For the Love of Lieder: Ailyn Pérez and Matthew Curran
This Valentine's Day, we asked soprano Ailyn Pérez and bass Matthew Curran about the joys and challenges of sharing their profession and their life — plus, top tips for long-lasting love.
This Valentine's Day, we asked soprano Ailyn Pérez and bass Matthew Curran about the joys and challenges of sharing their profession and their life — plus, top tips for long-lasting love.
New York City Ballet Principal Dancer Sterling Hyltin, opera star Ailyn Pérez, and Juilliard vocal coach and Shakespeare specialist Andrew Wade share their thoughts on this timeless classic ...
Ailyn Pérez works with students from Celia Cruz High School in the Bronx, and shares the importance of arts education in our communities.
8. “Ernani” at the Teatro alla Scala: Verdi’s early masterpiece will be revived at the Teatro alla Scala in Sven-Eric Bechtolf new production. Rising star Ailyn Pérez makes her role debut at Elvira...
Pérez, singing her first Contessa at the Met, was undeniably the vocal gem of the night. From the opening phrases of “Porgi, Amor” it was clear that she was a fragile woman who is hanging by a thread emotionally."
The performance was quite a spectacle and it is quite surprising that the low-ceiling apartment didn’t fall apart with the booming sounds of the two singers."
Her “Un bel di vedremo” also showed Perez’s affinity for verismo ... When the aria went to it climactic B flat, Perez’s voice grew richer and more devastating."
Soprano Ailyn Pérez joins us to discuss her debut role in Massenet’s "Thaïs" at the Metropolitan Opera.
The Young People's Chorus of New York City (YPC) celebrates the holidays at Carnegie Hall with its Winter Wonder program featuring soprano and Metropolitan Opera star Ailyn Pérez as guest artist on Thursday, December 14.
So many Academy of Vocal Arts alumni have made the cover of Opera News in recent years that the lobby walls at the conservatory’s Spruce Street headquarters are lined with the magazine’s covers. And amid this walk of fam
The soprano’s sound was rounded and lustrous all afternoon ... Pérez seemed to hold time in her hand, the measures going past but the expression concentrated on unveiling the layers of her personality."
Hija de inmigrantes mexicanos, nacida en Chicago y criada en el suburbio de Elk Grove, Illinois, la soprano Ailyn Pérez creció escuchando la música de intérpretes como Juan Gabriel y Vicente Fernández."
American soprano Ailyn Pérez dominated among the four soloists with an appealing performance in all aspects, as an artist she was clearly aware of the exceptional moment and venue."
Ailyn Pérez speaks about her love of Dvorak's music, which she performs in her debut in Prague.
"Soprán v rekviem většinou dostává andělskou roli, má být jakýmsi hlasem shůry. U Dvořáka je to ale jiné," říká.
Ailyn Pérez’s determination has brought her success in the operatic arts. At IU, skilled professors in the Jacobs School of Music worked closely with Pérez.
Pure Magic: Soprano Ailyn Pérez casts her spell at the Met this autumn as Thaïs
Ailyn Pérez is one of today’s rising stars in the opera world. She has slowly built her career with a varied repertoire that has shown her versatility and acting chops.
Ailyn Pérez július 16-án Rame Lahaj és Gabriele Viviani társaságában lép fel a Margitszigeti Szabadtéri Színpadon. A milánói Scala és a New York-i Metropolitan között ingázó énekes először látogat Budapestre, hogy többek
Ailyn Pérez is the featured artist on the cover of the July issue of Pesti Műsor, a popular culture magazine in Hungary. Ms. Pérez's interview previews her upcoming debut at the Budapesti Nyári Fesztivál, where she will
The American soprano Ailyn Pérez sings in 'La bohème' by Giacomo Puccini at Teatro alla Scala.
Violetta was played by Ailyn Pérez and when she started singing I thought she must have been a mezzo, her voice was so extraordinarily rich."
... soprano Ailyn Pérez says her roots as an alumna of Arlington Heights-based Township High School District 214 are never far from her mind.
Ailyn Pérez made her belated Lyric Opera of Chicago debut at this concert. On the basis of one act of her Violetta, one can only hope that she returns frequently.
.. she amazes here with the magnetism of a prima donna, able to make the listener hang onto to the charm of her sad sentence and pain, but dignified, supported by a voice that works wonders ..."
It’s more than just your life on stage that matters. It’s who you are as a person, how you’re contributing to humanity, and staying grounded, and being generous towards the public and upcoming artists."
