It is time to wrap up the year and look back at our favorite moments and performers.

After releasing our favorite performances of 2025 and showcasing our rising stars of the year, it’s time for OperaWire’s annual tradition of naming our top singers of the year, honoring the opera stars that had major, and in some cases, career-defining, years.

So without further ado here are our standouts of 2025, in alphabetical order.

Angel Blue

“Angel Blue gave a beautiful interpretation of Aida, both vocally and with her physical embodiment of the character.” – David Salazar 

For Angel Blue, the year began with one of the most anticipated productions in years: “Aida” at the Metropolitan Opera. Blue’s interpretation was much anticipated at the hallowed hall and the soprano lived up to it. Her memorable “Ritorna Vincitor” was a highlight as she “injected power and bite.”  And audiences around the world got to see the performance on the Met’s Live in HD series. Blue later brought her acclaimed turn to the Baltimore Symphony Orchestra.

Internationally, Blue made some important debuts, including her Bayerische Staatsoper as Mimì in “La Bohème” and she returned to Italy for her highly anticipated debut at the Arena di Verona as Violetta in “La Traviata.” Blue also returned to the Houston Grand Opera for “Porgy and Bess” and gave her interpretation “ardor and intensity.”

On the concert stage, the soprano showed her virtuosity at Carnegie Hall, Festival Castell Perelada, Teatro Mayor de Bogota, LA Opera, and Théâtre des Champs-Élysées. Blue also appeared in two national events on PBS, first for Memorial Day and then on Veteran’s Day. Finally, her artistry was highlighted in the documentary “Primadonna or nothing.”

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Gerald Finley

“Gerald Finlay avoids ostentatious brutishness and presents a more subtle, calculating, and utterly convincing monster.” – Mike Hardy

This year, Gerald Finley presented some of the most striking portrayals on stage. How could one forget his diabolical Scarpia in “Tosca” at the Royal Opera House’s opening night or his musically sensitive Don Alfonso in “Così fan tutte” at the Teatro alla Scala in a new production? And then there was the new recording of “Der Fliegende Holländer” where he presented a physiologically compelling title role through his vocal intelligence and nuance. That recording ended up scoring the Gramophone Award.

But the Canadian baritone wasn’t only captivating in the classics. He showed audiences his wide range, creating the role of Helge in the Olivier Award winning opera “Festen” by Mark-Anthony Turnage before taking on a tragic portrayal of Antony in “Antony and Cleopatra” in the Met premiere of the John Adams opera. The role, which he created a few years prior, garnered him a Premios ÓperaXXI this year.

Outside of his operatic schedule, Finley had the honor of opening the First Night at the Proms and will end the year with “Messiah” performances in his home country with the Toronto Symphony Orchestra.

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Kate Lindsey

“The mezzo-soprano effectively conveyed both the vocal and dramatic concerns of the innocent novice.” – Bernardo Gaitan

This year, Kate Lindsey headlined one of the most anticipated world premieres in years as the mezzo-soprano created the role of Adso da Melk in Francesco Fildei’s opera “Il Nome della Rosa” at Teatro alla Scala. The premiere, which was seen around the world, was a triumph for the mezzo who was praised for her “vibrant skill” and “agile voice in the upper register.”

The mezzo also demonstrated her versatility in a new production of “Maria Stuarda” at the Salzburg Festival, which audiences also got to see worldwide. Not as well-known for the Bel Canto repertoire, Lindsey showed new colors in her voice and as critics noted, “displayed dark caramel depths, ferocious venom and great agility around the complexities in the score to present Elisabetta as both tortured and torturer.”

And how can one forget her memorable portrayals as the Composer in “Ariadne auf Naxos” and Melisande in “Pelléas et Mélisande” at the Wiener Staatsoper? Then there was her role debut as Iphigénie in “Iphigénie en Tauride” at the Washington Concert Opera, which was defined for “flexible musicality.”

Outside of the opera house, she delighted audiences with concerts at Carnegie Hall, Wiener Konzerthaus, Musikverein Wien and Brucknerhaus Linz.

Lindsey also continued her exploration of repertoire with her new album “Samsara,” which cemented her interpretations of Schumann’s “Frauenliebe und Leben” and Fauré’s “La Chanson d’Ève,” into the history books.

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Anna Netrebko

“She demonstrated superb control, employing expert dynamics that spun a single vocal thread and enriched it with splendid messe di voce.” – Laura Servidei

This was arguably a year of returns for Anna Netrebko. Arguably her highest profile return was at the Royal Opera House where she opened the season with a new production of “Tosca,” garnering universal praise. Her “Vissi d’arte” was particularly lauded for her “excellent phrasing” and dripping anguish.” Moreover, the Royal Opera House brought the production to cinemas. She also brought her “Turandot” to the London stage where “Netrebko’s vocal richness and the grandeur of her phrasing lift things to a different level.”

