Hailed by the New York Times as “a beautiful woman who commands the stage” and “a major soprano,” Ailyn Pérez is in high demand from the world’s leading opera houses and concert halls.
Recently she has performed Violetta La traviata and Mimì La bohème at Teatro alla Scala Milan, Mimì and Musetta La bohème at the Metropolitan Opera, Liù Turandot and Violetta at the Royal Opera House Covent Garden, Juliette Roméo et Juliette at Santa Fe Opera, Tatyana Bakst Great Scott (world premiere by Jake Heggie) and title role Manon at Dallas Opera, Violetta at San Francisco Opera, Hamburgische Staatsoper and Bayerische Staatsoper.
In the 2017-18 season, Ailyn will return to the Metropolitan Opera as the Countess Le nozze di Figaro, Thaïs (tite role, role debut) and Juliette Roméo et Juliette. She will make her role debut as Fiordiligi Così fan tutte for the Bayerische Staatsoper and returns as Micaëla Carmen later in the season. She will also make appearances at the Hamburgische Staatsoper, the Deutsche Staatsoper Berlin and the Opernhaus Zurich as Violetta La traviata.
Ailyn’s album-recital debut ‘Poème d’un jour’, a program of French and Italian songs on the Opus Arte label, was released to rave reviews. The UK’s Independent newspaper awarded it a full five stars, while International Record Review confessed: “Every so often, a singer comes along who completely bowls you over.”
Video & Audio
19:30 23 Apr 2018 Metropolitan Opera Company, NEW YORK More info
CHARLES GOUNOD Romeo et Juliette
Conductor: Plácido Domingo
Production: Bartlett Sher
Juliette: Ailyn Perez
Stéphano: Karine Deshayes
Roméo: Bryan Hymel
Mercutio: Joshua Hopkins
Frere Laurent: Kwangchul Youn
From The Green Room
Poème d’un jour More info
Label: Opus Arte
Release Date: 23 Apr 13
A selection of studio and live recordings from Ailyn Perez’s memorable London Rosenblatt Recital in March 2012. Accompanied by Iain Burnside at the piano, Ailyn presents Spanish and French art song (including music by Hahn, Obradors, De Falla and Faure) alongside arias from Massenet’s Manon.
31 Dec 17 MOZART Le nozze di Figaro (Countess) The Metropolitan OperaMore info
“Pérez, singing her first Contessa at the Met, was undeniably the vocal gem of the night… Her entire portrayal of the aria was one of heartbreak, the line delicate but always connected. Pérez possesses an increasingly large sound, but it was quite surprising how restrained she was with its use throughout, opting for a gentle approach that gave the character a greater dignity and nobility… “Porgi, amor” was beautiful,” but “Dove sono” was on another level altogether with Pérez managing what seemed like an extended legato phrase that just built and built until its reprisal, whereupon the soprano utilized ornamentations to express the lament and pain of the character.
David Salazar, Operawire, December 30 2017
13 Dec 17 Tucker Gala Carnegie HallMore info
“The other star of the night was soprano Ailyn Pérez who gave the audience another taste of her ever-expanding repertoire. Her first selection “Ebben? ne andro lontana” exuded a sense of despair. The opening lines were sung with a lush pianissmo that eventually grew to a chilling fortissmo. Her “Un Bel di vedremo” also showed Perez’s affinity for verismo as she brought out a tender vocal quality throughout the middle section. When the aria went to it climactic B flat, Perez’s voice grew richer and more devastating.”
Francisco Salazar, Operawise, 11 December 2017
13 Nov 17 Massenet Thaïs (title role) The Metropolitan OperaMore info
“The soprano’s sound was rounded and lustrous all afternoon, the sheer loveliness emphasized by the feeling that she was extending sustained notes just a little longer so the ear could linger, before her vibrato kicked in.
There was no strain to her high notes. Rather, there was a certain display of muscularity that elicited the intuitive excitement of being in the presence of pure power. And that was secondary to her long phrases, full of small inflections that showed character and mood, from the confident flirtations of “Qui te fiat si sévère” to the sublime focus and gentleness of her last lines in “C’est Toi, Mon Père.”
