Kristin Chenoweth has been singing Idina Menzel‘s praises – quite literally.
The Tony Award-winning actress and singer appeared in a New York Times conversation this week about the art of belting, and she made her feelings about her Broadway best friend very clear.
In a post on Instagram, Chenoweth wrote: “I could talk about my friend @idinamenzel all day. Thank you to @nytimes for asking me to join in on your conversation about the art of belting.”
Broadway fans already know why these two names belong in the same sentence. Chenoweth and Menzel both originated the lead roles in Wicked on Broadway in 2003. Chenoweth played Glinda the Good Witch. Menzel played Elphaba. Together they sang “For Good,” one of the most beloved duets in modern Broadway history. The theater world has cherished their friendship ever since.
More than two decades later, that bond is clearly still going strong.
The New York Times conversation zeroed in on belting – the powerful, chest-driven vocal technique that defines so much of what makes Broadway music sound the way it does. It’s not a simple thing to explain or teach. For singers who do it well, it can sound almost effortless. For everyone watching from the audience, it can feel downright supernatural.
Chenoweth is one of the most respected voices in the business when it comes to this subject. Her soprano range is legendary, but she also knows her way around a belt. She’s spent decades working at the crossroads of classical training and theatrical power singing. That background makes her a genuinely smart choice for a conversation like this.
And Menzel? She might be the defining belt of her generation. “Defying Gravity,” the Act One closer from Wicked, is basically a masterclass in the technique. Then there’s “Let It Go” from Frozen – a song heard so widely that it introduced belting to a generation of listeners who’d never set foot in a Broadway theater.
It makes complete sense that Chenoweth brought her up. These two don’t just share a history. They share a vocal philosophy.
The NYT piece added some real depth to a conversation that usually only happens in conservatories and voice studios. Belting gets talked about a lot in musical theater circles, but it rarely gets this kind of mainstream attention. Having a performer of Chenoweth’s caliber break it down for a broad audience is genuinely useful for fans who want to understand why their favorite Broadway moments hit so hard.
Chenoweth’s post drew over 37,000 likes on Instagram. The fan base is clearly paying close attention. Broadway devotees and Wicked fans flooded the comments with hearts and green heart emojis – a nod to the show that first brought these two women together.
Both have had big years in the public eye. Menzel appeared in the 2024 Wicked film alongside the new cast. The movie brought renewed attention to the original stage production and reminded a whole new audience why the original run meant so much. Chenoweth was also part of the film, adding another chapter to a career that already has a Tony and an Emmy on the shelf.
This New York Times moment feels like a natural extension of all that. Two women who helped define what Broadway can sound like, still talking about the craft, still lifting each other up.
The piece is worth reading. It’s especially rewarding for anyone who wants to understand what separates a good singer from a great one. Chenoweth clearly has a lot to say on the subject. And any excuse to hear her talk about Menzel is a good one.
