Raquel Gonzalez

— Soprano

"Micaëla has just two main scenes, the aforementioned duet and her Act III aria, "Je dis que rien ne m'épouvante," but the right performer can practically steal the show with them. Raquel González is one of those singers, her soaring soprano and good-natured characterization making her an audience favorite."
Roy C. Dicks, CVNC, January 25, 2019 - Micaëla in 'Carmen' with the North Carolina Opera

“Raquel Gonzalez is flawless as Violetta Valery, authentically portraying the well-kept woman's shifting emotions and failing health. When the young soprano sings Violetta's Act I aria, 'Sempre Libera,' her voice glides through the challenging arpeggios, and her high notes rise so effortlessly that she creates the impression she could simply continue on indefinitely up the scale. Despite its being Gonzalez's first time in the role, one of standard opera's most difficult, she shows no hesitancy or uncertainty but, instead, conveys the confidence that comes from abundant talent and deep character study.”
Linda Loomis, Syracuse.com, February 3, 2018 - Violetta in 'La traviata' with Syracuse Opera

"Raquel González, soprano, is a marvel of voice and stage...She sings with a full, round sound, but a certain pointed quality at times yields to the innocence of a young Tatyana..."
Anthony Rodgers, KCMetropolis.org, October 2, 2017 - Tatyana in 'Eugene Onegin' with the Lyric Opera of Kansas City

"The performance boasted a remarkable Mimì in Raquel González. Her complexly shaded lirico-spinto soprano proved an instrument of ideal weight for the role, and she used it to create a portrayal of extraordinary delicacy. Her seamstress never begged for our sympathies, but instead elicited them through her simple, direct manner. She treated "Donde lieta uscì" not as an occasion for grandstanding but as a plain racconto, listing the items she needed to retrieve from Rodolfo's apartment and only letting her passion come through as she sang of the "cuffietta rosa" underneath his pillow. "Sì, mi chiamano Mimì" was so unaffected, so thoroughly in the moment, that its ending elicited from the audience empathetic silence rather than applause, as if nobody wanted to break its spell. This was the work of a true artist."
Opera News, October 2016 - Mimi in 'La bohème" at Glimmerglass Festival

"Soprano Raquel González and O’Neill sang with exceptional intimacy...González and the orchestra achieved a particularly beautiful and moving moment when Desdemona bares her heart and soul to her husband...With a premonition of death, Desdemona sings the famous “Willow Song”, a lament for love gone wrong. González was affecting here, subtly drawing back her tone for each repetition of “salce” (willow)...Desdemona then kneels and prays, beginning and finishing with the “Ave Maria”. The conclusion...is one of Verdi’s finest inspirations, and this rendering could hardly have failed to moisten eyes, with González’s final floated pianissimo high A and string-playing of seraphic purity in the coda...O’Neill, González, and the orchestra made a spine-tingling dramatic and musical crescendo to the horrific killing."
The Boston Music Intelligencer, January 2016 - Desdemona in 'Otello' with the Boston Youth Symphony


Hailed as a “true artist” (Opera News), Soprano Raquel González from Lawrence, Kansas recently completed three seasons as a Domingo-Cafritz Young Artist at Washington National Opera, where she appeared as Cio Cio San (Madama Butterfly), Contessa Almaviva (Le nozze di Figaro), Donna Anna (Don Giovanni), Micaëla (Carmen), and Mimì (La bohème). She is a 2019 Sphinx Organization Medal of Excellence Awardee.

In the 2018-19 season, Ms. González makes her role and house debuts as Liù in Turandot at New Orleans Opera before returning to WNO . . .

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