Hailed by the New York Times as “one of the world’s special young singers,” Emily D’Angelo’s meteoric rise has firmly established her status as one of the most exciting and critically acclaimed artists of her generation. Beginning with her professional operatic debut at age 21 as Cherubino in Le nozze di Figaro at the Spoleto Festival dei Due Mondi, the “wondrous and powerful” (NYT) mezzo-soprano is constantly in demand at the world’s top opera companies. Following the release of her second album freezing for Deutsche Grammophon, she was named the 2025 recipient of Opus Klassik’s “Female Singer of the Year” award, one of classical music’s most coveted honors.
Hailed by the New York Times as “one of the world’s special young singers,” Emily D’Angelo’s meteoric rise has firmly established her status as one of the most exciting and critically acclaimed artists of her generation. Beginning with her professional operatic debut at age 21 as Cherubino in Le nozze di Figaro at the Spoleto Festival dei Due Mondi, the “wondrous and powerful” (NYT) mezzo-soprano is constantly in demand at the world’s top opera companies. Following the release of her second album freezing for Deutsche Grammophon, she was named the 2025 recipient of Opus Klassik’s “Female Singer of the Year” award, one of classical music’s most coveted honors.
In the 2025/26 season, Emily D’Angelo returns to London’s Royal Opera House in the title role of Handel’s Ariodante in a new production by Jetske Mijnssen and conducted by Stefano Montanari. Appearing again at the Vienna State Opera, she returns to the role of Sesto in La clemenza di Tito led by Pablo Heras-Casado and newly staged by director Jan Lauwers.
On the cusp of a robust concert season, D’Angelo makes highly anticipated debuts with the London Symphony Orchestra in Elgar’s The Dream of Gerontius under the baton of Sir Antonio Pappano, and with the Philadelphia Orchestra as soloist in Leonard Bernstein’s Symphony No. 1 “Jeremiah”, led by Yannick Nézet-Séguin. She returns to Spain for two of Mahler’s magnificent symphonies: with the Royal Seville Symphony Orchestra she is the mezzo-soprano soloist in Symphony No. 2 “Resurrection” and with Orquesta Ciudad de Granada she is heard as soloist in Symphony No. 3. Additionally in Spain she is heard in Oviedo in Rossini’s cantata Giovanna d’Arco and in de Falla’s El amor brujo. The mezzo sings the opening performance of Salzburg’s Mozartwoche 2026 with The Danish Chamber Orchestra and Adam Fischer, presenting Handel, Monteverdi and Mozart arias. She reprises this program with Mo Fischer in Copenhagen. Under the auspices of the Whitsun Festival at Festspielhaus Baden-Baden, she reprises one of her signature roles, Octavian in Der Rosenkavalier, in a concert version of the opera with the SWR Symphonie-Orchester. Additionally, she continues her collaboration with pianist Sophia Munoz in recitals at Hanzas Perons Cultural Center in Riga and at the Ammolite Opera in Calgary.
In recent seasons, Emily D’Angelo has made a host of widely acclaimed debuts, cementing her status as one of the opera world’s most in-demand artists. D’Angelo opened the 2024/25 season at the Metropolitan Opera starring as Jess, the leading role in two-time Tony Award–winning composer Jeanine Tesori’s opera Grounded. The mezzo first created the role of Jess in the world premiere with Washington National Opera in 2023. Following her company debut with the Berlin State Opera as Cherubino in Le nozze di Figaro, she subsequently made an auspicious role debut as Octavian in Der Rosenkavalier and returned to Idamante in Mozart’s Idomeneo. Her artistic bond with the Vienna State Opera includes her house debut as Dorabella in Così fan tutte, followed by performances as Octavian in Der Rosenkavalier, and as Donna Elvira in Don Giovanni. With the Bayerische Staatsoper, she has been heard as Cherubino in Le nozze di Figaro, Idamante in Idomeneo, and as Juno in Claus Guth’s new staging of Semele. With London’s Royal Opera D’Angelo made her house and role debut as Sesto in La clemenza di Tito and was swiftly re-invited for another role debut, Ruggiero in a new Richard Jones production of Handel’s Alcina. For the Paris Opera’s Palais Garnier, she gave her first performances in the title role of Ariodante in Robert Carsen’s staging, as Sesto in Laurent Pelly’s Giulio Cesare, and as Siebel in Gounod’s Faust, in tandem with appearances as Rosina in Il barbiere di Siviglia for her company debut. A frequent guest at the Metropolitan Opera, the mezzo-soprano has been heard as Cherubino and in a role debut as Prince Charming in an English-language presentation of Massenet’s Cendrillon, broadcast to audiences worldwide in Live in HD. She sang Ottavia in L’incoronazione di Poppea for her debut at the Zürich Opera and made both her role and company debut as Angelina in La cenerentola with Semperoper Dresden. With Teatro alla Scala, her first performances for the company were as Dorabella in Così fan tutte followed by her role debut as Donna Elvira in Robert Carsen’s production of Don Giovanni.
