Dr. DIANA LIVINGSTON FRIEDLEY
    LYRIC SOPRANO

    Academic 2002-3:
    Personal Email
    Voice Mail: 1-208-282-2611
    School's Box 8099 Pocatello, ID 83209
    School's Office Fax: (208) 282-4884

    Besides local appearances in various New Jersey venues, last November Dr. Livingston Friedley was the featured performer on a five city tour of Taiwan. Earlier, she appeared as guest soloist with The Nebraska Choral Arts Society, St. Cecilia Chorus and Chamber Orchestra of New York, Central Jersey Symphony Orchestra and Master Chorale, Bremen Camerata Instrumentale in Bremen, Germany, Princeton University's Concert Jazz Ensemble, Hunterdon Choral Union, and Symphony of New Jersey. Concert and recital appearances include The Taiwanese American 9/11 Benefit Concert held at the Harold Washington Library in Chicago; The Taiwanese American East Coast Conference at Delaware University; The Westchester Taiwanese Women's Association 25th Anniversary Celebration at Purchase College, SUNY, N. Y., and Westminster Choir College's Faculty concert series in Princeton, New Jersey.

    Diana has performed numerous operatic roles including "Mimi Manini" with the Zwei-Groschen-Oper's production of 1001 Nights in Venice at the Theaterhof in Humbach, Germany. While a doctoral student at Rutgers University, she sang Fiorilla in Rossini's Il Turco in Italia, Adele in Die Fledermaus, Zerlina in Don Giovanni, and Musetta in Rutgers' critically acclaimed production of La Boheme, which received the 1995 National Opera Association's "Best Production" Award.

    Diana has also worked with numerous opera companies in New York; Opera Orchestra of New York, The Bronx Opera Company, The American Chamber Opera Company, and The Liederkranz Foundation.

    Diana completed her Doctorate at Rutgers University, Mason Gross School of the Arts, her Master of Music at Indiana University, and her Bachelor of Music at Westminster Choir College in Princeton, New Jersey. At Indiana University she performed in numerous productions including: La Finta Giardiniera, L'Elisir d'Amore, The Cry of Clytaemnestra, Gianni Schicchi, and The Old Maid and the Thief. She has been teaching for the music department at California State University at Fresno. Mrs. Livingston Friedley is going to a new position in the Department of Music, Idaho State University in Pocatello, Idaho where she will be an Assistant Professor of Voice for Vocal Literature and Vocal Pedagogy.

    "...Soprano Diana Livingston as Fiorilla turned in a marvelous performance, both vocally and dramatically. Ms. Livingston is a gifted actress with an extremely flexible voice. The soprano has clarity, brilliance of tone and a seamless compass throughout her registers."

      Sonia Lewis for CLASSICNJ@AOL.COM-1998.

    "...An extraordinarily beautiful personality, in the middle voice secure, and the high with an unchanging clarity, a loaded lyrical voice has Diana Livingston, whom the audience took as their own."

      Ernst Naredi-Rainer for Kleine Zeitung-Graz, Austria-1997.

    "...the evening's star proved not to be one of the aristocratic primaries but the slightly secondary role of the chamber maid Adele, exquisitely protrayed by Diana Livingston. When this kind of acting was matched with her kind of voice, Adele easily became the most memorable part of the show... Adele was silly and as opportunity-seeking as the others but Livingston balances the stock negative stereotype with humanizing comic touches and vulnerability that made her like any of us."

      Robert W. Butts for CLASSICNJ@AOL.COM-1977

    "...Most effective was Diana Livingston as Zerlina. Livingston has the kind of charismatic stage presence one loves to see. Graceful as a ballerina, she smiles, cavorts and sings with beauty of tone...Her work in the famous duet, "La ci darem la mano" is a delight."

      Albert H. Cohen for The Home News & Tribune-1996.

    "...Diana Livingston ignited the Cafe Momus scene, as any Musetta must, but this was something really special."

      exclaimed Michael Redmond for The Star-Ledger-1995
      in his review of the critically acclaimed production of La Boheme,
      recipient of the 1995 National Opera Association's
      "Best Production" Award.

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