AngelBlue

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  • Soprano

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 the title roles in Aida and Tosca, Violetta in La Traviata, Bess in Gershwin’s Porgy and Bess, Mimì in La bohème, and Destiny/Loneliness/Greta in Terrence Blanchard’s Fire Shut Up in My Bones.

Her 25/26 season starts with her performances as Bess in Houston Grand Opera's anticipated new production of Porgy and Bess, celebrating the anniversary of the house's first production of the piece. Angel also returns to the Opéra national de Paris to sing the title role in Tosca, and to the Metropolitan Opera to sing both Mimì in La bohème and Liu in Turandot. On the concert stage, she performs Florent Schmidt’s Psalm 47 with the Houston Symphony, the 'Christmas in Vienna' concert at the Konzerthaus Vienna, and concerts at the Grafenegg Festival and Annapolis Symphony. She will also perform recitals with pianist Bryan Wagorn at Reykjavik Arts Festival, Spivey Hall and Four Arts Palm Beach.

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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Contact

For availability and general enquiries:

Dominic Domingo

Dominic Domingo

Associate Director
Mathieu Levan

Mathieu Levan

Assistant Artist Manager

Representation

Worldwide general management with Askonas Holt

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Season Highlights

Oct 2025
Houston Grand Opera
Gershwin - Porgy and Bess (Bess)
Mar 2026
Opéra national de Paris
Puccini - Tosca (title role)
Apr 2026
Metropolitan Opera
Puccini - La boheme (Mimi)
May 2026
Metropolitan Opera
Puccini -Turandot (Liu)

Video

Photos

Selected Repertoire

Bizet

Carmen (Micaëla)

Blanchard

Fire Shut Up In My Bones (Destiny/Loneliness/Greta)

Boito

Mefistofele (Elena)

Gershwin

Porgy and Bess (Bess) (Clara)

Gounod

Faust (Maguerite)

Offenbach

Les contes d'Hoffman (Giulietta)

Puccini

La boheme (Mimi) (Musetta)   •   La rondine (Magda)   •   Tosca (Tosca)   •   Turandot (Liu)

Verdi

Aida (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.

  • Aida

    Royal Opera House, Covent Garden
    May 2023

    • The singers in all three leading roles give magnificent performances. The American soprano Angel Blue uses her silky and versatile voice to convey both passion and desperation, particularly in her duets with South Korean tenor SeokJong Baek

    • Blue’s rich power was impressive throughout, cutting through even the thickest of orchestral textures without any hint of strain, as well as impressively controlling pianissimo moments at the top of her range.

Discography