Opera Passport \\Adriana González\\
Photo Credit: Marine Cessat-BéglerOpera Passport is an exclusive Q&A series by 360° of Opera that catches opera industry professionals in action, from all corners of the world.
Our newest guest in the series is Guatemalan soprano Adriana González, who is currently preparing to make her role and house debut as Juliette in Gounod’s Roméo et Juliette at Houston Grand Opera.
Adriana is a graduate of the Atelier Lyrique at Opéra National de Paris, the Opera Studio at Opernhaus Zürich, First Prize and Zarzuela Prize of the Operalia Competition 2019, and has been acclaimed internationally for her fine lyric voice and outstanding musicality.
1 \\ This is a role, house and city debut for you! How are you feeling about it all after singing mainly in Europe in the last couple of seasons?
It is very exciting! I am curious to know how work is in the US, specially because of the amazing singers I have met and have shared their happy experiences of working in Houston. It’s definitely a big dream to expand the territories where I sing in and a big step in my career to enter the North American circuit. It’s also inspiring to know that people overseas have an interest in my voice.
2 \\ You’re in good company for this meaningful debut, how has it been sharing this experience with star tenor Michael Spyres so far?
He is an absolute dream! I have been a huge fan and have often heard of him ever since I was in the World Youth Choir in 2012. He had also been part of the choir years before. To finally meet him is truly inspiring. He is a great musician, singer and a joy to work with. And we just found out that we will be singing together again in CARMEN next season at the Opera de Paris! I’m really happy to work with him.
3 \\ You are singing an iconic role, not only operatically speaking, but dramaturgically as well. What are some inspirations of singers past and/or present for this role for you? How about inspirations from other mediums for this role?
I really enjoy the recording of Ruth Ann Swenson and Placido Domingo, specifically the dynamics and phrasing are very inspiring. I also got to see a production in Nice with Alain Gaingal conducting. It was very insightful to see him work.
I am also a huge fan of Montserrat Caballé and Joan Sutherland in general, so they are a big references for phrasing and technical approaches.
Adriana González with stage director, Tomer Zvulun, and tenor, Michael Spyres4 \\ What are some unique features about this production at HGO?
Probably the amazing commitment of the whole team to make this a beautiful performance and the team spirit.
The singers in the production are excellent! You can expect to hear some beautiful voices on stage. Many are from the studio at HGO and they have beautiful instruments and are committed to their roles. Also the choir is amazing! Gounod wrote amazingly for choir, so you can expect some beautiful climatic moments with the choir. They bring me to tears every rehearsal.
Staging is by Tomer Zvulun & costumes by Gregory Gale. Both are full of wonderful ideas and I have loved the process of discovering Juliette and her relationship all other characters through their eyes. This wonderful work is perfectly complimented by Patrick Summers’ musical guidance.
5 \\ What are the key steps for every role you prepare? When do you know a role is right and how far in advance do you start preparing for it?
I mainly focus on how the role feels in my voice naturally, and that I can show my vocal qualities with the music. I also seek the advice of my singing teacher, agent, vocal coaches & mentors, who always run through the role with me and help me prepare.
Normally, preparation starts as soon as I receive the contract which can be up to 3 years in advance. For Juliette I received the offer in 2019, so I had a lot of time to develop her technically and to find my version of Juliette that does justice to the score, the character and my vocal qualities.
Adriana González on the stage of Houston Grand Opera, with her Roméo et Juliette colleagues6 \\ Could you share your favorite activities to do in Houston so far? Any favorite restaurants or places you cannot miss while in Houston?
If I’m very honest - I haven’t gone out so much. The production has been very intense and I’ve enjoyed staying at home cooking with my mom, whom I haven’t seen since 2019…. So it’s been a beautiful family time in Houston as well.
That being said… I must try the Texas barbecue!
7 \\ Do you have other Juliettes scheduled in upcoming seasons? Where are you off next after Houston?
Not at the moment but I hope many will come soon. It’s a role that haunted me for a long time, but after being immersed in it for at least two years and seeing it come to life, makes me eager to show her to the world.
After Houston I’m directly off to Portugal for my debut singing the soprano solo in Verdi’s Requiem under the baton of Lorenzo Viotti. I will be singing it again with Fabio Luisi in Dallas later this year.
The summer is filled with a couple of recitals in France and a Beethoven 9th with Luisi in Parma.
Then the next season starts with Micaela in Amsterdam, then Paris, then Toulon. And to end the season I’ll be happy to take on Liù once again for my debut in Strasbourg.
Then the summer after that will be very exciting with a very big debut coming up, but I still can’t say anything ;)
8 \\ Simultaneously to your career on the operatic stage, you are building your discography with Audax Records, which focuses on bringing attention to very beautiful, unique art song repertoire. This makes you such generous and well rounded artist to our eyes. What is coming next on that side of things and what is something you’d like your audience to know about this more intimate type of work?
Thank you so much! Well, our motto at Audax is “Stay curious” and indeed we are always investigating forgotten composers, unknown works, and legendary artists that have been forgotten.
I find the objective of making a recording now a days is not record the twentieth version of Winterreise (which is beautiful), but to draw the attention to other unique repertoire that has never been done. It also allows for a beautiful first impression of an artist. With our first album, it was inspiring to present the songs of Dussaut & Covatti and be the first reference for this music. We hope many other singers will be curious and want to perform the repertoire. We even had a new edition made as many of the songs were still manuscripts. So please feel free to get those scores in hand.
After Dussaut & Covatti, we recorded the complete songs of Isaac Albéniz with Iñaki Encina again on the piano. We have another French composer we want to bring to light in 2025, so there is another art song album in the works.
Other future projects include a duets album alongside Franco-Swiss mezzo Marina Viotti with many world premieres of French composers, and my first solo orchestra album in honor of a very famous soprano. Iñaki will conduct. These two albums will be announced soon.
Thank you Adriana for sharing your answers with us. We wish you a big In bocca al lupo for your time in Houston!
If you haven’t watched our #360ofOperaLive interview with Adriana, you can check it out here on our Youtube channel.
If you liked this interview, please share it, follow Adriana on Instagram @adrianagonzalezgt & visit her website for more information.
- written by Eugenia Forteza