Interview with Adriana Gonzalez

"I only became interested in classical singing when I was 16."

Adriana González is an internationally acclaimed operatic soprano from Guatemala, whose warm, lyrical voice and profound musicality captivate audiences and critics alike. Born in Guatemala City in 1991, she began her musical studies at the Universidad del Valle de Guatemala before continuing her career in Europe. She was a member of the prestigious Atelier Lyrique at the Paris Opera and later of the International Opera Studio Zurich, where she quickly established herself as an outstanding interpreter of Mozart and Puccini roles.
She made her international debut with roles such as Zerlina, Despina, and Pamina, followed by appearances as Micaëla (Carmen), Liù (Turandot), and Mimì (La Bohème) at leading opera houses in Berlin, Paris, Frankfurt, Geneva, and Salzburg. In 2019, she was awarded first prize and the Zarzuela Prize at the prestigious Operalia competition—a significant milestone in her career.
In addition to her stage work, Adriana González is also active as a song interpreter. Her recordings of Spanish and French songs have been honored with the German Record Critics' Award. With technical finesse, emotional expressiveness, and natural stage presence, she is considered one of the most promising sopranos of her generation.

You grew up in Guatemala. What do you appreciate most about your homeland?
Guatemala is a very green country with excellent weather conditions. I grew up surrounded by mountains and volcanoes, which provided a beautiful backdrop that inspired me. The country's history dates back to 2000 BC. It is not only rich in Mayan history and traditions but also boasts regional climatic and ecological diversity. If you are looking for a new travel destination to connect with nature, you should consider Guatemala.

How did you discover your voice?
That was during my school days – I sang in a rock band with friends. Singing gave me the opportunity to express myself in a very unique way. We played music by the Beatles, Radiohead, Damien Rice, Ricardo Arjona, Malacates Trebol Shop, and others. When I listen to Ella Fitzgerald and Nina Simone, my thoughts also wander to jazz. I started singing at home in my living room and it took some time to build up the confidence to sing in front of an audience. 

When did you first hear opera?
I knew about opera from an early age, as my mother played CDs of Maria Callas and Joan Sutherland at home. But I only became interested in classical singing when I was 16. 

Which roles fascinate you most and why?
It's difficult to choose just a few, so I would rather say that I love Puccini as a force of human emotion. His heroines have always been a source of pure, deep, and intense feelings for me. When I first sang Liù, Mimì, or Suor Angelica, I cried a lot during rehearsals and performances. Although the music evokes sadness, I always find light and happiness in Puccini's harmonic shifts and his orchestration. He showed me that death, despite extreme suffering and sacrifice, can also be full of light and hope. Every role can be a discovery through study and hard work, but music that speaks to the soul and personality cannot be forced; it's simply within us.

Do you have any pre-performance rituals?
I always try to rest as much as possible and keep my environment stress-free. Lately, I've also been spending my days doing a nice, slow Pilates class, which helps with my posture and breathing. With so much travel and the mental, physical, and emotional demands of this profession, our bodies need space, time, and movement to keep everything in balance.

Do you also enjoy concerts and recitals?
Yes, I love recitals. They're more intimate than operas because the format is smaller: just the singer and the pianist. Together with the conductor Iñaki Encina Oyón, we've been presenting various programs for ten years now. Our focus is on bringing unknown music to concert halls. Our first album was also dedicated to a French-Greek couple: Robert Dussaut and Hélène Covatti. Our second album was dedicated to the songs of Isaac Albéniz, which are also rarely heard. Of course, programming unknown music is a risk, but in most cases, people are pleasantly surprised and curious to discover more.

What was your craziest experience during a performance?
The craziest... probably the production of Tatjana Gürbaca's "Finta Giardiniera" when I was still at the Zurich Opera Studio in 2018. She was so creative and filled the stage with foam towards the end. The process was intense, but once all the technical details were sorted out, we had a lot of fun on stage. Gianluca Capuano also made it a lot of fun with the tempi and orchestral textures. A truly crazy experience!

What do you hope to achieve as an artist?
Of course, you can never control the mood of the audience when they come to the opera. Regardless of what people bring with them to the theater, I would be delighted if they left inspired by the intoxicating power of the music and its beauty. During the performance, I always give 100% to inspire people or at least to make them dream, even if just for a moment. I am an idealist, so I would be happy if, thanks to the music, people could forget their worries and imagine all the good that could be.

What are your passions besides music?
I love photography and cooking. Art in general is always inspiring, but sculptures particularly fascinate me.

Interview by Florian Schär | Classicpoint.net | July 1, 2025
© Image: Marine Cessat-Begler