“Dis-moi que je suis belle,” the Act II “Mirror” aria, was marvelous. When Thaîs sings to the crowd (onstage and in the audience), she needs to invigorate and dazzle. In this scene, which opens the act, she becomes a three-dimensional character. Pérez seemed to hold time in her hand, the measures going past but the expression concentrated on unveiling the layers of her personality.
“Pérez’s interpretation of the heroine emphasized her alluring and seductive qualities, her voice vibrant with a relaxed and confident quality. Her initial vocal lines were deliciously sung, the legato elegant…
As Thaïs grew into her new role, her voice regained in strength, the sound fuller than at any point in the entire opera; this came to its apex in the final duet where the soprano effortlessly built to cathartic high Ds… For a role debut, it was a rather insightful and mature performance through and through.”
“Ailyn Pérez did exactly what she should do: walked on stage and took over. From her first breath, the voice caressed, seduced – but, most importantly, demanded attention. I’m not sure that Pérez was actually several decibels louder than everyone else, but she might as well have been: you couldn’t stop concentrating fully on her whenever she sang, and were rewarded by the most luscious of timbre, utter security in the high notes and full commitment to the role.”
” Pérez looked gorgeous in her Christian Lacroix costumes, vivaciously rendering words and music reflecting a hedonistic lifestyle as Thaïs seeks assurance from her bedroom mirror, and from Venus, that she is – and always will be – beautiful. However, once she decides to follow the conflicted monk Athanaël she dons plain and dark garments, and the vocal line darkens as well, but in the final scene, as Thaïs dressed in white dies, Pérez’s voice soared elegantly.
Pérez’s vocal brilliance and dynamic presence fully justifies returning Thaïs to the Met stage…”
” Soprano Ailyn Pérez flaunts a creamily voluptuous voice (and, as the saying goes, a bod for sin) as the titular courtesan, and Gerald Finley’s flinty baritone makes something disturbingly real of the ascetic monk Athanaël.”
“They chose to play actual people rather than caricatures, a decision that made the charged interactions this agonized man and this misunderstood woman feel surprisingly — and, in today’s world, uncomfortably — real.”
28 Sep 16 Puccini La bohème (Mimi) The Metropolitan OperaMore info
“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.”
Anthony Tommasini, New York Times, 29 Sept 2016
“…one turned to the touching and musically idiomatic inflections of Ailyn Pérez as Mimi, whose judicious use of sliding attacks and portamento gracefully conveyed the Italian text while steering clear of the “operatic” conventions Puccini himself was puncturing in this intimate drama.”
David Wright, New York Classical Review, 29 Sept 2016
“Ailyn Pérez brought a warm timbre and refined musicality to Mimi, Rodolfo’s frail-yet-beguiling lover. She capped lush phrases with radiant top notes that soared over Puccini’s tender melodies, and her understated physicality made her elegant portrayal an endearing one.”
Christopher Browner, Classical Source, 28 Sept 2016
16 Jul 16 Gounod Roméo et Juliette (Juliette) Santa Fe OperaMore info
“In recent years Pérez has been honored with some of the opera world’s top awards. It is easy to understand the acclaim when, on learning that the lad she loves is a member of the rival family, 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”
James M. Keller, Santa Fe New Mexican, 18 July 2016
“We know Ailyn Pérez from her 2011 debut here as Marguerite in that, um, other Gounod opera, a shimmering presence. She radiates grace and personal charm here as well, with a confidence that moves her Juliette from the shy and kittenish to self-knowing maturity … Vocal highlight of the evening, sans doute, goes to Pérez’ account of the punishing “poison aria,” her fearful self-debate—to drink or not to drink Friar Laurent’s potion. Gounod and his librettists, Jules Barbier and Michel Carré, vastly improve upon Juliette’s rattletrap Shakespearean soliloquy. The aria, “Amour, ranime mon courage,” presents its own fearful challenges, such that Caroline Carvalho, originating the role in 1867, declined to sing it, and for years, the piece went unheard. But Pérez makes it her own, the expressive coloratura and trills and high-flying bravura perfectly intact, plus a characterization that remains totally convincing.”
