If you’re looking for an introduction to Canadian mezzo-soprano Emily D’Angelo, you’ll find her on some of the most celebrated international opera stages: The Met, La Scala, or the Royal Opera House. You might also find her in a recital in Salzburg, Prague, or at Carnegie Hall. But after treading these storied paths to opera stardom, D’Angelo’s debut album enargeia (Deutsche Grammophon) presents a carefully curated statement of an altogether distinctive artistic vision. Fascinated by connections between the ancient past and the emerging present, D’Angelo populated enargeia with over 900 years of music, ranging from the 12th-century Hildegard von Bingen to the trending 21st-century composers Sarah Kirkland Snider, Hildur Guðnadóttir, and Missy Mazzoli.

Speaking with smART Magazine, D’Angelo discusses her fascination with von Bingen’s life and music. She finds connections between von Bingen’s life, as a medieval polymath, and the multifaceted careers of contemporary composers like Guðnadóttir. D’Angelo places great importance on negotiating her personal artistic goals while challenging audience and industry expectations. Along the way, she also reflects on the opportunities and hurdles presented by technological elements such as video and social media.