by the Lyric Orchestra’s first clarinet, Charlene Zimmerman, the music of exquisite grace is indelibly imprinted.”
    Susan Hall, Berkshire Fine Arts, March 2014

    “Stealing every scene she is in, mezzo-soprano Joyce DiDonato in the trouser role of Sesto is compelling both vocally and dramatically. Her rendition of “Parto, parto” with exquisite accompaniment from Lyric principal clarinettist Charlene Zimmerman, stops the show and is itself worth seeing this production to experience.”
    New City Stage, March 2014

    “Anything but a wimp in DiDonato’s vivid portrayal, the greatly admired American mezzo makes the trouser role an even match with Tito and Vitellia in vocal quality and emotional dimension. Sesto’s dilemma is to be torn between his lifelong friendship and loyalty to Tito and his willingness to carry out the murderous plotting of his lover, Vitellia. In her two big arias (including the well-known “Parto, parto”), DiDonato gives her considerable all. It’s time Lyric awarded this artist another big starring role.”
    John von Rhein, Chicago Tribune, March 2014

    “It’s a testament to Joyce DiDonato’s artistry that she can make such a weak, vacillating character as Sesto so riveting and compelling. The American mezzo commanded the stage Wednesday night whenever she appeared, bringing a charismatic presence and dramatic honesty to the indecisive Sesto. DiDonato’s rich, flexible voice was balm for the ears, and the mezzo threw off some dazzling coloratura at lightning tempos. One can go a long time without hearing “Parto, parto” sung with such poised feeling and commitment, and Sesto’s contrite aria in Act 2 was likewise suffused with deep sadness and glowing tone.”
    Lawrence A. Johnson, Chicago Classical Review, March 2014

    “It is DiDonato’s magic that she not only thrills in a famous aria such as “Parto, parto,” with rolls and trills and other embellishments that she makes part of an organic whole, but also is a superb duet partner who brings out the best in her colleagues and adds dramatic heat to these connections as well as rock-solid musical foundation.”
    Andrew Patner, Chicago Sun-Times, March 2014

  • More info  
    01 Mar 14 Rejoyce! The Best of Joyce DiDonato
    Erato Classics

    “Compare the long, slow, elegant lines of ‘Scherza infida’ in her performance and the dashing bravura of ‘Crude furie’…In ‘Parto, parto’ from La Clemenza di Tito] her withdrawn tone for the second ‘guarda’ suggests a vulnerability in Sesto, sensitive in the first part and accurately vigorous in the second. Also new is ‘Amour, viens render’ from Gluck’s Orphee et Euridice, dispatched with spellbinding sparkle, trills and all…Don’t miss this.”
    International Record Review, March 2014


*** Listen to Joyce speak about her latest album on WBAA Radio here. ***

“DiDonato’s fantastic new album Songplay bridges the divide between jazz, opera and popular music and finally brings crossover into repute…This album deserves to be heard by anyone who admires exceptional singing and instrumental craftsmanship, whether in opera, jazz or popular music.”
5*****, David Mellor, The Daily Mail, 16 February 2019