John Stege, Santa Fe Reporter, 20 July 2016
“Ailyn Pérez has the whole package. She is at the entryway of a great career. She can sing with power and restraint as the need presents. She has a rich lyric soprano that is completely under her control. 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.”
Neil Kurtzman, Medicine & Opera, 17 July 2016
“Juliette, sung beautifully by Ailyn Pérez, enters from the rising rear stage, trips down the steps with her nurse, as her wide light blue dress billows. She is every bit an innocent seventeen-year-old girl. Her voice is as eager and pure as her expressions.” …
“The balcony scene changes Juliette from a perky young girl into a mature woman, ready to sacrifice all for the love of her life. Pérez has the delicate touch necessary for this instant transformation.”
15 Apr 16 Puccini La bohème (Musetta) The Metropolitan OperaMore info
“… the Met has lined up an exceptional cast headlined by its two leading ladies … 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. From the moment she entered the Met stage her Musetta bristled with lots of energy. She flirted with the towns people, with the soldiers and at the same time made sure to put the pressure on Alcindoro, destroying plates and throwing menus. In her famous waltz “Quando Me’n vo’,” Pérez relished the moment as she sat in between soldiers, seducing each one. Her lush soprano voice caressed each phrase making it evident that she was easily having fun with the role. There was a sensual feel to her rubati throughout the aria and the gentle approach to some of the phrases.
In the third act, Pérez showed some more comedic timing as she danced and tripped her Marcello. But this was all combined with vocal fireworks as her soprano soared in the climax to the famed quartet “Dunque Propio e finito.” In the final act, Pérez dispatched the monologue “Madonna Benedetta,” with subtle intensity almost as if she was speaking. This was a heartwarming moment that showed another side to Musetta. Pérez and her Macrello, Levente Molnar, added a sense of urgency as they began making a remedy for the sick Mimi. This simple action helped flesh out her character and added a sense of kindness and commitment often missing in other portrayals.”
Francisco Salazar, Latin Post, 4 May 2016
“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. You cannot stop watching her every move as a physical comedienne, while, as an opera singer, you smile at her every note. Her playful relationship with Marcello, played by Levente Molnár, is the comic relief throughout the play because both are larger than life personalities that use emotional chess to both win and lose to each other.”
Diandra Rivera, NY Theatre Guide, 25 April 2016
29 Mar 16 Santa Fe Recital Santa Fe Desert ChoraleMore info
“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. She combines feeling and power with the deft phrasing that characterizes everything she sings.”
John Stege, Santa Fe Reporter, 16 March 2016
04 Mar 16 Puccini Manon (title role) Winspear Opera House, Dallas OperaMore info
“As the eponymous flibbertigibbet-turned-courtesan-turned-ruin, Ailyn Pérez … was fully engaged, putting every bit of her powerful, pliant soprano to use.”
Scott Cantrell, Dallas News, 5 March 2016
“Pérez is magnificent as the ill-fated Manon—vocally and dramatically. The character is usually portrayed as too beautiful for her own good and a victim of her desires. She abandons true but penniless love for the life of luxury offered as a courtesan, then back to her distraught student when she was bored and finally leading both of them to ruin by her insatiable desire for riches.
Pérez, on the other hand, is a woman who knows her own power. Her actions, while sometimes incorrect, are always motivated by trying to make the best of the situations in which she finds herself. She sincerely loves the heartbroken Des Grieux, the young student who rescued her from a life in a convent, but Pérez’s Manon is deeply conflicted about what to do when she learns that his father is going to intervene. Unless she accepts the very generous offer from the wealthy nobleman, she would be a 16-year-old woman alone in the world. Unlike others in the role, Pérez shows us her despair at such a choice. Through it all, her deep love for Des Grieux never falters—and we know it.
When Manon learns that Des Grieux is about to take his vows of priesthood, most Manons seek him out and seduce him to run off with her and live a life on the edge. Pérez plays it differently. She realizes that if he takes his vow, she will never be able to repair the damage she did to him and rebuild the life she sacrificed. While the end result is the same, her so-called seduction is something else: a desperate attempt to remind him of the joys they once shared.
