Teatro Real Madrid • Carmen
Eun Sun Lim • Damiano Micheletto
translated from the Spanish originals
“…Adriana González, with her lyrical timbre, well-controlled and with a slight huskiness in the upper register, performed her marvellous aria as Micaëla—one of the great moments of the score—with intelligence and dedication. The audience rewarded her with an enthusiastic ovation…”
✏️ Ricardo de Cala•Scherzo
“The Guatemalan soprano Adriana González displayed the most canonical vocal technique of the entire evening, with a rounded, effortless sound, free from strain and perfectly controlled. Her deeply lyrical Micaëla was undoubtedly a vocal highlight, and she was meticulous in her stage presence, embodying Michieletto’s demure and naïve portrayal of the role.”
✏️ Alejandro Martinez•Platea Magazine
•
“The real hidden gem is Adriana González’s Micaëla. The Guatemalan soprano possesses that creamy voice, with a pure line and noble legato, which transforms the village prude into a formidable stage rival. González sang a textbook third act, receiving a well-deserved standing ovation.”
✏️ Gonzalo Alonso•Beckmesser / La Razón
•
“Adriana González’s Micaela was impeccable”
✏️ El Mundo Madrid
•
“…Then there was Adriana González (one of the night’s most enthusiastically applauded performers), who portrayed Micaela with such warmth and beauty that we could almost forget she’d been characterised as a bland, sanctimonious woman ready to ask if you’ve a minute to talk about the Saviour…”
✏️ Joaquìn Jesús Sanchez•El Diario
•
“…Her rival, Micaela, was played by the equally brilliant Adriana González…The soprano is already familiar with Michieletto’s style, having appeared in the 2019 production of *L’elisir d’amore*. Her Micaela was another of the night’s great successes.”
✏️ Nacho Fresno•Shangay
•
“…Adriana González’s voice was also perfectly suited to her character, as she portrayed a shy yet courageous Micaëla; her aria…received the loudest applause of the evening, with very natural and well-supported high notes that she skilfully navigated from the initial timidity to the final boldness …demonstrating that González possesses a wide range of vocal resources that enabled her to make this Micaëla a truly memorable performance.”
✏️ David Santana Cañas• Ópera Actual
•
“…The applause, however, was particularly reserved for the performances of the Russian mezzo-soprano Aigul Akhmetshina (Carmen) and the soprano Adriana González (Micaëla).”
✏️ Cantabria Liberal
•
“…As indeed was the case with González. She sang her part with fabulous poise, letting some beautiful soft phrases float in the upper register. Her ‘Je dis, que rien ne m’épouvante’ struck a wonderful balance between determination and tenderness, thanks to the way she masterfully coloured her tone and used the text. Her diction was first-rate throughout…Castronovo and González certainly made a considerable impact…”
✏️ Opera Traveller
•
“…She had some excellent moments that moved the audience with the sweetness of her pianissimo delivery, with beautiful, floating notes that filled the auditorium with good taste…”
✏️ Juan José Freijo•Bachtrack
•
“…Adriana González was simply brilliant: a coherent vocal and stage performance, characterised by courageous shyness, with a very carefully crafted dramatic arc. Her ‘Je dis que rien ne m’épouvante’ (Act III) was delivered with flair, with dynamics chosen intelligently and high notes well sustained. That blend of dignity and fear is precisely what makes the character so great. She was, quite rightly, one of the most celebrated performers.”
✏️ Angélica de la Riva•The Luxonomist
•
“…However, the performer who remains etched in the audience’s hearts for a masterful performance is the Guatemalan soprano Adriana González, whose unforgettable Micaëla wins us over with a vocal instrument that is simply perfect…”
✏️ Ricardo Ladrón de Guevara•Le Salon Musical