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Cecilia Violetta Lopez

Soprano

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). Ms. López has performed her signature role, Violetta in La traviata, 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, The New York Observer exclaimed “[López delivered] a performance of the leading role of Violetta that is among the loveliest I have witnessed on any stage.” She has also performed the role with Opera Tampa, Opera Idaho, Ash Lawn Opera, and in her company début with Virginia Opera.

May
2017

May-20
to
Jun-17
Don Pasquale
Norina
Zomeropera
Bilzen, Belgium
Jul
2017

Jul-22
Opera in the Park
Madison Opera
Madison, WI
Aug
2017

Aug-13
Virtuosity!
Bard Music Festival
Annadale-on-Hudson, NY
Oct
2017

Oct-06
to
Oct-08
L’elisir d’amore
Adina
Opera Idaho
Boise, ID
Nov
2017

Nov-03
to
Nov-05
Carmen
Micaëla
Madison Opera
Madison, WI
Nov-11
to
Nov-12
Music of the Americas
Boise Philharmonic
Boise, ID
Nov-15
to
Nov-19
La bohème
Mimì
Opera Orlando
Orlando, FL
Jan
2018

Jan-12
to
Jan-14
Fellow Travelers
Lucy
Prototype Festival
New York, NY
Feb
2018

Feb-02
to
Feb-04
Il barbiere di Siviglia
Rosina
Opera Tampa
Tampa, FL
Mar
2018

Mar-02
to
Mar-04
Le nozze di Figaro
Countess
Opera Tampa
Tampa, FL
Apr
2018

Apr-28
to
May-05
Florencia en el Amazonas
Rosalba
Florida Grand Opera
Miami, FL
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…bright, expressive voice…
 Song Cycle Series“’Cuatro Melodías Tradicionales Indias del Ecuador’ was beautifully sung by the soprano Cecilia Violetta López, whose bright, expressive voice made a strong impression in several works, including de Falla’s ‘El Retablo de Maese Pedro.’”– The New York Times
…the loveliest I have witnessed on any stage…
 La traviata“Daniel Lipton’s fleet conducting and Laura Alley’s detailed, traditional production framed a performance of the leading role of Violetta that is among the loveliest I have witnessed on any stage. Cecilia Violetta Lopez’s cool, shimmering soprano easily vaulted the coloratura hurdles of the first act, rocketing to a bright, pingy version of the traditionally interpolated high E-flat at the end of “Sempre libera.” Even more impressive was her quiet legato singing in the second and third acts, unaffected and heartfelt.

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

…showstopper…
 Suor Angelica/Gianni Schicchi “The star in Opera San Jose’s twin bill of Giacomo Puccini’s Sour Angelica and Gianni Schicchi was soprano Cecilia Violetta López. From her first phrases as Angelica, the heartbroken aristocratic young lady hidden ina convent after a love affair, her voice sounded warmer, deeper, more mournful than the supporting cast of bickering sisters. She contoured phrases with grace and passion that clearly set her apart as the main character.

“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

…voice was opalescent and plush…
 Les pêcheurs de perles “On Saturday at the California Theatre, where Opera San Jose opened its 29th season with a new “Pearl Fishers” production, the ripest, most fragrant melodies took wing whenever Cecilia Violetta López, a new soprano with the company, held the stage as Leïla. … Her voice was opalescent and plush as she sang… Growing more comfortable, Lopez seemed to have a steadying effect on the whole production…” – San José Mercury
…stole the show utterly and completely…
 La traviata “Singing, or I should say embodying the title role of Verdi’s opera was a captivating young soprano named Cecilia Violetta Lopez; and “Violetta” is her middle name figuratively as well as literally. When you see a lot of opera, you are constantly hearing sopranos about whom you say, “she could make a fine Violetta” along with some sort of conditional clause attached like “if she could clean up her coloratura” or “if she would try using a little more chest voice” or “if someone could show her how to ‘sparkle’ onstage.” Ms. Lopez needs no such polishing: she is a Violetta fully-formed and, I think, ready for the great stages of the world.

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

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). Ms. López has performed her signature role, Violetta in La traviata, 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, The New York Observer exclaimed “[López delivered] a performance of the leading role of Violetta that is among the loveliest I have witnessed on any stage.” She has also performed the role with Opera Tampa, Opera Idaho, Ash Lawn Opera, and in her company début with Virginia Opera.

This season, Ms. López returns 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 will also perform the role of Desdemona in Otello with LoftOpera, Micaëla in Carmen in her house début with Michigan Opera Theatre, performs as Blanche in Dialogues of the Carmelites and Rosalind in Die Fledermaus as a part of Eugene Opera’s New Year’s Eve Opera Trio concert, Norina in Don Pasquale with Zomeropera in Belgium and takes part in Madison Opera’s Opera in the Park. Additionally, she will be performing the soprano solo in Händel’s Messiah with Boise Philharmonic and a solo in the Olga Forrai Foundation gala.

With an impressive repertoire of leading female roles, some highlights from recent seasons include 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 di Civry in La rondine with Skylark Opera Theatre; and Gilda in Rigoletto with Opera Idaho. Additional highlights include the role of Zerlina in Don Giovanni with Opera Tampa and Opera Las Vegas and productions of Les vêpres siciliennes with Caramoor Music Festival and The Merry Widow where she joined the esteemed roster of The Metropolitan Opera.

Ms. López recently completed a tenure as a Resident Artist at Opera San José where she performed as 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. She also recently performed a Spanish song recital with Bard SummerScape’s Song Cycle Series.

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.

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