Their final ruin is, indeed, her fault for suggesting a life of gambling to support themselves, but Pérez makes it clear that this is an act of desperation in the face of bankruptcy rather than her desire for finery. Their final meeting, a short visit her brother arranged with a corrupt prison guard, is almost too devastatingly sad to watch. There is little left of Pérez’s Manon, only her overwhelming regret. She musters the energy needed to express this to the distraught Des Grieux and expires in his arms.
Vocally, she is amazing. She has a glorious voice, moving to spinto territory, with secure high notes and remarkable flexibility. She is equally impressive at full volume or when floating a super soft sound. But she is doing more than just singing. Every note is part of a phrase that communicates the words and the emotions behind them. It reminds of the stage presence of someone like Maria Callas.”
Gregory Sullivan Isaacs, North Texas Performing Arts News, 6 March 2016
“Foremost, Ailyn Pérez as the eponymous Manon sang the high notes with ease, then slipped gracefully into the lower register. Pérez, whose hilarious performance earlier this season as the scheming understudy in Great Scott highlighted her lighter side, here showed her versatility as a young woman growing from naïveté to worldliness and then despair. 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. Pérez’s performance of the aria “Adieu, notre petite table” was heart-wrenching.”
Monica Hinman, Dallas Observer, 6 March 2016
30 Oct 15 Jake Heggie Great Scott (Tatyana Bakst) Winspear Opera House, Dallas OperaMore info
“Ailyn Pérez delivers a glorious performance as an up-and-coming Eastern European soprano in “Great Scott,” which had its world premiere Friday night at the Winspear Opera House.”
“The vocal stars of the show are Pérez, with a brilliant and glorious soprano, and Costanzo, with an astonishingly powerful and well-focused countertenor.”
Scott Cantrell, The Dallas Morning News, 31 October 2015
“soprano Ailyn Pérez, in an aptly attention-grabbing performance”
Joshua Kosman, SF Gate, 31 October 2015
“Tatyana Bakst, a wildly talented young soprano, well on her way to the top, who is cast in the female secondary role. She hails from Eastern Europe and has been unleashed on her first assignment in America. She is bold, brash, carefree and clueless. Much of the hilarity comes from her antics and her interactions with the other members of the company. She is being portrayed by a wildly talented soprano well on her way to the top, Ailyn Pérez — who definitely is not clueless.”
Gregory Sullivan Isaacs, Theater Jones, 29 October 2015
“In the first act, Arden worries that the young seconda donna, Tatyana, will “sing her off the stage.” Sure enough, soprano Ailyn Pérez — game, vibrant and thrilled to toss out easy high D’s — did just that, and not only in her diva moment, when she sang the National Anthem, recast as a florid bel canto showpiece, at the Super Bowl.”
Heidi Waleson, The Wall Street Journal, 2 November 2015
20 Sep 15 "Letters from Russia" New Century Chamber Orchestra, San FranciscoMore info
“Ailyn Pérez shows off star power with New Century ensemble
Just a few short years ago, soprano Ailyn Pérez was in the Merola Opera Program, and now she’s an international star. How’d that happen so fast?
The obvious answer — remarkable vocal talent, combined with radiance and charm — was on display in Berkeley’s First Congregational Church on Thursday night, when Pérez joined the New Century Chamber Orchestra for a first-rate season-opening program. Listening to her sing music of Rachmaninoff and Tchaikovsky, one couldn’t help but be amazed, and a little awestruck, at the expressive and tonal splendor on display.
The entire evening, for that matter, was short but wonderfully satisfying, and a reminder of the artistic rewards that have continued to accrue from the appointment of Nadia Salerno-Sonnenberg as the string ensemble’s music director. The programming was mostly venturesome and canny, and the execution impressively lithe, with the ideal chamber blend of precision and rhythmic freedom.
Still, it was Pérez who stole the show on this occasion with her ripe, chestnut-tinted vocal colorations and seemingly effortless phrasing. In Rachmaninoff’s “Vocalise,” the endless skein of melody — arching, falling, rising again to a new crest — sounded at once luxuriant and purposeful. Each turn of phrase and each harmonic shift had somewhere concrete to get to, but the artists were content to let us linger en route just enough to savor the sheer beauty on display.
