Manager: Damon Bristo
Management Territory: Worldwide
"The performance boasted a remarkable Mimì in Raquel González. Her complexly shaded lirico-spinto soprano proved an instrument of ideal weight for the role, and she used it to create a portrayal of extraordinary delicacy. Her seamstress never begged for our sympathies, but instead elicited them through her simple, direct manner. She treated "Donde lieta uscì" not as an occasion for grandstanding but as a plain racconto, listing the items she needed to retrieve from Rodolfo's apartment and only letting her passion come through as she sang of the "cuffietta rosa" underneath his pillow. "Sì, mi chiamano Mimì" was so unaffected, so thoroughly in the moment, that its ending elicited from the audience empathetic silence rather than applause, as if nobody wanted to break its spell. This was the work of a true artist." Opera News, October 2016 - Mimi in 'La bohème" at Glimmerglass Festival
"Soprano Raquel González and O’Neill sang with exceptional intimacy...González and the orchestra achieved a particularly beautiful and moving moment when Desdemona bares her heart and soul to her husband...With a premonition of death, Desdemona sings the famous “Willow Song”, a lament for love gone wrong. González was affecting here, subtly drawing back her tone for each repetition of “salce” (willow)...Desdemona then kneels and prays, beginning and finishing with the “Ave Maria”. The conclusion...is one of Verdi’s finest inspirations, and this rendering could hardly have failed to moisten eyes, with González’s final floated pianissimo high A and string-playing of seraphic purity in the coda...O’Neill, González, and the orchestra made a spine-tingling dramatic and musical crescendo to the horrific killing." The Boston Music Intelligencer, January 2016 - Desdemona in 'Otello' with the Boston Youth Symphony
"Raquel González's big, fresh lyrico-spinto soprano was exactly right for Tatiana; its tight vibrato was like youthful yearning itself, made into sound. She was ardent and impetuous in the Letter Scene; touching and noble as the mature heroine...she carried our sympathies from first to last." Opera News - Tatyana in 'Eugene Onegin' at the Juilliard School
Soprano Raquel González returns for her third season of Washington National Opera's Domingo-Cafritz Young Artist Program, where she sings Countess in the Emerging Artist Performance of Le nozze di Figaro and the title role in the Emerging Artist Performance of Madama Butterfly. She also appears this season as soprano soloist in Beethoven’s 9th Symphony with the Lansing Symphony Orchestra, and in Beethoven’s Missa Solemnis with the Los Angeles Master Chorale. She debuts with Syracuse Opera as Tatyana in Eugene Onegin.
In 2015-16, Ms. González sang Micaëla in the Emerging . . . Artist Performance of Carmen at WNO, where she also sang The Sandman in Hansel and Gretel. She then made her role debut as Desdemona in Otello with the Boston Youth Symphony Orchestra and returned to sing Mimì in La bohème at The Glimmerglass Festival, where she previously sang First Lady in The Magic Flute as a 2015 Young Artist. In her first season at WNO she sang Mimì in the Emerging Artist Performance of La bohème then sang Sister Claire and covered Blanche de la Force in Dialogues of the Carmelites.
As a Gerdine Young Artist at Opera Theatre of Saint Louis, she appeared in the world premiere of Terence Blanchard's Champion and returned to OTSL in the summer of 2014 as a Festival Artist singing First Lady and covering Blanche de la Force.
At The Juilliard School Ms. González was seen as Tatyana, Arminda (La finta giardiniera), Dido (Dido and Aeneas), and Mélisse (Armide). She spent several summers at the Chautauqua Institution singing such roles as Magda (La Rondine), Donna Anna (Don Giovanni), Adina (L'elisir d'amore), and Lauretta (Gianni Schicchi).
In concert, she has appeared with the New York Festival of Song at Alice Tully Hall where she also appeared several times with William Christie and Juilliard415. Ms. González was the soprano soloist in Handel’s Messiah with the Charleston Symphony Orchestra and made her debut with the New York Philharmonic as soprano soloist in Beethoven's Ninth Symphony at Avery Fisher Hall. A 2016 Mid-Atlantic Region Finalist of the Metropolitan Opera National Council Auditions, she has also been awarded prizes from the Liederkranz Foundation and the Gerda Lissner Foundation. She earned her master's degree as a Toulmin Scholar from The Juilliard School, where she also completed her undergraduate studies studying with Marlena Malas.
(Updated November 2016)