Diana McVey
Photo Courtesy of
Stephen Dillon


Represented by:


Martha Wade

Wade Artist Management

215 West 83rd St., Suite 9A

New York, NY 10024

Phone/Fax: 212-877-6483




Click here to e-mail Ms. McVey



Countess Madeleine – Capriccio – Opera Theater of Pittsburgh

“McVey embodied a dignity that isn't chilly, and a sincerity that can still admit humor. The role's moderately high tessitura was no problem for her. McVey's Countess was a high point of the production.”


Countess Madeleine – Capriccio – Opera Theater of Pittsburgh

“Diana McVey sang and acted the role of the Countess Madeleine with a silvery, high soprano of great strength and beauty. She presented a charming stage picture, and acted the part with subtle nuances and a wealth of poise and dignity.”


Adina – L’Elisir d’amore – Florentine Opera

“As Adina, soprano Diana McVey produced a bevy of ringing high notes that not only rode above the orchestra with sweet bell-like precision but reminded us that fine lyric sopranos are not currently in abundance.“


Adina – L’Elisir d’amore – Florentine Opera

“Soprano Diana McVey used physical grace, dignity, and believable emotional vulnerability to create a dimensional Adina. She sang with an exceptionally even, ringing sound and the technical facility to make even the most difficult passages and soaring high notes sound easy.”


Contessa - Le Nozze di Figaro—Opera Idaho

But it’s soprano Diana McVey who gave the production its heart as the Contessa, with a deeply emotional portrait of a woman trying to save her marriage. Her remarkable voice soared on her lament “Dove sono” making it truly heartbreaking.”


Contessa - Le Nozze di Figaro—Florentine Opera

The sweetness and pliancy of McVey’s voice and the sighing quality of her singing made Dove sono do what Mozart meant it to do: Make us love the Countess and give moral weight to an opera that otherwise might be nothing but an amusing sex farce. Usually, singers take the second half of the aria as a fiery, bitter cabaletta; McVey and Rescigno kept it sweet, gentle, nostalgic. She also sang the repeat of the opening verse pianissimo, and the big audience got so very quiet to take it in.”


“No, che non sei capace” - Mozart – Concert Aria K. 419 - New Bedford Symphony

McVey triumphed in her elaborately ornamented ascent into the stratosphere of female scorn, especially when she had to vent her spleen full force two octaves above middle C, then suddenly repeat her words in a whisper without compromising tone quality or pitch — an immensely difficult transition that McVey navigated beautifully.”


Lucia - Lucia di Lammermoor - Salt Marsh Opera

“Later in the opera, McVey takes part in the famous Act II sextet and finale, and in Act III she gives a tour-de-force performance in Lucia’s final scene, a classic operatic “mad scene” where love and betrayal have driven her to desperation with grief and anger. The gifted soprano shows perfect stamina throughout her arduous highs and lows (of both an emotional and a musical kind).”


Lisette - La Rondine - Opera Tampa

“Diana McVey, as Lisette (the maid), was sweet and funny and animated and also sang beautifully.  She was well-cast in the role, and I have no doubt we will hear much more from her.”


Liu - Turandot - Opera Columbus

“…Diana McVey as Liu creates a memorable and sympathetic portrayal.”


Complete PR materials provided upon request.


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