(Credit: Dario Acosta)
American soprano Angel Blue is widely regarded as one of the most influential sopranos performing today. The two-time Grammy Award winner, recipient of the 2020 Beverly Sills Award, and the 2022 Richard Tucker Award is celebrated globally for her honeyed soprano voice and compelling performances of many cherished operatic roles, including Violetta in Verdi’s La Traviata, Bess in Gershwin’s Porgy and Bess, Mimí in Puccini’s La Bohème, and Destiny/Loneliness/Greta in Terrence Blanchard’s Fire Shut Up in My Bones.
OperaWire: You have just finished “Aida” in the Montreal Metropolitan, how did that go?
Angel Blue: I think it went very well; it was a wonderful experience with my colleagues and, of course, with Maestro Yannick (Nézet-Séguin). I enjoyed it immensely. Every visit to Canada is a pleasure—I love the people, the culture, and speaking my somewhat imperfect but charming French. I’ve performed Aida twice now: first in Detroit and then in a concert at the Royal Opera House. It remains an intriguing addition to my repertoire, and it’s something I truly enjoy.
OW: I saw and reviewed your “Tosca” performance at the Royal Opera House recently. I managed to see your first day of rehearsals there, where you were being instructed to do a complicated-looking backwards leap from the walls of Castel Sant’Angelo. You didn’t try it in rehearsals, but on opening night you performed the most spectacular, acrobatic backward leap that I suggest has ever been witnessed. How on earth did you accomplish that?
AB: During the rehearsal you observed, although I had performed the jump before, we were pressed for time, and I didn’t want to rush it. I didn’t consider it safe to do so. It was actually my idea to jump backward. For me, it made more sense than going forward. Interestingly, many sopranos singing Tosca at the Royal Opera have mentioned feeling nervous about jumping backward, as it is essentially a trust fall. However, I felt less secure going forward, so I believed jumping backward was the better option for me. This production of Tosca is one of the most beautiful I’ve ever been part of. I’m not sure how many times I’ve performed the role, but I believe this is my fifth. This has been one of my favourite productions.
OW: Tell me about growing up in California. I understand both your parents were quite musical.
AB: Yes, I grew up in a very musical household. My father, although a Pastor, studied classical music and voice at the Cleveland Conservatory. My mother played the violin and piano, and despite her arthritis, she says that playing the piano eases her pain, which is wonderful. I often think that music has a healing power. My brother, who is currently serving in the military, is probably the best musician among us. I have three musically inclined sisters, but I’m the only one who chose to pursue music as a career.
We used to travel across the United States and Canada for my father’s ministry, performing as a family band. I played the bass guitar, which my father bought me when I was ten. It remains my favourite instrument—a Jazz bass guitar. My sisters sang with my father, my mother played the piano, and my brother played the drums. When I struggled with breath control, my father suggested I learn the saxophone, so I began studying it at around 14. Music was always present in our home. My father would go from listening to Richard Tucker and Jussi Björling to Stevie Wonder, Deep Purple, and Led Zeppelin. Our household was filled with diverse music—bluegrass, country, classical, and more. Classical music, in particular, played a significant role in our home.
OW: So, you grew up listening to all these different types of music, classical, jazz, etc. What made you choose opera, and who did you hear or listen to that inspired you?
AB: My parents took me to a concert when I was just four years old. It was a performance of Turandot, and we were visiting my grandmother in Cleveland. Even now, the brass section of the orchestra is my favourite. I love the brass and also enjoy the woodwind instruments. I think my appreciation for wind instruments comes from being a wind instrument myself. As a child, I remember being fascinated by the brass section. I didn’t know it was brass at the time and asked my father, “What is that honking sound?” He explained it was the trombones and trumpets. Watching the ladies perform in Turandot captured my imagination, and from that moment, I knew I wanted to pursue music.
My father also bought me a recording of Leontyne Price’s recitals titled A Program of Song when I was about six or seven. I listened to it on a little Walkman—those small tape cassette players. We picked it up at a Walmart in Louisiana while my father was ministering there. It was quite unusual to find classical music in such a place. For me, listening to opera was completely normal; I often wondered why others didn’t listen to it as well.
OW: So Leontyne Price clearly influenced you?
AB: Oh yes, a major influence. My father also admired Lily Pons, and he left me his collection of records, including those of Pons, when he passed away eighteen years ago. He used to play her recordings on his stereo, and it was a significant part of my childhood. It’s interesting how our early experiences shape us and how we choose to let them influence our adult lives.
I’m very thankful for my upbringing; I had a wonderful childhood. My siblings and I often express our gratitude for our parents in our text conversations. I’m especially grateful that my mother is still with us. The rich cultural environment we grew up in was a gift from my grandfather, who was a coal miner in West Virginia and part of a barbershop quartet. He was a big fan of Enrico Caruso!
OW: Can we speak about your much-publicized withdrawal from Verona? Do you still feel as strongly about the whole thing as you did at the time, or do you have any regrets about it?
