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Puccini: Heroines

A TOUR DE FORCE OF VOICE AND DRAMA: RADVANOVSKY BRINGS PUCCINI VIVIDLY TO LIFE

Sondra Radvanovsky, Lyric Opera of Chicago, and Enrique Mazzola present Puccini: Heroines, a live recording of an all-Puccini program performed in February 2025. Radvanovsky’s extraordinary voice brings vivid individuality to each heroine, from the tender lyricism of Anna and Mimì to the dramatic intensity of Tosca and Turandot, including roles not previously in her stage repertoire. With Mazzola and the Lyric Opera Orchestra, she captures Puccini’s genius for combining concise, emotionally charged arias with profound character insight.

From the grace of Le Villi to the passion of Manon Lescaut, the intimacy of La Bohème, and the virtuosic drama of Turandot, Radvanovsky’s artistry illuminates every phrase. Encores include Musetta (La Bohème) and Lauretta (Gianni Schicchi), highlighting both theatrical flair and heartfelt nuance. Sondra Radvanovsky and Lyric Opera of Chicago previously appeared on PENTATONE with The Three Queens (2022), while Enrique Mazzola conducted the 2019 PENTATONE release of Verdi and Donizetti with Michael Fabiano.

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Puccini: Turandot

This recording of Turandot, Puccini’s spectacular final opera marks a number of important firsts. Before the recording sessions in Rome in March 2022, Sir Antonio Pappano had never conducted Turandot; neither Sondra Radvanovsky, who takes soaring title role, nor Jonas Kaufmann as Turandot’s suitor, Calaf – who sings ‘Nessun dorma’ – had previously performed the opera. It is also the first studio recording of Turandot to include the entire, crucial final scene as completed after Puccini’s death in 1925 by Franco Alfano. Radvanovsky and Kaufmann are joined by Ermonela Jaho as the slave Liù, Michele Pertusi as King Timur and Michael Spyres – a star tenor in a character role – as the Emperor of China. Pappano conducts the forces of the Accademia Nazionale di Santa Cecilia. The success of the entire project was confirmed by a public concert performance, greeted with a standing ovation, that took place a few days after recording had been completed: “Stunningly beautiful,” was the view of Opera magazine, “Pappano brings out the dramaturgical sense of every moment of the score …The singing was outstanding.” Il Corriere della Sera wrote that “First and foremost, this Turandot will be remembered [for] Antonio Pappano’s absolutely inspired achievement … It really felt like discovering a new Turandot.”

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The Three Queens (Donizetti)

Lyric Opera of Chicago presents The Three Queens, a program that brings together the finales of Gaetano Donizetti’s Tudor trilogy, showcasing three of the most fascinating heroines of opera history. These extraordinary women are interpreted by soprano star Sondra Radvanovsky, who performs them together with an excellent ensemble of soloists and members of the Lyric Opera Orchestra and Chorus under the baton of Donizetti specialist Riccardo Frizza. Singing these three breathtaking roles on one night is an enormous challenge for any soprano, and this live recording captures all the excitement of this exceptional achievement.

Lyric Opera of Chicago is one of the world’s largest and most prestigious opera houses. Riccardo Frizza is among the most sought-after conductors for nineteenth-century Italian opera, while Sondra Radvanovsky is one of the most in-demand singers of her generation on both sides of the Atlantic. All three make their PENTATONE debut with The Three Queens.

“…This is the finest work I’ve heard Radvanovsky do, not only in the Tudor trilogy, but of her entire gallery of roles. It is evident that she has not only put in the hard work and constant refining to achieve this, but it should be noted that the soprano is 50 here, and the voice is still in its prime, full, unblemished, and actually more secure than ever.

Moreover, this is one of the best performances of Maria’s last half hour on record. Radvanovsky has the true dramatic soprano and grandeur of tone to fill out the Scottish queen’s 3 scenas: the prayer “Deh! Tu di un’umile preghiera—beautifully poignant, with some lines excitingly raised; the penitent “Di un cor che muore,” and most of all the concluding “Ah, se un giorno ritorte,” where the soprano effortlessly unleashes the fullness of her voice, which abets Maria’s mounting urgency with awesome, majestic power.” – Parterre

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