Ainhoa Arteta is one of the most renowned sopranos in the world. She has sung in the world' s leading theatres, but her Spanish DNA has never left her. This is reflected in her voice, charged with emotion and intensity. Ainhoa has not only achieved technical excellence, but she has achieved something even more complicated: to touch the soul of the audience in every song.
When she was only 5 years old, Ainhoa heard María Callas singing and, since then, she has been in love with opera. Her first steps in singing were in her father's Coral Eresoinka and at the age of 12 she entered the San Sebastian Conservatory. At the age of 18 she moved to Italy, where she was taught by Ettore Campogalliani, teacher of Pavarotti and Freni. Years later, she moved to New York, where she continued her acting training at the Actor's Studio. Throughout her career, Ainhoa has had valuable influences from some important teachers and mentors, especially Ruth Falcón, who was a reference for her during all these years. Currently, Ainhoa is still in constant training.
Debuting with the role of Mimi in Puccini's La Bohème is not easy. And even less so if it is on the stage of the Metropolitan Opera in New York as part of the prestigious National Council Auditions that this theatre organises every year. Nevertheless, Ainhoa succeeded, and with distinction.
This debut, together with the prize at the Concours International de Voix d'Opera in Paris, was the beginning of a brilliant career.
The list of venues where she has performed is dizzying: from the Metropolitan Opera to Carnegie Hall, the Royal Opera House Covent Garden, Bayerische Staatsoper and La Scala in Milan, among others. This has allowed her to perform the lead roles in operas such as La Traviata, La Bohème, Romeo et Juliette and Manon Lescaut.
Among her great successes are the roles in Cyrano de Bergerac with Plácido Domingo at the San Francisco Opera and the Teatro Real; La Bohème at the Metropolitan and Scala in Milan; Otello in La Coruña; Turandot, Carmen and La Bohème at the Liceo; Dialogues des Carmelites, Eugene Oneguin and Simon Boccanegra at ABAO; the premiere in Paris of the opera Le dernier jour d'un condamné; Don Carlo at the Ópera de Oviedo and Don Giovanni at the Teatro Real, among others.
Ainhoa has also developed an important and brilliant career in recitals and concerts, in whose programme the Spanish repertoire has had a very important part.
Date last modified: October 2021
Not to be altered without permission. Please delete any previous biographic material
When she was only 5 years old, Ainhoa heard María Callas singing and, since then, she has been in love with opera. Her first steps in singing were in her father's Coral Eresoinka and at the age of 12 she entered the San Sebastian Conservatory. At the age of 18 she moved to Italy, where she was taught by Ettore Campogalliani, teacher of Pavarotti and Freni. Years later, she moved to New York, where she continued her acting training at the Actor's Studio. Throughout her career, Ainhoa has had valuable influences from some important teachers and mentors, especially Ruth Falcón, who was a reference for her during all these years. Currently, Ainhoa is still in constant training.
Debuting with the role of Mimi in Puccini's La Bohème is not easy. And even less so if it is on the stage of the Metropolitan Opera in New York as part of the prestigious National Council Auditions that this theatre organises every year. Nevertheless, Ainhoa succeeded, and with distinction.
This debut, together with the prize at the Concours International de Voix d'Opera in Paris, was the beginning of a brilliant career.
The list of venues where she has performed is dizzying: from the Metropolitan Opera to Carnegie Hall, the Royal Opera House Covent Garden, Bayerische Staatsoper and La Scala in Milan, among others. This has allowed her to perform the lead roles in operas such as La Traviata, La Bohème, Romeo et Juliette and Manon Lescaut.
Among her great successes are the roles in Cyrano de Bergerac with Plácido Domingo at the San Francisco Opera and the Teatro Real; La Bohème at the Metropolitan and Scala in Milan; Otello in La Coruña; Turandot, Carmen and La Bohème at the Liceo; Dialogues des Carmelites, Eugene Oneguin and Simon Boccanegra at ABAO; the premiere in Paris of the opera Le dernier jour d'un condamné; Don Carlo at the Ópera de Oviedo and Don Giovanni at the Teatro Real, among others.
Ainhoa has also developed an important and brilliant career in recitals and concerts, in whose programme the Spanish repertoire has had a very important part.