Even more gripping was the Letter Scene from Tchaikovsky’s “Eugene Onegin,” with a string accompaniment arranged by Clarice Assad. Pérez’s performance superbly tracked the emotional ups and downs of this fraught episode, infusing the composer’s expansive lyrical phrases with a blend of reflectiveness and urgency, and turning the character’s moments of heightened anxiety into something poignant and true. Salerno-Sonnenberg and the ensemble played like an opera orchestra in the making.”
Joshua Kosman, SF Gate, 18 September 2015
“…it helps to have a glamorous guest artist on hand to transform an opening concert into a special event. With soprano Ailyn Perez as vocal soloist, Thursday’s program – which launched the ensemble’s 24th season – yielded the kind of performances that make the leap from the stylish to the sublime. This was especially true in the program’s centerpiece, a performance of Tatiana’s “Letter” aria from Tchaikovsky’s opera “Eugene Onegin.” Perez – who made an indelible impression as Violetta in San Francisco Opera’s 2014 production of “La Traviata” – once again combined vocal luster, emotional expressiveness and dazzling top notes in a performance of considerable dramatic urgency . . . Perez also sounded gorgeous in Rachmaninoff’s “Vocalise,” delivering the composer’s “song without words” in an exquisite reading.”
Georgia Rowe, San Jose Mercury News, 18 September 2015
“This haunting introduction set the stage for a most beautiful and moving performance of Sergei Rachmaninoff’s Vocalise. Soprano soloist Ailyn Pérez, sang the wordless melody with pure, heartfelt emotion. Pérez glowed on stage and lent the orchestra a calming elegance . . .”
Be’eri Moalem, San Francisco Classical Voice, 24 September 2015
06 Feb 15 Bizet Carmen The Metropolitan OperaMore info
[Roberto Alagna] had a more energetic, focused partner in the rising soprano Ailyn Pérez, making her Met debut as Micaëla.
A confident, forthright presence in a role that can fade into merely demure, Ms. Pérez has a penetrating, settled voice. Her tone … is … clear and articulate, and she uses it with intelligence and a sense of purpose.
The New York Times, 8 February 2015
24 Oct 14 Verdi Otello Houston Grand OperaMore info
As Desdemona, Otello’s unjustly accused wife, soprano Ailyn Perez sang with a fullness, warmth and poise that exuded Desdemona’s good-heartedness.
Steven Brown, Houston Chronicle, 25 Oct 2014
Ailyn Pérez, a soprano with an exceptionally brilliant vocal color, was the ideal Desdemona: effortlessly beautiful, pure, and sympathetic. Her back-to-back “Willow Song” and “Ave Maria” in the last act conveyed an astounding fragility and transporting splendor.
Sydney Boyd, Houstonia Magazine, 27 Oct 2014
01 Apr 14 Massenet Manon Royal Opera House Covent GardenMore info
“her tone is brightly focused and winning…By the time she got to the gambling den of the Hotel de Transylvanie…she had found her stride, a glamorous demi-mondaine to the life, standing out of the crowd. And her waif-like appearance and plangent singing on the road to Le Havre were truly heart-rending. With Emmanuel Villaume bringing authentic French flavour to Massenet’s score and coaxing idiomatic performances from his American principals, this was altogether a more satisfactory and enjoyable performance than the ‘international’ star-studded initial run two seasons ago”
Hugh Canning, Opera, April 2014
19 Feb 14 Puccini Turandot Royal Opera House, Covent GardenMore info
“There’s a distinguished role debut from Ailyn Pérez as Liu: her luscious, fruity timbre is perfect for Puccini and you completely succumb as her voice tingles up the stave.”
Neil Fisher, The Times, February 19, 2014
“Ailyn Perez made a sensational role debut as the slave girl Liu. Using her diminutive physique to her advantage, she cut a tragic figure on stage and used her bright and agile soprano voice to telling effect. As is often the case with this role, she was awarded the biggest ovation of the evening.”