During her tenure as a member of the Metropolitan Opera’s Lindemann Young Artist Program, Emily D’Angelo performed the role of Annio in La clemenza di Tito, Second Lady in The Magic Flute (company debut), and Soeur Mathilde in Dialogues des Carmélites, conducted by music director Yannick Nézet-Séguin and broadcast in movie theaters across the world as part of the Met’s Live in HD series. She was Dorabella in Così fan tutte for the Santa Fe Opera and the Canadian Opera Company, where she has 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 storied concert halls, collaborating with the world’s most acclaimed orchestras, ensembles, and conductors. She recently made her debut at the BBC Proms in London’s Royal Albert Hall, singing Mahler’s Symphony No. 2 “Resurrection” with the Hallé Orchestra, and joined Yannick Nézet-Seguin and the Chamber Orchestra of Europe for two concerts of Mozart’s Reqiuem and Great Mass in C minor K. 427 at Festspielhaus Baden-Baden. Additionally, the mezzo-soprano starred in concert with tenor Freddie De Tommaso and the Orquesta Sinfónica de Puerto Rico and appeared as the soloist in an all-Haydn program with Tonkünstler Orchester at the Auditorium Grafenegg in Austria. She was featured at the annual Advent concert of the ZDF, German national television, with Staatskapelle Dresden under Riccardo Minasi, and in her native Canada she performed Handel’s Messiah with Orchestre Métropolitain at Basilique Notre-Dame de Montréal under the baton of Yannick Nézet-Séguin. Emily D’Angelo was the Spotlight Artist at the Toronto Symphony Orchestra in the 2023-24 season presenting Alban Berg’s Sieben frühe Lieder and the orchestral suite of her Deutsche Grammophon debut album enargeia. On the anniversary of Wolfgang Amadeus Mozart’s death, she sang his Requiem with the Camerata Salzburg, followed by performances of the work at the Salzburg Summer Festival under the baton of Manfred Honeck. She debuted Alma Mahler’s Sieben Lieder under the musical direction of Anja Bihlmaier in Madrid and twice was heard in Beethoven’s Symphony No. 9: with the Handel and Haydn Society led by Raphaël Pichon and the RSB orchestra under conductor Vladimir Jurowski. With the English Concert and Harry Bicket, D’Angelo made her debut at Carnegie Hall’s Stern Auditorium in the title role of Handel’s Serse, with further concert performances in the UK and Spain in 2023. In 2024 she gave her solo recital debut at Carnegie Hall and recently returned to New York’s Park Avenue Armory, performing songs of her debut album enargeia. She has presented recitals together with pianist Sophia Munoz at The Edinburgh International and at Konserthuset Stockholm. She has further appeared in solo recitals under the auspices of the Park Avenue Armory, the New York Morgan Library Recital Series, Toronto’s Koerner Hall, Los Angeles’ Song Fest Recital Series, the Santa Fe Festival of Song, Teatro del Lago in Chile, and The Society of the Four Arts in Palm Beach. In 2021, she recorded a recital program at the Kennedy Center for Vocal Arts DC, which continues to stream online via Deutsche Grammophon’s DG Stage+ platform.
Additional performances have included diverse repertoire such as Respighi’s Il tramonto with Quartet 212 at the Princeton University Concert Series, Stravinsky’s Pulcinella with the Montclair Orchestra, 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.
Emily D’Angelo is a Deutsche Grammophon exclusive recording artist. Her debut album enargeia presents music from the 12th and 21st centuries by 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 multisensory 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. In 2024 D’Angelo released her much-anticipated second album freezing produced by Deutsche Grammophon. freezing features music by Dowland, Purcell, Kodály, Philip Glass, Randy Newman and Jeanine Tesori, among many others. The album comprises 17 songs drawn from the folk tradition, art song and beyond. The mezzo-soprano is joined on freezing by Sophia Muñoz (piano), Bruno Helstroffer (electric guitar) and Jonas Niederstadt (bass guitar, synth, percussion).
D’Angelo can be heard performing Ralph Vaughan Williams’ Serenade to Music in a Grammy-nominated and JUNO Award-winning live recording with the Toronto Symphony Orchestra; in excerpts from West Side Story on Decca’s “The Magic of Mantovani”; and in Ravel’s Cinq mélodies populaires grecques with the Chamber Music Society of Lincoln Center on their album “Odyssey,” filmed and recorded at the Stavros Niarchos Cultural Center in Athens for the first ever international production of PBS “Live From Lincoln Center.”
D’Angelo has triumphed in numerous international competitions, winning first prize in the Metropolitan Opera Competition, the Canadian Opera Company Competition, the George London Foundation Competition, the Gerda Lissner Competition, Innsbruck’s Cesti Competition, and the Operalia Competition, where a historic win included First Prize, the Zarzuela Prize, the Birgit Nilsson Prize and Audience Prize. She has also received prizes from the Neue Stimmen International Singing Competition, the Concours musical international de Montréal (CMIM). The mezzo-soprano is the first and only vocalist to be honored with the Leonard Bernstein Award from the Schleswig-Holstein Festival. D’Angelo was 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. Her professional operatic debut as Cherubino in Le nozze di Figaro at the Spoleto Festival dei Due Mondi, broadcast nationwide on RAI, earned her the 2016 Monini Prize.
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 Festival’s Steans Music Institute.
© CSAM, September 2025