Date last modified: October 2021
Not to be altered without permission. Please delete any previous biographic material
2022-2023 Performances
RECITAL "DOS DIVAS Y UN BARÍTONO"
2 September 2022 Festival Internacional Jesús López Cobos
ZARZUELA CONCERT
16 September 2022 Plaza de la Armería, Palacio Real, Festival Otoño Musical Soriano, Madrid
CONCERTS IN CANARIAS
29 September 2022 21:00 Auditorio Insular Infanta Cristina, San Sebastián de La Gomera, Santa Cruz de Tenerife
01 October 2022 21:00 Teatro Víctor Fernández Gopar El Salinero, Arrecife, Las Palmas
02 October 2022 21:00 Auditorio Alfredo Kraus - Palacio de Congresos de Canarias, Las Palmas
09 October 2022 21:00 Teatro Leal, La Laguna, Santa Cruz de Tenerife
RECITAL "CANTARES VIAJEROS"
10 December 2022 21:30 Cartuja Center, Sevilla
RECITAL
28 December 2022 19:30 Teatro Arriaga, Bilbao
SPANISH MUSIC AND ZARZUELA RECITAL WITH RAMÓN VARGAS
6 February 2022 20:00 Teatro de la Zarzuela, Madrid
LA VIDA BREVE
18 March 2022 20:00 Teatro de la Maestranza, Sevilla
19 March 2022 19:00 Teatro de la Maestranza, Sevilla
TRATO DE FAVOR DE LUCAS VIDAL "
29 April 2023 20:00 Teatro de la Zarzuela, Madrid
03 May 2023 20:00 Teatro de la Zarzuela, Madrid
05 May 2023 20:00 Teatro de la Zarzuela, Madrid
07 May 2023 18:00 Teatro de la Zarzuela, Madrid
10 May 2023 20:00 Teatro de la Zarzuela, Madrid
12 May 2023 20:00 Teatro de la Zarzuela, Madrid
14 May 2023 18:00 Teatro de la Zarzuela, Madrid
17 May 2023 20:00 Teatro de la Zarzuela, Madrid
19 May 2023 20:00 Teatro de la Zarzuela, Madrid
21 May 2023 18:00 Teatro de la Zarzuela, Madrid
CARMEN
23 June 2022 Teatro Villamarta, Jerez
25 June 2022 Teatro Villamarta, Jerez
2 September 2022 Festival Internacional Jesús López Cobos
ZARZUELA CONCERT
16 September 2022 Plaza de la Armería, Palacio Real, Festival Otoño Musical Soriano, Madrid
CONCERTS IN CANARIAS
29 September 2022 21:00 Auditorio Insular Infanta Cristina, San Sebastián de La Gomera, Santa Cruz de Tenerife
01 October 2022 21:00 Teatro Víctor Fernández Gopar El Salinero, Arrecife, Las Palmas
02 October 2022 21:00 Auditorio Alfredo Kraus - Palacio de Congresos de Canarias, Las Palmas
09 October 2022 21:00 Teatro Leal, La Laguna, Santa Cruz de Tenerife
RECITAL "CANTARES VIAJEROS"
10 December 2022 21:30 Cartuja Center, Sevilla
RECITAL
28 December 2022 19:30 Teatro Arriaga, Bilbao
SPANISH MUSIC AND ZARZUELA RECITAL WITH RAMÓN VARGAS
6 February 2022 20:00 Teatro de la Zarzuela, Madrid
LA VIDA BREVE
18 March 2022 20:00 Teatro de la Maestranza, Sevilla
19 March 2022 19:00 Teatro de la Maestranza, Sevilla
TRATO DE FAVOR DE LUCAS VIDAL "
29 April 2023 20:00 Teatro de la Zarzuela, Madrid
03 May 2023 20:00 Teatro de la Zarzuela, Madrid
05 May 2023 20:00 Teatro de la Zarzuela, Madrid
07 May 2023 18:00 Teatro de la Zarzuela, Madrid
10 May 2023 20:00 Teatro de la Zarzuela, Madrid
12 May 2023 20:00 Teatro de la Zarzuela, Madrid
14 May 2023 18:00 Teatro de la Zarzuela, Madrid
17 May 2023 20:00 Teatro de la Zarzuela, Madrid
19 May 2023 20:00 Teatro de la Zarzuela, Madrid
21 May 2023 18:00 Teatro de la Zarzuela, Madrid
CARMEN
23 June 2022 Teatro Villamarta, Jerez
25 June 2022 Teatro Villamarta, Jerez
2021-2022 Performances
AINHOA ARTETA IN CONCERT (WITH RAMÓN VARGAS)
27 February 2022 20:00 Teatro de la Zarzuela, Madrid
27 February 2022 20:00 Teatro de la Zarzuela, Madrid
KATIUSKA
12 May 2022 20:00 Teatro Campoamor, Oviedo
14 May 2022 20:00 Teatro Campoamor, Oviedo
12 May 2022 20:00 Teatro Campoamor, Oviedo
14 May 2022 20:00 Teatro Campoamor, Oviedo
CONCERT
21 May 2022 Riojaforum Palacio de Congresos y Auditorio, La Rioja
21 May 2022 Riojaforum Palacio de Congresos y Auditorio, La Rioja
RECITAL POR EL AIRE VAN
28 May 2022 Palau Altea Centre D'Arts
28 May 2022 Palau Altea Centre D'Arts
RECITAL AINHOA ARTETA, NANCY FABIOLA HERRERA Y CELSO ALBELO
3 June 2022 Las Palmas de Gran Canaria
3 June 2022 Las Palmas de Gran Canaria
DIALOGES DES CARMELITES
24 June 2022 20:00 Teatro Villamarta, Jerez de la Frontera
26 June 2022 20:00 Teatro Villamarta, Jerez de la Frontera