Il 26 febbraio la Direzione e i lavoratori del Teatro alla Scala propongono un’anteprima del capolavoro verdiano a metà prezzo per raccogliere fondi per le popolazioni colpite dal terremoto.
The way we teach music, the way we learn languages, the way we're inclusive, music speaks to all of that in terms of diversity and inclusion."
Her recital of turn-of-the-20th-century Spanish and French songs revealed a splendidly supported vocal instrument with just enough edge to give it clean definition, powered by a smart, thoughtful musician and actor."
... soprano Ailyn Pérez and bass Edward Hanlon discuss one of the best-loved operas in the world, Puccini's La Bohème.
... it was the Manon of soprano Ailyn Pérez that made this performance memorable. She transformed the character from a beautiful opportunist into a believable young woman ...
Ailyn Pérez is in the heart of an astonishing career ... She’s just as excited about her upcoming Wolf Trap performance as she is about its starry book-end engagements.
Ailyn Pérez, one of the world's top sopranos, will be performing at the Manoel Theatre on Saturday in what tenor Joseph Calleja has predicted to be a "guaranteed night of vocal fireworks".
This incandescent Juliette grew confidently from childhood to adulthood and moved us profoundly as she died: this performance places Pérez in the top rank of today’s sopranos."
... Pérez responded especially well to the more dramatically charged passages of Juliette's music, as in the Balcony Scene and the great aria 'Amour anime mon courage,' sung with abandon."
Ailyn Pérez speaks with F. Paul Driscoll about singing Mimì in Franco Zeffirelli's iconic production of 'La Bohème' at the Metropolitan Opera.
Her soaring voice movingly scaled from prim to passionate, retaining its shimmer even in Mimì’s final dying words."
... it isn’t too far wide of the mark to say that she is the loveliest Mimi since Mirella Freni."
Ailyn Pérez, an American soprano who previously sang the flighty Musetta in this production, proved a worthy foil as the ailing Mimi, effectively veering between vulnerability and surging strength."
... the touching and musically idiomatic inflections of Ailyn Pérez as Mimì, whose judicious use of sliding attacks and portamento gracefully conveyed the Italian text ..."
Hometown Star, Soprano Ailyn Pérez, Returns to the Windy City for Solo Recital...
'Je veux vivre;' one of our favorite sopranos Ailyn Pérez performed this aria with technical mastery equalled only by the sparkle of youthful high spirits ... Her phrasing is impeccable and her French, perfect."
Peréz continues to amaze. Vocally, her resplendent voice sounds like it is moving into spinto territory, yet her coloratura work and stratospheric high notes remain strong from her earlier years."
Her soprano is one of the glories of the current crop of operatic talent ... her rich, responsive singing found all its usual sheen and nuance."
Pérez was profoundly touching, capturing the character's uncertainty and spinning a profoundly beautiful quiet line ..."
Ailyn Pérez was a firecracker Juliette, a role she sang a decade ago at Wolf Trap, making her a girlish klutz with a fiery spirit. The top of her voice was secure, broad, and confident ..."
... she has a lyrical opulence that blankets the audience with its beauty. She still displays serious coloratura in her Waltz Song, but at this time her Poison Aria is a dramatic gem ..."
Juliette is a role that displays Pérez’ shimmering coloratura in the cleverly staged Je veux vivre and the lyric legato of the love duets ... This role is a particularly felicitous fit for Pérez’ voice ..."
... the magnetic, coloratura soprano Ailyn Pérez ..."
Vocal highlight of the evening, sans doute, goes to Pérez’ account of the punishing “poison aria" ... Pérez makes it her own, the expressive coloratura and trills and high-flying bravura perfectly intact ..."
Everything she did was touched with brilliance. No soprano I can think of could do better and I’m not sure that any other singer now active could equal her Juliette."
... she renders her line “Ah! Je l’ai vu trop tôt sans le connaître” (Too early seen unknown and known too late) with luxuriant tone and affecting emotion ..."
“It’s intense, but it’s beautiful,” Pérez said. “It’s because she’s heroic; she sees past the violence. She’s not being the obedient little girl. She realizes he’s the enemy.”
The Late Late Show's host James Corden is in a funk until he is suddenly joined on set by Ailyn Pérez and Luca Pisaroni singing at full throttle...
Ailyn Pérez: I’m looking at the score fresh, appreciating the music and getting back to the character and putting across telling the story. It’s waking me up to concentrate on who she is, this spirit ...
