Ailyn Pérez


Hailed by the New York Times as “a beautiful woman who commands the stage” and “a major soprano,” Ailyn Pérez is increasingly in demand at the world’s leading opera houses and cultural capitals. 

Ms Pérez  is winner of both the 2012 Richard Tucker Award, thereby becoming the only Hispanic recipient in the award’s 35-year history, and the 15th annual Plácido Domingo Award. As Opera News observes, “The phrase ‘an embarrassment of riches’ might have been invented to describe the combination of talents that belong to Ailyn Pérez, … who truly seems to have it all.”

Ailyn Pérez is a graduate of Philadelphia’s Academy of Vocal Arts and Indiana University. Her many accolades include the George London Foundation’s Leonie Rysanek Award, Shoshana Foundation Career Grant (2007), 2nd place in the 2006 Plácido Domingo Operalia Competition, and honors from the Loren L. Zachary Foundation, Opera Index, and the Licia Albanese-Puccini Foundation.

Engagements in the 14-15 season and beyond include her Metropolitan Opera debut in 2015 as Micaela (Carmen); Desdemona (Otello) for her Houston Grand Opera debut;  Mimi (La boheme) at the Teatro alla Scala; and Norina (Don Pasquale) and Violetta at the Liceu in Barcelona; and a US recital tour to promote her “Love Duets” CD with Costello. She also sings the title role in Manon, Juliette (Romeo et Juliette), Giulietta (I Capuleti e i Montecchi),  Tatiana ( Eugene Onegin), The Countess (Le nozze di Figaro), Teresa (Benvenuto Cellini), Tatyana Bakst (Great Scott, a world premiere by composer Jake Heggie), and other roles at several top American and international houses, including her return to the Metropolitan Opera.

Her 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 awarded it a full five stars, while International Record Review confessed: “Every so often, a singer comes along who completely bowls you over.

For an up-to-date biography please contact Rachel Walters  

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News & Features


Operatic Repertoire

BELLINI - I Capuleti e i Montechi, Giulietta

BEETHOVEN - Fidelio, Marzelline

BIZET - Les Pecheurs de Perles, Leila

BIZET - Carmen, Micaela

DONIZETTI - L'elisir d'amore, Adina

GOUNOD - Faust, Marguerite

GOUNOD - Romeo et Juliette, Juliette

MASSENET - Manon, Manon

MOZART - Don Giovanni, Zerlina + Donna Elvira

MOZART - Idomeneo, Ilia

MOZART - Le nozze di Figaro, Countess

MOZART - Die Zauberflote, Pamina

OFFENBACH - Les Contes d'Hoffmann, Four Heroines

POULENC - Les dialogues des Carmelites, Blanche

PUCCINI - La Boheme, Mimi

PUCCINI - Turandot, Liu

PUCCINI - Le Villi, Anna

VERDI - Otello, Desdemona

VERDI - Simon Boccanegra, Amelia

VERDI - La Traviata, Violetta

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Interview in Latin Post

Ailyn Pérez made history in 2012 when she won the prestigious Richard Tucker Award, a prize that is given to rising American operatic stars. Perez, a first generation American to Mexican parents, became the first Latin American to win the accolade.
Since then she has become a renowned face in international opera singing at the Royal Opera House, the Bayerische Opera, Deutsche Opera Berlin, Hamburg State Opera, San Francisco Opera and the Washington Opera. And despite this tremendous success, she had yet to grace one stage -- the Metropolitan Opera.
That is about to change, as three years after winning the prestigious award, Perez will finally make her Metropolitan Opera debut, a career highlight that she calls a dream come true.  
"I'm so excited," she said about her debut during a recent interview with Latin Post. "In life you have these goals and aspirations, you prepare and you work and you carve out things and doors open. And this door particularly, I am so glad that it opened now. I think that everyone says timing is everything but there is so much joy that I have with this role and this group of people and at this time in my life. It feels special."
> Full interview

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The Metropolitan Opera

[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



Houston Grand Opera

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

'Love Duets' CD

Warner Classics

Love is in the aria for opera's new It couple

If Roberto Alagna and Angela Gheorghiu were the Richard Burton and Liz Taylor of opera (on again, off again, divorce), husband and wife Stephen Costello and Ailyn Pérez are the Jay Z and Beyoncé. They’re modern, they’re hot and their marital status is taking them beyond opera’s heartland into Vanity Fair, The Huffington Post, and YouTube ubiquity that includes the gushy mini-doc An Operatic Love Story.

