Cecilia Violetta Lopez
Cecilia Violetta López, named one of opera’s “25 Rising Stars” by Opera News, praised for her “alluring voice and incredible range,” (Washington Times) and her “voice: plush and supple, exquisitely colored,” (San José Mercury) has been applauded for her signature role of Violetta in La traviata, which she has performed countless times throughout North America. Her début of the role was with Martina Arroyo Foundation’s prestigious summer festival, Prelude to Performance. From this performance, critics exclaimed “she is a Violetta fully-formed and, I think, ready for the great stages of the world.” She has also performed the role with Opera Tampa, Opera Idaho, Ash Lawn Opera, and in her company début with Virginia Opera. Ms. López also recently made her European début as Norina in Don Pasquale with Zomeropera in Belgium, for which Klassiek Centraal exclaimed: “She turns out to be the revelation of the show and wins over the audience with her funny rendition, irresistible charm and natural in the different vocals.” This season’s engagements include multiple role débuts as Adina in L’elisir d’amore, Mimì in La bohème, Rosina in Il barbiere di Siviglia, the Countess in Le nozze di Figaro, and Rosalba in Florencia en el Amazonas. In addition, she reprises the roles of Micaëla in Carmen with Madison Opera, Hanna Glawari in The Merry Widow with Opera Saratoga, sings Gala Concerts for the Boise Philharmonic and Austin Opera, sings a concert with Bard Music Festival titled Virtuosity!, and has a role début as Lucy in Fellow Travelers as part of the Prototype Festival in New York.
And she acted even more naturally than she sang, suggesting the courtesan’s hectic life of pleasure in the first act with delicate dancelike movements before “melting” into a softer, but still elegant, body language for the more demure second act. Even in the last act, when Violetta is slowly dying, Ms. Lopez maintained a measure of grace, as if she were enacting a romantic memory of death rather than the harsh reality.
The conventional wisdom is that high-concept opera like The Passenger is the future of musical theater, but Ms. Lopez’s promising debut suggests that the old-fashioned virtues of a fine diva performance may be just as likely to keep the art alive in the 21st century.” – New York Observer
“López was also magnificent as Lauretta in Gianni Schicchi. Her O mio babbino caro was a showstopper, setting the bar high for the entire opera.” – Examiner.com
The voice is a cool, shimmering lyric soprano with an extension to a bright, pingy high E-flat as well as plenty of agility for “Sempre libera.” But it’s the legato singing that makes her special: the voice just flows like spring water. The top blooms attractively on B-flat and C and she can shade the high A-naturals of “Addio del passato” expertly.
She acts with energy and a great musicality; that is, her movement all seems motivated by the precise momentary emotion evoked by the music. Even more to the point, she knows how to be “brilliant” in the first act party scene, flitting and fluttering with a stylized grace that would make Jeanette MacDonald green with envy. She “melts” gorgeously in the second act, her body language now demure, and she manages to be ill and weak and yet at the same time hopeful in the final act… Yes, Ms. Lopez stole the show utterly and completely, but it was a show worth stealing…” – Parterre.com
This season’s engagements include multiple role débuts as Adina in L’elisir d’amore, Mimì in La bohème, Rosina in Il barbiere di Siviglia, the Countess in Le nozze di Figaro, and Rosalba in Florencia en el Amazonas. In addition, she reprises the roles of Micaëla in Carmen with Madison Opera, Hanna Glawari in The Merry Widow with Opera Saratoga, sings Gala Concerts for the Boise Philharmonic and Austin Opera, sings a concert with Bard Music Festival titled Virtuosity!, and has a role début as Lucy in Fellow Travelers as part of the Prototype Festival in New York.
Last season, Ms. López returned to Bard SummerScape for concert performances, including Puccini: The Man and the Reputation, Opera After Verdi, and The Turandot Project, which juxtaposes the third act of Puccini’s post-humously finished opera as adapted by Luciano Berrio and that of Ferruccio Busoni, who adapted the Turandot story seven years before Puccini. She also performed the role of Desdemona in Otello with LoftOpera; Micaëla in Carmen in her house début with Michigan Opera Theatre; Blanche in Dialogues des Carmélites and Rosalind in Die Fledermaus as a part of Eugene Opera’s New Year’s Eve Opera Trio concert; and took part in Madison Opera’s Opera Gala concert “Opera in the Park.” Additionally, she performed the soprano solo in Händel’s Messiah with Boise Philharmonic, and appeared in the Olga Forrai Foundation gala, the Florida Benefit Concert in Orlando, the Zion Bank Annual Gala, the Los Angeles Annual Education Conference Gala, and received an award from the State of Idaho. She also recently performed a Spanish song recital with Bard SummerScape’s Song Cycle Series.
With an impressive repertoire of leading female roles, some highlights from recent seasons also include her house début with The Metropolitan Opera’s production of The Merry Widow; the role of Fiordiligi in Così fan tutte with Opera Tampa; the title roles of Suor Angelica with Opera San Luis Obispo and L’incoronazione di Poppea with Hawaii Performing Arts Festival; Magda in La rondine with Skylark Opera Theatre; and Gilda in Rigoletto with Opera Idaho. Additional highlights include a production of Les vêpres siciliennes with Caramoor Music Festival and the role of Zerlina in Don Giovanni with Opera Tampa and Opera Las Vegas.
Ms. López recently completed a tenure as a Resident Artist at Opera San José where she performed Leïla in Les pêcheurs de perles, Roselinda in Die Fledermaus, Leonora in Il trovatore, the title role in Suor Angelica, Lauretta in Gianni Schicchi, Nannetta in Falstaff, Gretel in Hänsel und Gretel, Cio-Cio San in Madama Butterfly, and Donna Anna in Don Giovanni.
Ms. López’s solo concert performances include Mahler’s Symphony No. 4 and selections from Canteloube’s Chants d’Auvergne with the Henderson Symphony Orchestra; Rutter’s Mass of the Children with the Southern Nevada Musical Arts Society; and Bach’s Magnificat, Villa-Lobos’s Bachianas Brasileiras No. 5, and Rachmaninoff’s Vocalise with the UNLV Orchestra.
Ms. López was awarded First Prize and Audience Favorite in the 2014 Irene Dalis Vocal Competition. She was a semifinalist in the 2011 Loren Zachary Vocal Competition in Los Angeles and won the 2012 The Metropolitan Opera National Council Auditions for the Utah District, advancing to the Rocky Mountain Regional Finals at the Ellie Caulkins Opera House in Denver, Colorado. Ms. López earned a Bachelor of Music degree in from University of Nevada, Las Vegas.