There was also a return to the Opernhaus Zürich for her signature Leonora in “La Forza del Destino,” where the soprano gave a moving rendition of “Madre, pietosa vergine.” Also unforgettable was the soprano reviving her Leonora in “Il Trovatore” at the Berlin State Opera and Chorégies d’Orange.

The soprano also sang her first performance in the United States since 2019, giving a sold out concert with the Palm Beach Opera. She also sang her first staged opera since 2014 at the Teatro dell’Opera di Roma, celebrating the 125th anniversary of “Tosca.”

But it was also a year of debuts with Netrebko giving her first performances of Amelia in “Un ballo in Maschera,” a role that saw her bring the “expressive qualities” of her voice to the fore. She gave an unforgettable performance of “Morrò – ma prima in grazia” that was “pure emotion.” The diva also sang her first Lisa in “The Queen of Spades” at the Wiener Staatsoper.

There was also debut at the Puccini Festival as well as a Puccini tour and the release of her acclaimed “Turandot.” And Netrebko headlined an acclaimed new production of “Nabucco” at the Arena di Verona, with the soprano delivering a balance between fiery singing and soft floated bel canto lines.

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Lisette Oropesa

“Oropesa masterfully captured all the conflicting emotions of the confused teenager.” – Laura Servidei

Lisette Oropesa opened and closed the year with “I Puritani,” first in a surprise concert performance at the Tiroler Festspiele Erl and then in her first stage performances of the role at the Paris Opera. Audiences and critics were ecstatic raving that “Her performance was nothing short of extraordinary, excelling both musically and dramatically.” And the soprano will now close the year with the first new production of the opera at the Metropolitan Opera in 50 years.

But “I Puritani” wasn’t the only bel canto role that Oropesa brought to audiences. She also returned to her highly acclaimed “Maria Stuarda” in a new production at the Salzburg Festival that was streamed worldwide and was the talk of the summer festival. Verdi also played a key role in her year with a return to the LA Opera and Arena di Verona in “Rigoletto.” There was also a return to the Bayerische Staatsoper as Amalia in “I Masnadieri,” a role that Oropesa has made her own. And there was Violetta in “La Traviata” in her Berlin State Opera debut and at the Bayerische Staatsoper.

The soprano also immersed herself in the French repertoire. First an unforgettable Manon which “masterfully captured all the conflicting emotions of the confused teenager.” Then there was Juliette in “Roméo et Juliette” at the Berlin State Opera.

Oropesa also delighted audiences in concert at Opera Louisiane, Festspielhaus Baden-Baden, Opéra Royal du Château de Versailles, and Suntory Hall.

And for fans who couldn’t go to her performances, her signature “Lucia di Lammermoor” was released on CD for audiences around the world to enjoy.

Marina Rebeka

“Marina Rebeka Delivers a Stunning, Near-Perfect Portrayal of Norma” – Bernardo Gaitan

This year history was made by Marina Rebeka when she brought Norma back to the Teatro alla Scala. The soprano revived the work which had not been performed at the Milan theater since 1977 and joined the ranks of Maria Callas and Monserrat Caballé, who gave legendary depictions of the role at La Scala. Rebeka not only gave audiences a critical edition but she showed why she is arguably the best living Norma with an “emotionally charged” interpretation that had audiences calling for a bis after her “Casta Diva.” Thankfully audiences around the world got to enjoy the opera when it was live-streamed worldwide.

Norma wasn’t the only bel canto role that the Latvian soprano conquered. She made her role debut as “Lucrezia Borgia” at the Teatro de la Maestranza, showing once again why she is one of the current masters of the bel canto style. Her interpretation was described as “breathtaking” featuring “monumental high notes, powerful phrasing, and dramatic intensity.”

Beyond the bel canto period, Rebeka gave a memorable role debut as Elisabetta in “Don Carlos” at the Paris Opera and a heart wrenching rendering of “Madama Butterfly” at the Opernhaus Zürich. She also returned to her signature Violetta in “La Traviata” at the Berlin State Opera, providing audiences another chance to witness her interpretation.

Rebeka’s artistry was also witnessed in concerts at the Teatro alla Scala, Teatro de la Zarzuela, Arena di Verona and Latvia. Furthermore, she was awarded the Reader’s Choice prize at the Opera Awards as well as the Chevaliere de l’Ordre des Arts et des Lettres.

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Ryan Speedo Green

“Green’s vocal agility and physicality were absolutely perfect.” – Jennifer Pyron 

This year, Ryan Speedo Green delivered his long-awaited Wotan. That alone is a major feat for any bass-baritone and as was the case with Speedo Green, his Wotan was lauded with critics stating that he “portrayed the troubled god as if he had been doing it for years. Sensitive to every singer around him, he delivered one great moment after another in his rich baritone, as silky as it is powerful.” Shortly after this debut, the Metropolitan Opera announced that Green would be headlining the upcoming new production of “The Ring Cycle.”