24 June 2022 20:00 Teatro Villamarta, Jerez de la Frontera
26 June 2022 20:00 Teatro Villamarta, Jerez de la Frontera
GALA STARLITE CON PLÁCIDO DOMINGO
11 July 2022 22:00 Starlite Marbella
11 July 2022 22:00 Starlite Marbella
HADRIAN
27 July 2022 19:30 Teatro Real, Madrid
29 July 2022 22:00 Festival Castell de Peralada
27 July 2022 19:30 Teatro Real, Madrid
29 July 2022 22:00 Festival Castell de Peralada
CONCERT WITH PLÁCIDO DOMINGO
3 August 2022 22:15 Bodega Las Copas, VIII Tío Pepe Festival, Jerez de la Frontera
3 August 2022 22:15 Bodega Las Copas, VIII Tío Pepe Festival, Jerez de la Frontera
LYRIC GALA
07 August 2022 Festival de Ópera de Cullera
07 August 2022 Festival de Ópera de Cullera
LUISA FERNANDA (CONCERT VERSION)
08 August 2022 Festival de Ópera de Cullera
08 August 2022 Festival de Ópera de Cullera
X CONCIERTO DE LA VENDIMIA Y EL VINO
26 August 2022 23:00 Patio de Armas, Castillo de Requena
26 August 2022 23:00 Patio de Armas, Castillo de Requena
Gallery
Multimedia
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Adriana Lecouvreur (Teatro de la Maestranza, 2018)
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Homenaje a Pilar Lorengar (2018)
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Reviews
FALSTAFF. PALAU DE LES ARTS REINA SOFÍA. 2021
"For her part, Ainhoa Arteta as Alice was a display of stage charisma and, moreover, vocally she was generous with a voice that fulfilled all the technical demands, thus showing great versatility". César Rus (Ópera Actual)
"Ainhoa Arteta excelled in colour, warmth, projection, phrasing and self-confidence." Daniel Martínez Babiloni (Bachtrack)
"The theatrical dynamics worked perfectly, not only thanks to Martone, but also to the acting talents of all the soloists, among whom Ainhoa Arteta's Alice Ford stood out, showing tremendous involvement in her work. The Basque soprano deserved the podium for her musicality, for her beautiful voice at the service of the opera, well placed, well timbred, for her excellent singing line and construction of phrases, which make her one of the most complete tiples on the scene today. She sang like one of the greats...". Jacobo Ríos-Capé Carpi (Valencia Plaza)
"Ainhoa Arteta excelled in colour, warmth, projection, phrasing and self-confidence." Daniel Martínez Babiloni (Bachtrack)
"The theatrical dynamics worked perfectly, not only thanks to Martone, but also to the acting talents of all the soloists, among whom Ainhoa Arteta's Alice Ford stood out, showing tremendous involvement in her work. The Basque soprano deserved the podium for her musicality, for her beautiful voice at the service of the opera, well placed, well timbred, for her excellent singing line and construction of phrases, which make her one of the most complete tiples on the scene today. She sang like one of the greats...". Jacobo Ríos-Capé Carpi (Valencia Plaza)
RECITAL AUDITORIO DE ZARAGOZA. 2021
"Soprano Ainhoa Arteta returned once again to Zaragoza, where she has always been very well treated by the public, now to offer a recital of Spanish music songs by eminent composers (...). The soprano continued with the Navarrese García Leoz and his triptych of songs, rarely heard with the charm that was possible on this occasion. And she concluded the recital with the Colección de Tonadillas de Estilo Antiguo by Granados, in which she gave ample proof of her versatility, for example, in "La maja de Goya" and "El majo tímido" (...) This is one of the black songs by the Catalan composer Xavier Montsalvatge, the famous "Canción de cuna para dormir a un negrito", which she endowed with sensuality, sweetness, warmth and a strong West Indian flavour. O mio babbino caro" was also included, and she concluded the recital, in grand style, with the singing of the Jota de Falla. In Ainhoa Arteta's art one can appreciate, independently of her immense personal convening power, the incredible capacity to move, with perfect phrasing, the delicate fragility of her throat and a touching artistic maturity. (...) Emotion, cordiality and passion, as in all Arteta's concerts in Zaragoza. "Miguel Ángel Santolaria (Ópera Actual)