Keith McDonnell, What’s on Stage, 18th February, 2014
“Yet, not for the first time, the show was stolen by the petite lyric soprano as the adorably self-sacrificing slave girl Liu. Ailyn Perez is currently a house favourite, and one could see why: she combines a limpid yet glowing voice with an attractive stage personality and aside from a tiny glitch at the end of “Signore, ascolta”, she floated pianissimi above the stave with spine-tingling ease.”
Rupert Christiansen, The Telegraph, 18th February 2014
“Ailyn Pérez sings with caressing warmth and stylishness as the self-sacrificing slave girl Liù.”
Warwick Thompson, The Metro, February 18th 2014
24 Jan 14 Wall Street Journal article about Stephen and Ailyn Ailyn and Stephen interview New YorkMore info
Wall Street Journal article
Elisabeth Braw, 23 January 2014
19 Nov 13 Tucker Gala Avery Fisher HallMore info
“The soprano Ailyn Pérez gave a tastefully restrained rendition of Charpentier’s “Depuis le jour,” from “Louise,” in which subtle changes in intensity created a watercolor-like effect. In a deliciously comic scene with her husband and fellow Tucker Prize recipient, Stephen Costello, she showed her sassy side, as Norina played hard to get in “Esulti pur la Barbara,” from “L’Elisir d’Amore.” Each revealed a perfect grasp of comic timing in acting and singing.”
Corinna da Fonseca-Wollheim, New York Times, 18 November 2013
22 May 13 Verdi Falstaff - Alice Ford Glyndebourne Festival OperaMore info
“The American soprano Ailyn Pérez, who won the 2012 Richard Tucker prize, was making her Glyndebourne debut as Alice Ford, and her creamy, lustrous tone and confident stage presence were ideally suited to this part, as indeed they would be to any of Verdi’s great lyric soprano roles; expect to hear much more from this already very polished artist.”
OMH review, May 2013
“Ailyn Perez’s feisty Alice is a joy, and her voice combines beautifully with Lucia Cirillo’s Meg”
The Arts Desk, May 2013
“Standing out from this fine ensemble, though, was the Alice Ford of Ailyn Pérez, a simply glorious Verdian soprano whose star quality at Glyndebourne proved mesmerising even in the moments when she sang from the wings. Pérez’s soaring, bejewelled lines will live long in the memory and the prospect of following her career in years to come is something to savour.”
Mark Valencia, Classical Souce, May 2013
17 May 13 CD: Poeme d'un jour (Opus Arte) Rosenblatt Recital SeriesMore info
Poème d’un jour
Ailyn Pérez, soprano; Iain Burnside, piano (Opus Arte)
“Countless women sing the repertoire that Ailyn Pérez performs in opera houses: Mimì in “La Bohème,” Violetta in “La Traviata,” the Countess in “The Marriage of Figaro.” But only a few who bring something extraordinary to those roles achieve recognition that goes far beyond the typical opera sphere. Pérez, who won the 2012 Richard Tucker Award, should be next on that list.
On a recording of French and Spanish music, Pérez displays a powerful, distinctive tone that is both deep and rosy. She can evoke the feeling of breathless spontaneity and then slip easily, magically up to a soft, exquisitely controlled high note. Two arias from Massenet’s “Manon” show a role to which she is well-suited. The lushness of her voice fits romantic songs by Reynaldo Hahn and the title set by Gabriel Fauré, which she sings sensitively. She also brings character, agility and rich colorings to songs by Joaquin Turina, Fernando Obradors and Manuel de Falla. Iain Burnside provides lively, proficient accompaniment throughout.”
International Record Review
Mark Pullinger, June 2013
“There’s a hint of Victoria de los Angeles in the programming and the style of this lovely young American soprano, currently lighting up the stage as Alice Ford in Falstaff at Glyndebourne. Any singer who begins a recital with Hahn’s exquisite neo-baroque A Chloris gets my vote, especially when she sings it with such artless affection. Her Fauré group, Poème d’un jour, is delectably suggestive. Perez’s Spanish sounds entirely idiomatic in Obradors, Turina and Falla. In the Seven Popular Spanish Songs, she rivals de los Angeles with her alternately seductive and anguished manner. Better, though, to have tracked the delicious Manon excerpts as encores.”