Labelled opera’s reigning It couple and a power couple, in person “Pérello” are charmingly low-key. We meet in an Italian restaurant round the corner from the Royal Opera House. A squeaky dumbwaiter makes the place a bit Fawlty Towers but it’s a favourite post-show haunt of Covent Garden’s artists; signed photos of Pavarotti, Joseph Calleja and opera’s ultimate power couple, Bob and Ange (Alagna and Gheorghiu), line the walls. The opera-loving owner, Pino, has eyes for petite Pérez; Costello barely gets a look-in. The duo, both in their early thirties, don’t command attention from other diners, but you sense that’s only a matter of time.

Their album, Love Duets, is released today, full of beautiful singing and glossy pictures. Tomorrow they open in La traviata at the ROH. They have sung together on stage once before in London — in January 2012, Pérez jumped in for soprano Ermonela Jaho opposite Costello for one performance of Verdi’s opera — but this is an entire performance run. Not only that, the ROH has chosen it to be its first opera streamed free and globally online, and relayed live to BP Big Screens nationwide. The pair have also just announced a live concert of love duets at the Barbican, London, in January.

Under that kind of spotlight, what’s it like to bring opera’s greatest romances to life with your other half? Is it a cauldron of onstage chemistry? Unbridled passion?

“In something like Traviata it’s extremely difficult,” says Costello. “In our first scene it’s the first time the two characters meet. And it’s hard to recreate the first time you’ve met somebody when you’ve spent the past five years living together.” The pair met at Philadelphia’s Academy of Vocal Arts, brought together by music and trust as they navigated a tough business. They married in 2008.

“What makes it easy is that I know Ailyn as an artist. I’ve seen her sing Traviata a million times . . . I know what she likes to do where. It makes me more comfortable, especially in a duet.”

“What’s most exciting when I’m working with Stephen is there’s a part of me that relaxes a little,” says Pérez. “I know I can count him. He serves the music and the scene, and he’s not unfocused. Sometimes artists go crazy when press happens. It’s me, me, me . . . I don’t get that with him.”

Both say that on stage they sing to the character, not the partner, though Costello concedes he may indulge himself in a recital. “When you’re just doing sections of a piece you . . . have to bring something. And something comes out in me and says: ‘I’m proud to be here with my wife.’ I think the audience can see that.”

If anything, they have to operate as individual performers on stage. “You have to detach to personally do your very best,” says Pérez. “Like, I can’t be worried about how Stephen’s feeling that night, because I have to perform. We’ve learnt not to be so intense.”

If Roberto Alagna and Angela Gheorghiu were the Richard Burton and Liz Taylor of opera … husband and wife Stephen Costello and Ailyn Pérez are the Jay Z and Beyoncé

Pérez and Costello both have blossoming independent careers. Pérez is a Royal Opera favourite, wowing this year as Massenet’s coquettish Manon and in Puccini’s Turandot, with her “luscious, fruity timbre” (The Times). Costello had a phenomenal Metropolitan Opera debut aged 26 in 2007, promoted by maestro James Levine on the season-opening night of Lucia di Lammermoor from singing Arturo to the male lead, Edgardo. He spans from bel canto to contemporary opera and has a wonderful Italianate surety.

Accepting criticism from your nearest and dearest is always a challenge, and there is little room for it in this relationship. “In all honesty, you don’t ask questions if you want an honest answer,” says Costello.

“No, that’s not true,” counters Pérez. “I’m sorry . . . you want support. You want affirmation. We’ve been down that road and . . .”

“It’s not productive,” finishes Costello.

The bread and butter of the soprano and tenor is romantic tension, which brings another mind-bending challenge: watching your partner cavort onstage with another singer. “In Valencia, I watched Ailyn sing Manon with Vittorio Grigolo [an Italian tenor with Rat Pack good looks]. He’s reading the letter [of marriage] between her legs and she’s wearing this nightgown thing. I’m like: ‘I can’t watch this,’ ” says Costello.

He is equally uncomfortable when the tables are turned. “He’s kicked me out of the theatre before,” says Pérez, who seems to handle the eye candy more coolly.

