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Mathieu  Levan

Mathieu Levan

Assistant Artist Manager


Worldwide general management with Askonas Holt

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 Violetta in Verdi's La Traviata, Bess in Gershwin’s Porgy and Bess, Mimí in Puccini’s La Bohéme, and Destiny/Loneliness/Greta in Terrence Blanchard’s Fire Shut Up in My Bones.

The 2023 spring and summer season begin with Angel as Violetta in Verdi's La Traviata at the Metropolitan Opera with Maestro Nicola Luisotti, and her debut in the titular role in Aida at the Royal Opera House with Sir Mark Elder. She can be seen in concert with the Baltimore Symphony Orchestra and Maestro Oskana Lyniv, and in recital with distinguished Canadian pianist Dr. Bryan Wagorn at Arizona Opera. Ms. Blue's first summer appearance begins in Europe on tour with the Metropolitan Opera Orchestra, under the direction of world-renowned conductor Yannick Nézét-Seguin.

The 2023-2024 season introduces audiences to Angel Blue as Leonora in Verdi’s Il trovatore at the San Francisco Opera, followed by a highly anticipated return to the Vienna State Opera as Tosca. She continues her season with performances as Micaëla in Carmen and a role debut as Magda in La Rondine at the Metropolitan Opera.

On September 23, 2019 she opened the Metropolitan Opera’s 2019/2020 season as Bess in a new production of George Gershwin’s Porgy and Bess. These performances followed her internationally praised French Opera debut and role debut as Floria Tosca at the Aix-en-Provence Festival in July of 2019. She has also been recognized for performances in countless other theaters, such as the Vienna State Opera, Semperoper Dresden, Los Angeles Opera, Seattle Opera, Theater an der Wien, Teatro alla Scala, Baden-Baden Festspielhaus, Paris Opera, EnglishNational Opera, and San Diego Opera.

Puccini’s La Bohéme has played an especially prominent role in the development of Angel Blue’s career. She made her United States operatic debut as Musetta at the Los Angeles Opera in 2007 while a member of the company’s Young Artist Program and subsequently made her debut at the Teatro alla Scala in Milan in the same role in 2015. As Mimí, she has earned exceptional international acclaim. Angel first sang the role at the English National Opera in London in 2014 and has since performed Mimí for her house debuts at the Palau de Les Arts in Valencia, the Vienna State Opera, and the Canadian Opera Company, the Semperoper Dresden, Hamburg State Opera, and of course, the Metropolitan Opera.

Equally active on the concert platform, Angel has appeared in recital and in concert in over forty countries including Hungary, Kazakhstan, India, Israel, Jordan, Lebanon, Turkey, South Korea, China, Bahrain, the United Arab Emirates, Russia, Brazil, and Mexico. In 2011, Angel opened the Royal Opera House, in Muscat, Oman. Orchestral engagements have included concert versions of Porgy and Bess at the Berliner Philharmoniker under Sir Simon Rattle and with the Philadelphia Orchestra under Marin Alsop, Mahler’s Symphony No. 2 with the Münchener Philharmoniker under the baton of Zubin Mehta, and Verdi’s Requiem in Sydney, Australia with Oleg Caetani. She has also sung Strauss’s Vier Letzte Lieder and Beethoven’s Symphony No. 9 with the London Philharmonic Orchestra, Peri in Schumann’s Das Paradis und die Peri with the Accademia Santa Cecilla in Rome, and Beethoven’s Symphony No. 9 with the Cincinnati Symphony under Music Director Louis Langree.

During the Covid-19 lockdown in 2020, Angel dedicated her time to encourage younger singers to stay motivated to finish their studies and continue in opera, through an online talk show called, "Faithful Friday" where she interviewed people who she found to be inspiring. The online talk show received much acclaim from its viewers, many called the show, "Uplifting, and exactly what is needed right now." Angel has since shifted her focus back to her family life and her singing engagements. However, she still maintains that encouraging and uplifting younger singers in the opera world is at the forefront of her platform. Angel Blue 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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Worldwide general management with Askonas Holt

Season Highlights

Sep 2023
San Francisco Opera
Il Trovatore (Leonara)
Oct 2023
Wiener Staatsoper
Puccini Tosca (Tosca)
Dec 2023
The Metropolitan opera
Bizet Carmen (Micaela)


Selected Repertoire

BizetCarmen (Micaëla)
BlanchardFire Shut Up In My Bones (Destiny/Loneliness/Greta)
BoitoMefistofele (Elena)
GershwinPorgy and Bess (Bess) (Clara)
GounodFaust (Maguerite)
OffenbachLes contes d'Hoffman (Giulietta)
PucciniLa boheme (Mimi) (Musetta)   •   La rondine (Magda)   •   Tosca (Tosca)   •   Turandot (Liu)
VerdiAida (Aida)   •   La traviata (Violetta)   •   Otello (Desdemona)   •   Il trovatore (Leonora)



  • 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.