Speaking of the Met, Speedo Green headlined three productions. First the bass-baritone “delivered potently as Queequeg, his voice full of somber and even restrained longing” and then he gave his first performances of “Don Giovanni” and became the first African American to ever sing the title role in the Met’s 141-year history. His show stopping “Fin ch’han dal vino” featured his well-studied vocal technique and support. Finally he showed another layer of his artistry in his role debut as Crown in “Porgy and Bess.” Here he displayed a “more aggressive side as he swaggered and tried to impose his will on those around him” creating a tour de force performance.

But it wasn’t only American audiences that got to see the rising star. He also brought his Klingor in “Parsifal” to Glyndebourne, where he brought “a steely, ringing sound to Klingsor, with an oily legato that chills and seduces by turns.”

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Jonathan Tetelman

“Beautifully timed and spot-on dramatic intensity.” –Bob Dieschburg

Jonathan Tetelman continued his meteoric rise in the opera world, headlining house debuts and several new productions. Among those were his debut at the Wiener Staatsoper in “Cavalleria Rusticana,” and then a return later in the year as Cavaradossi in “Tosca,” bringing heroic high notes to the stage. The tenor continued appearing in “Tosca” at Theater Bonn, Festival Puccini, and later at the Teatro dell’Opera di Roma, where the company celebrated the opera’s 150th anniversary with a video recording. Deutsche Grammophon also released a highly anticipated recording featuring the tenor.

His Verismo skills were further emphasized in his role debut in “Le Villi” at the Teatro Gran Canaria. There Tetelman marveled audiences by giving an encore during one of the performances. There were also performances of “Madama Butterfly” at the Festspielehaus Baden-Baden and Berlin Philharmonic. Tetelman also headlined an acclaimed production of “Fedora” at the Deutsche Oper Berlin which showed his “impassioned, yet lyrical and Italianate” character. And at the same theater he got a chance to showcase his legato skills in Verdi’s “Don Carlo.”

Additionally, the tenor charmed audiences with his intense stage presence at concerts in Latin America, Munich, Bucharest, Copenhagen, Frankfurt, and Krakow, among many others. He will end his season captivating the Teatro La Fenice’s in the company’s annual New Year’s Eve concert.

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Rachel Willis-Sørensen

“Willis-Sørensen displayed an opulent tone that had a variation of dynamics.” – Francisco Salazar 

It was a year of debuts for American soprano Rachel Willis-Sørensen, who finally got to headline her first production at the Metropolitan Opera as a title character. That was in “Arabella,” a role that she had never performed and one that brought her into the limelight for her “spectacular legato line with a resonant middle voice.” She also made her Live in HD debut, giving audiences a chance to see her glorious interpretation all over the world.

The soprano also gave audiences a taste of Bel Canto, singing her first “Norma” at the Berlin State Opera. She proved to be a success with “a robust middle and low register and the necessary ease in coloratura.” Willis-Sørensen also went back to the French repertoire in her role debut as Thaïs at the Opéra national du Capitole – Toulouse.

Verdi also formed part of her success with Elisabetta in “Don Carlo” at the Bayerische Staatsoper and her house debut at the Teatro Sam Carlo. She also brought her acclaimed Leonora in “Il Trovatore” to the Wiener Staatsoper and the Royal Opera House. And of course there were performances of Verdi’s Requiem, which the soprano has  made one of her signatures.

Finally, the soprano lent her artistry to the Ukrainian Freedom Orchestra, touring with the orchestra over the summer.

Sonya Yoncheva

“The soprano comes to grow from role to role, her singing and stage essence increasingly irresistible.” – David Salazar 

Sonya Yoncheva is one of the most unpredictable sopranos in the industry, always following her instincts and growing her career on her own terms with freedom and dominance. This year, she displayed her strength and power, making her role debut as Lisa in “The Queen of Spades” at the Metropolitan Opera, reminding audiences why she is one of most magnetic performers in the industry. She also took on a new production of “Iolanta” at the Wiener Staatsoper, bringing out the lyric qualities of Tchaikovsky’s music and showcasing a “richly-sung and deeply- touching” portrayal.

Verismo also played an important role in her year as she continued to grow her characterization of Maddalena in “Andrea Chenier,” first at the Wiener Staatsoper and later at the Metropolitan Opera where she soared in her captivating “La mamma morta.” And then there was her heartbreaking “Tosca,” which she reprised in Vienna and Zürich.

Yoncheva also reminded audiences that she can still sing some baroque as she brought her acclaimed Dido to the Bayerische Staatsoper as well as to audiences home’s in the new DVD release from Versailles.

The uniqueness the soprano was also on display through her production company SY11, producing galas in Bulgaria with top artists and launching her latest album “George” in a new partnership Naive and SY11. She also juried and co-produced the Operalia Competition and began a series “Culture is the future,” giving back to the upcoming generations of singers and opera lovers.