The Mexican-American Pérez and Irish–American Costello both hail from large families and would like children. Now, however, is not the time to disrupt their career momentum. “We have a dog [called Tequila] and she’s really special, like a child,” says Costello.

“We’re young, we’re still proving ourselves and that’s the edge that we have in our shows,” says Pérez. “It’s not like we’ve arrived. We’re not in our Tosca days.”

For now, there’s the album to promote. Love Duets is an enjoyable listen; a mix of operatic favourites (La bohème, La traviata, Faust et al) and some musical theatre (Tony and Maria’s One Hand, One Heart from West Side Story, If I Loved You from Carousel) all accompanied by the BBC Symphony Orchestra. The pair grew up loving musical theatre, and its inclusion is also a conscious nod to broadening opera’s appeal.

That’s a tough job made harder, Costello feels, by lack of support. If only Jay Z would go to the opera, he says, a generation would follow. In March he was singing in Moby-Dick at the Washington National Opera, “and the president didn’t come to the opera once”, he complains.

“And Moby-Dick was one of Obama’s favourite novels,” points out Pérez. “These people who are in the press all the time — the president or pop stars — they don’t support the other arts. How are we going to get young people interested?”

Essentially, Costello and Pérez are managing three careers: their individual work and the Pérello brand, which is increasingly centre stage. “At first it can bother you but it’s helping us get more jobs,” says Costello. The pair collect their joint production posters, framed at home in Chattanooga. “It’s always great to work together . . . and we’re getting paid twice!”

No, they don’t have a Bob and Ange rate (allegedly two for the price of three rather than an operatic BOGOF for joint appearances). They don’t believe the power-couple hype, either.

“It’s not really true. The Royal Opera aren’t going to hire us both to sing in the same cast just because we’re married,” says Costello. “If they didn’t like one of us, they’d only hire one of us.”

“And we’re not trying to be exclusive,” says Pérez.

“Demanding that we would only work together,” explains Costello. “That’s terrible. That causes a lot of problems. We wouldn’t do that.”

Who’s demanded that? “No comment,” they both reply.

Opera is eager to find another celebrated on-stage partnership with the chemistry of Callas and Di Stefano, Freni and Pavarotti, or Netrebko and Villazón. With their added offstage romance, Pérez and Costello are joining that elite, generating a tangible on-stage frisson. Do they feel it or is it just part of the job?

“Oh, I still feel it,” says Pérez.

“I hope there’s chemistry,” says Costello. “If there isn’t, that would suck. That would be a long night.”

 - Emma Pomfret

The Times, May 5, 2014, Emma Pomfret

'Ailyn Perez and Stephen Costello sing Love Duets' Presto News, 5 May 2014

The Sunday Times review The Sunday Times
The Guardian review Fiona Maddocks, The Observer, 11 May 2014
Mail On Sunday - Album of the Week David Mellor, Mail on Sunday, 11 May 2014



Royal Opera House Covent Garden

"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



Royal Opera House, Covent Garden

"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

Wall Street Journal article about Stephen and Ailyn

Ailyn and Stephen interview

New York

Wall Street Journal article Elisabeth Braw, 23 January 2014

Tucker Gala

Avery Fisher Hall

"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


Falstaff - Alice Ford

Glyndebourne Festival Opera

"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

CD: Poeme d'un jour (Opus Arte)

Rosenblatt Recital Series

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."

Ronni Reich, New Jersey News
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

HC, The Sunday Times, 2 June 2013



La Maison Symphonique de Montréal

"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?"

Andrew Crust


La Traviata - Violetta

Cincinnati Opera

"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


La Traviata - Violetta

Royal Opera House, Covent Garden

"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 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

Placido Domingo Gala

Royal Opera House, Covent Garden

"an entrancing Gilda (Ailyn Perez, in a deserved Covent Garden debut)." The Sunday Times, November 2011


Romeo et Juliette - Juliette

Opera Company of Philadelphia

"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



Poème d’un jour

Hot on the heels of winning the prestigious Richard Tucker Award, “huge star in the making” Ailyn Pérez releases her debut solo CD for Opus Arte. 

This debut solo CD for Opus Arte, Poème d’un jour, comprises a mixture 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) as well as arias from Massenet’s Manon, a role which she performs at Covent Garden next season. The CD goes on sale internationally on April 23 and in the U.S. on May 28.
Opus Arte