Soprano Eglise Gutiérrez, receiving acclaim as “one of opera’s next wave” from Opera News for her portrayals of Bel Canto opera’s preeminent leading women, has performed at some of the world’s most prestigious opera houses.
Renowned for her interpretation of Amina in La sonnambula, Ms. Gutiérrez regularly performs the role on international stages including The Royal Opera House Covent Garden, Teatro Lirico di Cagliari, Carnegie Hall, and Michigan Opera Theatre, under the direction of Renata Scotto and the baton of Maestro Richard Bonynge. Of her performance at Carnegie Hall, The New York Times lauded, “a wonderfully nuanced portrayal of Amina… Vulnerable and sweetly innocent, she sang (often in a stratospherically high range) with graceful phrasing and dynamic control.”
Previous seasons have seen Ms. Gutiérrez performing such roles as the title role in Thaïs with Florida Grand Opera, all four heroines in Les contes d’Hoffmann with Gran Teatre del Liceu Barcelona, and La fée in Cendrillon at The Royal Opera House Covent Garden, La Monnaie Brussels, and L’Opéra Comique in Paris. Other previous engagements include Norina in Don Pasquale with Cincinnati Opera, Gilda in Rigoletto at Semperoper Dresden, Opernhaus Zürich, Hamburgische Staatsoper and Teatro dell’Opera di Roma, and Elvira in I puritani at Teatro Real Madrid, Teatro Lirico di Cagliari, Greek National Opera and Seattle Opera.
She made her début at The Royal Opera House Covent Garden in the title role of Linda di Chammonix, under the baton of Sir Mark Elder, which was recorded and distributed by Opera Rara. Later that season, Ms. Gutiérrez performed La Fée in Massenet’s Cendrillon, with Joyce DiDonato and under the baton of Bertand de Billy. Following her successes in London, she made her Puerto Rican début in concert, performing with Lawrence Brownlee. She then made her Deutsche Oper Berlin début in the title role of Lucia di Lammermoor, which led to subsequent engagements with Florida Grand Opera, Vancouver Opera, Savonlinna Opera Festival, and Teatro Colón Buenos Aires.
Ms. Gutiérrez regularly headlines at concert halls throughout the United States and Europe. She made her Carnegie Hall début as the soprano soloist in Mozart’s Requiem and John Rutter’s Requiem under the baton of John Rutter. She also appeared in concert in Prague, Cannes, Finland, Miami, and with the Ravinia Festival, performing with James Conlon and Dmitri Hvorostovsky. She joined tenor Andrea Bocelli on his tour throughout the United States, performing in such cities as New York City, Los Angeles, Dallas, Chicago, and San Francisco, under the musical direction of Steven Mercurio and Eugene Kohn.
A three-time recipient of the Gerda Lissner Foundation Grant, Eglise Gutiérrez earned many accolades, including first prize in the International Mirjam Helin Competition in Helsinki; winner of the Montserrat Caballé International Opera Competition; first place in the Marian Anderson Opera Competition; second place in the Licia Albanese Puccini Foundation Opera Competition; and first place in the Giargirai Bel Canto Opera Competition.
"“Cuban–American soprano Eglise Gutiérrez, FGO’s Lucia, is fast rising to the upper echelon of bel canto sopranos. As Lucia, Gutiérrez offered liquid phrasing of difficult passages, easy production of pianissimos, note-perfect acuti and passionate communication of text.”" [Opera News]
"“Eglise Gutiérrez also confirmed her rising position among the world’s sopranos possessing coloratura facility. Light and Silvery in tone, she dusted the score with flawlessly delivered sugary decoration, waving her wand with a will.”" [Opera News]
"“This vibrant cast navigated Bellini’s bel canto hurdles with aplomb. Dressed at times in a wedding gown, at times in a nightdress, the Cuban-born soprano Eglise Gutiérrez offered a wonderfully nuanced portrayal of Amina, the sleepwalking bride to be. Vulnerable and sweetly innocent, she sang (often in a stratospherically high range) with graceful phrasing and dynamic control.”" [The New York Times]
"“Eglise Gutierrez, who sang Amina in “La Sonnambula,” was all about floating pianissimos, gentle clouds of sound, the dewdrops-and-roses school of bel canto, matching her diaphanous pink dress. Her performance was gorgeous…”" [The Washington Post]
"“Ms. Gutiérrez sang the title role with pure intonation and a luxurious cushion of sound. Experiencing such softness (not to be confused with faintness) was a little like feeling high-quality cashmere. The “Bell Song” was elegant, with every hurdle gracefully cleared: Sunday’s audience went wild.”" [The New York Times]