AB: My name is Angel Joy. “Angel” means messenger, and “Joy” represents a state of being that is continuous rather than conditional happiness. Even though I miss my father deeply and think about him often, and as I grow older, I miss him even more, I still feel joy. I start with this because it frames how I approach my answer. My feelings at the time remain consistent with how I feel now.
If there’s any regret, it would be that I didn’t express myself in a more joyful way. The statement came from my publicist as I struggled to be concise about my thoughts. While I stand by my belief that certain makeup or alterations are unnecessary—I sing a variety of roles without being asked to change my appearance or fit a specific mold—my regret lies in not realising the significance others would place on my words. This experience was an eye-opener, highlighting the impact of what I say. That’s why I feel that “Angel” is a fitting name, as it denotes a messenger.
OW: Having read quite a bit with regards to the incident of your withdrawing, I feel you were also misconstrued somewhat and got a lot of undue criticism.
AB:Undue criticism is a common aspect of what we do. I am a Christian and firmly believe in my faith. I stand by my decision not to sing, as it reflects my strong convictions. If my beliefs were swayed by others’ opinions, I wouldn’t be true to my faith or myself. Honestly, before making my statement, I prayed with my sister and husband, seeking not to cause harm. My intention was never to hurt anyone; I did not think my views would have much impact.
I felt somewhat naïve, thinking my perspective wouldn’t matter. While I believe I made the right choice for myself, I understand others may disagree, and that’s acceptable.
Additionally, I’ve been invited back to Verona each year, including an invitation to perform “Aida” this year, which I unfortunately couldn’t accept due to scheduling conflicts.
It’s important to me to avoid using terms like ‘racist’ and other strong words, as I recognise their impact and the varying reactions they elicit. I am at peace with my decision as long as I can look at myself each day, knowing I stayed true to my beliefs.
I want to clarify that I certainly wasn’t suggesting that a person’s skin colour should determine their ability to perform a role in opera. That notion is completely inaccurate for the art form. I’ve chosen to stop reading online comments.
There is a meaningful verse in the Bible, Philippians 4:8: “Think on these things, whatever things are true, whatever things are pure.” We can’t expect every day to be perfect or filled with happiness; it’s about managing our own thoughts. Observing harsh arguments and unkindness online, including towards Miss Grace Bumbry, was distressing. It didn’t feel good to witness such negativity. Instead of participating in the discourse, I decided to focus on my role as a wife, stepmother, and caretaker, and to continue with my opera career. It was difficult to see that my words may have sparked such unkindness, as I have a deep love for people and believe that loving others, even those who disagree with or criticize me, is integral to my faith.
OW: You’re coming back to London soon, to sing in the ‘Last Night of the Proms’. Are you looking forward to that, and what will you be singing?
AB: I’m absolutely thrilled! I was reflecting on it this morning. I’ll be performing “O mio babbino caro,” though I’m still deciding on my second aria. I was considering a piece from Il Trovatore, but since the arias are quite lengthy, I’m leaning towards “Vissi d’arte” and “Las Carceleras,” a Zarzuela piece. Additionally, Sir Stephen Hough has arranged two spirituals for us to perform together: “He’s Got the Whole World in His Hands” followed by “Swing Low, Sweet Chariot.” It’s a beautiful arrangement, and I’m truly excited about the opportunity to work with him.
OW: And then, you’re going to be singing in a modern opera, “Ainadamar” by Golijov, at the Met? Hugely different from anything you’ve sung before, I would suggest. What attracted you to this role, and how are you preparing for it?
AB: I was approached by the MET about learning the opera, so I ordered the score and began listening to it immediately. My connection to the piece is quite personal; I was a young artist in Spain at 26, and I’ve always felt a strong affinity for music with a Spanish influence. When I discovered a recording of Ainadamar with Dawn Upshaw and Kelley O’Connor, I fell in love with the music. The story, set against the backdrop of the Spanish Civil War in 1936, is complex and poignant. I’ve been researching and reading about Federico Lorca’s story, which is incredibly moving. Although the narrative is deeply tragic, the opera itself is beautifully composed and written.
OW: What would you like to sing in the future? What do you aspire to sing or perform?
AB: It’s interesting, I’ve been thinking about that, probably for about a year. What DO I want to do next?
OW: Wagner perhaps? Definitely an acquired taste!
AB: I’m content with where I am right now and enjoy my current place in my singing career. I’m not certain about what the future holds, but I do know that I’m planning to sing less frequently.
Many might not be aware of my extensive background and the length of my professional career. In October, I’ll mark 17 years of singing professionally in opera, though I’ve only been widely recognised for about five or six years since Porgy and Bess at the MET. My journey began much earlier; I started voice lessons at six and entered my first singing competition at ten. I attended an arts high school that was two hours from home, which meant waking up at 4:30 every morning to study opera and endure a long commute. My parents and I were deeply committed, and I maintained a high level of discipline and consistency.
There’s something truly special about pausing to reflect on and appreciate my achievements. So, in response to the question of what’s next, my focus is on taking the time to be grateful for everything I’ve accomplished.
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