Shirley Verrett (May 31, 1931 – November 5, 2010) was an American operatic mezzo-soprano who successfully transitioned into soprano roles, i.e. soprano sfogato. Verrett enjoyed great fame from the late 1960s through the 1990s, particularly well known for singing the works of Verdi and Donizetti. Early life and education Born into an African-American family of devout Seventh-day Adventists in New Orleans, Louisiana, Verrett was raised in Los Angeles, California. She sang in church and showed early musical abilities, but initially a singing career was frowned upon by her family. Later Verrett went on to study with Anna Fitziu and with Marion Szekely Freschl at the Juilliard School in New York. In 1961 she won the Metropolitan Opera National Council Auditions. International career In 1957, Verrett made her operatic debut in Britten's The Rape of Lucretia under her then-married name of Shirley Carter. She later used the name Shirley Verrett-Carter, and ultimately just Shirley Verrett. In 1958, she made her New York City Opera debut as Irina in Kurt Weill's Lost in the Stars. In 1959, she made her European debut in Cologne, Germany in Nicolas Nabokov's Rasputins Tod. In 1962, she received critical acclaim for her Carmen in Spoleto, and repeated the role at the Bolshoi Theatre in 1963, and at the NY City Opera in 1964 (opposite Richard Cassilly and Norman Treigle). Verrett first appeared at the Royal Opera House, Covent Garden in 1966 as Ulrica in Un ballo in maschera. She appeared in the first concert ever televised from Lincoln Center in 1962, and also appeared that year in the first of the Leonard Bernstein Young People's Concerts ever televised from that venue, in what is now Avery Fisher Hall. She made her debut at the Metropolitan Opera in 1968, with Carmen, and at La Scala in 1969 in Samson and Dalila. Verrett's mezzo roles included Cassandra and Didon (Berlioz's Les Troyens)-including the Met premiere, when she sang both roles in the same performance, Verdi's Ulrica, Amneris, Eboli, Azucena, Saint-Saëns' Dalila, Donizetti's Elisabetta I in Maria Stuarda, Leonora in La favorita, Christoph Willibald Gluck's Orpheus, and Rossini's Neocles (L'assedio di Corinto) and Sinaide in Moïse. Many of these roles were recorded, either professionally or privately. Beginning in the late 1970s she began to tackle soprano roles, including Selika in L'Africaine, Judith in Bartók's Bluebeard's Castle, Lady Macbeth Macbeth, Madame Lidoine in Poulenc's Dialogues of the Carmelites (Met1977), Tosca,