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Quote: Operawire

Having a lyrical instrument by nature with a strong centre and dark sound, she had no trouble with a score which is basically written for the middle of the voice.

“Pretty Yende has conquered the stages of the most notable opera houses around the world and as Lucia, she provided the perfect voice for this role. Having a lyrical instrument by nature with a strong centre and dark sound, she had no trouble with a score which is basically written for the middle of the voice.” Operawire

Quote: Operawire

Her interpretation of her cavatina “Quel guardo il cavaliere” was a cheerful display of good singing: legato lines, clean coloratura, secure high notes and full dedication to her character.

“Norina is a long lyrical part with coloratura and high notes and Pretty Yende’s voice suits that task perfectly. She has a powerful lyrical instrument with dark and vibrant hues in the middle register and ringing at the top of her voice. Moreover, she has a wide register (she can maintain a high F), but it is in the middle of the voice and up to high B flat where her timbre shines {…}

Feature: Observer

“I wouldn’t be human if I didn’t acknowledge my insecurities,” she said. “Empathy and humanness in what we do is too important. Marie helped me remember that.” - Pretty Yende

Observer When Pretty Yende made her debut at the Metropolitan Opera in 2013, it was the result of a last-minute change in casting that both delighted and worried the opera world. Replacing Nino Machaidze after she became ill, Yende learned the role of Adèle in Rossini’s Le Comte Ory in less than a month. Whereas casting for a Met season is usually announced more than six months in advance, {…}

Feature: The New York Times

I couldn’t find the vocabulary for what I truly wanted to say, that emotional part of Marie. And so I just started speaking Zulu.

The New York Times It is a brief, charming moment — and subtle enough that some audience members may miss it. But it speaks loudly as a symbol: the distinctive clicks of Zulu, the African language, echoing from the stage of the Metropolitan Opera. It comes during Donizetti’s comedy “La Fille du Régiment.” Pretty Yende, the bel canto soprano singing the title role — Marie, an orphan {…}

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