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Quote: The New York Times

...she began Mahler’s delightful ditty with natural, childlike tone and sustained an awe-struck, yet restrained mood until the end.

“That cathartic moment set the stage nicely for the simple song of the finale, “The Heavenly Life,” as rendered by the rising soprano Pretty Yende. Coming off a triumphant season of Donizetti at the Metropolitan Opera, with starring roles in “L’Elisir d’Amore” and “Lucia di Lammermoor,” she began Mahler’s delightful ditty with natural, childlike tone and sustained an {…}

Feature: Ali Mpofu, IOL

During the 3rd World Choir Games in Bremen, Germany, some 14 years ago, a girl from the small town of Piet Retief took the world by storm. Her name was Pretty Yende.

One of the most costly but less acknowledged consequences of apartheid was the decades-long exclusion of South Africa from competing on the international arena, in sport or through various forms of creative expression. Due to this racial segregation, several generations of excellent sports people and artists from various disciplines – musicians, actors, dancers and other creatives – {…}

Feature: New York Times

“I think we are experiencing a big change,” she said. “The world might not see it. But the operatic world is really breaking this wall, and we have to thank the opera houses and casting directors.” - Pretty Yende

When the soprano Pretty Yende was training in the young artist academy at the Teatro alla Scala in Milan, coaches suggested she study the title role of Donizetti’s “Lucia di Lammermoor.” “I thought they were crazy,” Ms. Yende said recently. She had some good reasons: Her young voice was lusher and more velvety than most Lucias; the part’s florid coloratura was difficult for her; her {…}

Feature: The Times

When I look back I realise that there were many people who were much worthier than me, but the opportunity was not given to them. I honour that and carry that with me.

Pretty Yende knows how to make an entrance. The first time British audiences heard the South African soprano’s voice it was in the very first notes of Porgy and Bess, singing a gorgeously rich and soulful Summertime in Cape Town Opera’s production, which travelled to Cardiff and London in 2009. A few months earlier I had been given a sneak preview, hearing the same voice give full cry to {…}

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