Pérez is a huge advocate for education and when she found out what Berthezene and Time In kids are doing, she quickly wrote a letter that said "Your program is a dream."
In the role of Musetta, Ailyn Pérez, who recently won the Beverely Sills Award, returned to the Met in one of the most charismatic and show-stopping Musetta's in recent Met seasons."
Ailyn Pérez’s Musetta is like gold. She shines by nature, and her voice gives echoes to the great Maria Callas. This is high praise but well-deserved."
Ailyn Pérez’s warm, rich, supple voice evoked the crucial poignancy for the parte seria of the neglected Countess . . .
When soprano Ailyn Pérez took the stage, the electricity in the room was palpable. With consummate Latin fire, she performed a quartet of songs by the 20th c. Spanish composer Fernando Obradors.
The soprano Ailyn Pérez revealed her interpretive range with characterful renditions of zarzuela selections and a passionate “Ebben! Ne andrò lontana” from Catalani’s “La Wally.”
The best vocal performances came from Ailyn Pérez, who showed a terrific feel for a selection of Spanish songs by Fernando Obradors.
The soprano Ailyn Pérez has won this year’s Beverly Sills Artist Award, which offers a $50,000 prize to help foster the careers of young singers who have appeared in solo roles at the Metropolitan Opera . . .
Ailyn Pérez and F. Paul Driscoll, editor-in-chief of Opera News, sit down with Pei-Sze Cheng to discuss the 11th Annual Opera News Awards.
She’s a jewel, beguiling and pathetic by turns. Can Pérez float a note? Don’t even ask. Her voice gleams with expression, making coloratura seem effortless. Above all, there’s personality in her technique.
Her voice blossomed like the very flowers she was describing ... this Manon became more than the sum of her contradictions. “N’est-ce plus ma main?” at Saint Sulpice set of a seduction worthy of Dalila.
She has a voice that is instantly recognizable as well as technically secure ... Dramatically, she is riveting, as she proved in her recent Dallas appearance in the title role in 'Manon.'
Opera is said to be a high art that is not for the populist ... However, soprano, Ailyn Pérez allows audiences to see what it is like to be an opera singer from backstage pictures to rehearsal pictures.
Pérez is sparkling. She is everything and more than you can ask for in a leading soprano; she's an amazing actress, a deft comedienne and a first-class soprano ... Pérez commands her stage in "Manon."
... her Manon shows her asset as a performer of uncompromising artistic efficacy ... on opening night the audience held its collective breath, transfixed by the rawness of her singing.
Pérez excelled in the legato singing of the hauntingly beautiful (and sentimental) "Adieu, notre petite table" . . . She was triumphant in the brilliant coloratura fireworks of "Je marche sur tous les chemins."
. . . she was fully engaged, putting every bit of her powerful, pliant soprano to use.
Pérez is magnificent as the ill-fated Manon - vocally and dramatically ... she is doing more than just singing. It reminds of the stage presence of someone like Maria Callas.
She inhabited each iteration of her character, running the gamut from ingenue to temptress to conniving sphinx and in spite of her flaws, you can’t help but love her.
Ailyn is featured on WFAA Channel 8 in Dallas to preview her upcoming performances in the title role of Massenet's 'Manon.'
Ailyn Pérez has been on a roll in Texas . . . Now, she returns to Dallas to play the leading role in Massenet’s gorgeously romantic masterpiece, 'Manon.'
Soprano Ailyn Pérez, who displayed a brilliant and glorious soprano as Tatyana Bakst in the company’s recent world premiere of Jake Heggie’s 'Great Scott,' returns as the eponymous courtesan.
Pérez . . . has the gift of a lustrous voice, with complexity and depth . . . Her dignified but heartbreaking admission of her helplessness in the aria “Dove sono” is the highlight of the evening . . .
Luxuriously costumed, Pérez was mesmerizing performing one Mozart’s greatest roles . . .
An excellent cast, led by the particularly notable Countess played by Ailyn Pérez . . . ensure that the rendition is as musically accomplished as it is theatrically effective.
As the Countess, soprano Ailyn Perez tossed off that character's dramatic arias with finesse and dark, honeyed tone. Her voice is full and rich."
Ailyn, for example, can play so many more colors in her role, more than any Countess I've worked with - and sing it stunningly, Rutherford says. With a cast of this caliber, you capitalize on their impulses.
