Joan Rodgers is among the leading English sopranos of her generation. She has received international praise for her interpretations of Russian songs, particularly large sets of Tchaikovsky, Mussorgsky, Prokofiev, Rachmaninov, and others, and in operas by Mozart and Handel. But she is also effective in a broader range of repertory, both in opera and in concert. Her attractive, somewhat gentle voice has evolved over the years, gaining more power without darkening. Rodgers was born in Whitehaven, Cumbria, England, on November 4, 1956. After graduation from the University of Liverpool with a degree in Russian, she enrolled at the Royal Northern College of Music in Manchester for vocal studies. Her ascent to the most prestigious plateaus in opera came quickly: her debut was at the 1982 Aix-en-Provence Festival as a replacement for soprano Judith Blegen. There Rodgers sang Pamina in Mozart's The Magic Flute to overwhelming critical acclaim. She was soon given engagements at leading English opera houses, including Covent Garden and the English National Opera, as well as to those in Europe, including at Paris, Vienna, Munich, Florence, and Zurich. She appeared on British television in 1988 at the BBC Proms on the Last Night concert. By the early '90s Rodgers had become highly respected not only on the major opera stages, but for her work in the recording studio, as well. Her appearance as Susanna in the 1991 recording of Le nozze di Figaro was the first of several successful Mozart recordings on theErato label she made with conductor Daniel Barenboim. Rodgers' debut at the Met was belated, coming only in 1995, but in one of her favorite and most successful roles, that of Pamina. In 1998 she appeared in the Chandos English-language version of Mussorgsky's Boris Godunov, led by her husband, conductor Paul Daniel. That same year at the Scottish Opera, she sang the Marschallin from Richard Strauss' Der Rosenkavalier for the first time and drew enthusiastic responses from critics and audience alike; she reprised the role there in 2002, reportedly with even greater success. She has remained active in the new century, both in live performance and on recordings: her 2004 recording of Russian Songs on Hyperion, featuring songs by Mussorgsky, Prokofiev, Rachmaninov, and Britten, was a critical success, and her appearances the following year in Tokyo with the Bavarian State Opera in Handel's Ariodante scored a major triumph. In 2010, she was named International Chair in Singing at the Royal Northern College of Music and continued recording, with efforts such as Wekerlin: La Laitière de Trianon (2008), Pushkin Romances (2009), and Strauss: Don Juan; Metamorphosen; Songs for Soprano (2011).