Ailyn Perez (soprano), Iain Burnside (piano)
Opus Arte OACD9013D
24 Mar 13 Verdi Requiem La Maison Symphonique de MontréalMore info“Soprano Ailyn Pérez (a replacement this evening) was given her chance to shine in the Libera me which brings this work to a close. When she sang alone with the chorus, it was absolutely captivating – such sweet, delicate expressiveness perfectly suited the close of this work. When the final notes died away Nézet-Séguin waited in hushed reverence – was it fifteen seconds or five minutes?”
01 Oct 12 Verdi La Traviata - Violetta Cincinnati OperaMore info
“A strikingly beautiful woman, Perez is eminently suited to Violetta, not only physically but vocally. Her dark tinged voice conveys tragedy, and she has the flexibility to bring off “Sempre libera” which she capped with an E-flat on opening night. It was in the subsequent acts, though, that she particularly excelled, spinning out a thread of sound in “Dite alla giovine” and summoning powerful desparation in he pleas to Alfredo that he love her. Perez’s voice took on a appropriate pallor in the final act, regaining vibrancy in the imagined recovery of her final movements”
Opera News, October 2012
01 Nov 11 Verdi La Traviata - Violetta Royal Opera House, Covent GardenMore info
“The latest cast change, heralding a run of performances over the Christmas period, is first-rate, with an ideal Violetta in Ailyn Perez. The bewitching young American soprano puts her heart into every twist of the drama, from the impetuousness of her love for Alfredo – the world-class Polish tenor Piotr Beczala..to the febrile emergency of her death…her performance was glorious, the quiet passages magical.”
The Observer, November 2011
“Poplavskaya is a hard act to follow, but Pérez was tried and tested in the Royal Opera’s tour to Japan just over a year ago, and she has now made the part very much her own…The intense joy and the heavy grief of her music is embodied in a soprano that is supple and strong enough to sustain long passages in the most eloquent and perfectly controlled half-voice…Piotr Beczala, her personable and powerful Alfredo.”
The Times, November 2011
01 Nov 11 Placido Domingo Gala Royal Opera House, Covent GardenMore info
“an entrancing Gilda (Ailyn Perez, in a deserved Covent Garden debut).”
The Sunday Times, November 2011
01 Feb 11 Gounod Romeo et Juliette - Juliette Opera Company of PhiladelphiaMore info
“But the chief attraction is the casting of America’s fastest-rising husband-and-wife opera stars in the title roles: tenor Stephen Costello and soprano Ailyn Perez. Young, attractive singers who are proud alumnae of the Academy’s training program, they made the performance a memorable one…
Perez’s lyric soprano is pure and honeyed in tone, and she deploys it with elegance and tenderness…
In the four duets Gounod wrote for the star-crossed lovers, her voice blended together beautifully with Costello’s.
Perez is also a natural actress, embodying both Juliette’s girlish high spirits and her growing maturity under the influence of love.”
Associated Press, February 2011
“Pérez captured the persona, with insouciance and glamor. Her voice has coloratura brightness (she was an excellent Lucia when she was a student at the Academy of Vocal Arts) and richer color than ever before.”
Opera Critic, February 2011
I Capuleti e i Montecchi (Giulietta)
Les pêcheurs de perles (Leila)
Don Pasquale (Norina)
L’elisir d’amore (Adina)
Rusalka (title role)
Roméo et Juliette (Juliette)
Thaïs (title role)
Manon (title role)
Così fan tutte (Fiordiligi)
Die Zauberflöte (Pamina)
Don Giovanni (Donna Anna)
Le nozze di Figaro (Countess)
Les Contes d’Hoffmann (Four Heroines)
La voix humaine
Les dialogues des Carmelites (Blanche)
La bohème (Mimi, Musetta)
La rondine (Magda)
Le Villi (Anna)
Suor Angelica (Angelica)
Guillaume Tell (Mathilde)
Eugene Onegin (Tatyana)
Falstaff (Alice Ford)
La Traviata (Violetta)
Simon Boccanegra (Amelia)
Ein Deutsches Requiem
Symphony No. 2
Symphony No. 4
Symphony No. 8
Vier letzte Lieder