Ailyn Pérez, of the elegant cheekbones and soaring, spirited soprano, was born to play the bad girl. You would never know that when talking to her by phone . . .
“Great Scott” had a shiny first night in the Winspear Opera House . . . Ailyn Pérez feasted on the role of Bakst . . .
. . . a hysterical turn by Ailyn Pérez as the voracious young diva-to-be . . .
Pérez showed off her superstar skills with a formidable program of Russian music.
When I look back at my life, it almost seems like I was destined to become an opera singer.
As the overbearing upstart Bakst, soprano Ailyn Pérez steals the show with her consistently beautiful, glamorous singing . . .
. . . our conversation was filled with equal parts of laughter, serious thought about Great Scott and opera in general.
. . . it was Pérez who stole the show on this occasion with her ripe, chestnut-tinted vocal colorations and seemingly effortless phrasing.
. . . it has been a dream of mine to sing at the Metropolitan Opera ever since I started voice lessons! So it has been everything I dreamed of and more.
. . . opera critics—few critics are harsher—were won over by Pérez’s Metropolitan Opera debut in the role earlier this year, many arguing that she stole the show.
I was so thrilled to meet these young artists at this stage in their life," Perez told Latin Post after the event.
The Chicago-born daughter of first-generation immigrants from Mexico, Pérez is one of few American Hispanic women to sing major roles on the Met stage . . .
Ailyn Pérez sings an excerpt from Micaëla’s aria in Bizet’s “Carmen."
Pérez calls her part of Micaëla, a village maiden in “Carmen,” “the lyric soprano’s debut dream role,” adding that the character has “the most beautiful opening duet” [“Parlez-Moi de Ma Mère”].
"Je suis encore tout étourdie,” from Jules Massenet’s Manon . . . Pérez’s rendition was summed up with two words in this writer’s notes: NAILED IT. The audience ate it up.
Liù once again fared very well in indeed in terms of casting, Ailyn Pérez offering a moving portrayal . . . in which musical and dramatic imperatives were as one.
Perez’s golden tone was spot on throughout the night. Her acting, too, was elegant: Violetta was always dignified, a lady in character if not in name, no matter what awful things the men around her were perpetrating.
Every so often, a singer comes along who completelv bowls you over ... [a] delightful disc ... Perez is completely at home in the Spanish songs in her recital, applving lush, chocolate tones to the material.
You can catch the operatic talents of Elk Grove High School graduate Ailyn Perez when PBS presents “Live From Lincoln Center: The Richard Tucker Opera Gala”
The Chicago-born soprano sings with a warm lyricism that’s perfect for the role of Puccini’s gentle, loving, tubercular seamstress. Her evenly produced, well-focused voice projects effortlessly.
Her voice has a distinctive timbre, with plaintive richness blended into its youthful bloom . . . Ms. Pérez, a beautiful woman who commands the stage, has the makings of a major soprano . . .
A Chicago-born soprano has been chosen to receive the 2012 Richard Tucker Award, presented each year to a U.S. opera singer at the threshold of a major international career.
As the doomed courtesan, Pérez delivered as complete a portrait as one could wish for, and was in beautiful voice all evening. Small wonder she is called one of America’s fastest rising stars . . .
The phrase "an embarrassment of riches" might have been invented to describe the combination of talents that belong to Ailyn Pérez, the Chicago-born lyric soprano who truly seems to have it all.
An ideal Violetta … the bewitching young American soprano puts her heart into every twist of the drama, from the impetuousness of her love for Alfredo…to the febrile emergency of her death...her performance was glorious.
When I heard the refrain from the first act duet from Verdi’s “La Traviata” that she sang with Giuseppe di Stefano, I was in love with the music and the emotion!
Perez's lyric soprano is pure and honeyed in tone, and she deploys it with elegance and tenderness … Perez is also a natural actress . . .
... the American soprano is a revelation. With an ample, sovereign voice and a warm upper register, she graced us with a song that is always very musical and impeccable pronunciation.
Debuting with the Dallas Opera, soprano Ailyn Pérez as Zerlina is sensuous and captivating.
A showstopping "Dove sono," all floating pianissimos and diminuendos and delicate pathos, that roused the sold-out crowd to a long, well-deserved ovation.
Pérez displayed Mimi's vulnerability, and the luster of her voice and depth of expression were assets from her first "Mi chiamano Mimi"
A winsome Adina, Pérez’s soprano brought a graceful élan and subtle gradations of color to Donizetti’s agile melodies