RECITAL SAN LORENZO DE EL ESCORIAL. 2020
One of the best moments of the first part of the recital was the performance of the magnificent Alfonsina y el mar by the Argentinian composer Ariel Ramírez (1921-2010) on a text by the poet Félix Luna. Arteta endowed the splendid piece with finely tuned phrasing and heartfelt expression. (...) The poetry of the great Federico García Lorca also serves as the basis for the triptych of songs by Jesús García Leoz (1904-1953), which Arteta delineated with an attractive fusion of musicality, good taste, grace and ease, with the third of them, the magnificent A la flor, a la pitiflor (...) standing out (...). To round off the recital, Ainhoa Arteta and Javier Carmena gave a remarkable performance of Joaquín Turina's justly famous Poema en forma de canciones (...) An affirmation of her Spanishness, of her pride as a Spaniard, received with fervour by the audience, including shouts of "¡guapa! "was certified by the soprano with a performance, full of enthusiasm and commitment, of De España vengo from El niño Judío by Pablo Luna, in which Arteta introduced a small change of lyrics "De españa vengo, soy española y mi cara de vasca (instead of "mi cara serrana") lo va diciendo"." Raúl Chamorro Mena (Codalario)
RECITAL EN EL CICLO LES ARTS ES LIED. PALAU DE LES ARTS REINA SOFÍA. 2020
Ainhoa Arteta possesses a secure, versatile, vigorous and powerful instrument. Yesterday she showed herself to be a superb lyric soprano of great volume and brilliant, homogeneous and beautiful timbre, with an easy and natural emission, of extraordinary projection, so that her notes reach the last piece of the trencadís. Her intonation is excellent, her pronunciation accurate, her legato formidable, her centre fleshy, her treble clear, and her phrasing marked for a singing line as elegant and beautiful as her own presence. The Basque soprano has a special warmth, and is a master of playing with nuances. She knows how to take advantage of her more than solid vocal power and make it compatible with the ever-present sweetness in her piano notes, until she achieves the edge so longed for by the audience, thanks to her refined breathing technique. Pleasure! Her expressive resources are of a high level: strength, subtlety, musicality, elegance, and sympathy. (...) it would be difficult to approach the Siete canciones populares españolas by the Cadiz-born composer and the Poema en forma de canciones (Poem in the form of songs) by the Sevillian with more dedication, grace, subtlety, just expression, and race, as the Basque singer did (...). Style, rhythm, and strength were the bases on which Ainhoa Arteta relied her admirable vocal expansion. The recital was another of those gifts that fans are grateful for. So much so that the applause was always present from the start, even at times when purists prefer a respectful silence. But no matter. The Valencian audience was eager to hear the Guipuzcoan, and well satisfied they were, for they saw a complete Ainhoa Arteta in top form, rejuvenated and revitalised, offering a recital of pure expression and a lot of flair. Jacobo Ríos-Capapé Carpi (Valencia Plaza)
CONCIERTO CON LA OSN. BALUARTE. 2019
"Ainhoa Arteta is in excellent vocal form, as she made clear in each of her performances, with an overwhelming volume of voice and tremendous strength that does not prevent her from performing half-voices and nuances that demonstrate an outstanding technical capacity, which is why she was able to tackle three versist pages of enormous depth, such as "Ebben? Ne andrò lontana" from La Wally, "Sola, perdura, abbandonata" from Puccini's Manon Lescaut, and "Un bel dì vedremo" from Butterfly, the latter with an emotional intensity of the highest level and absolute control of technique. The zarzuela pieces, especially Pablo Luna's "De España vengo" (From Spain I come), definitely managed to ignite an audience that up to that point had been too restrained. Ainhoa Arteta's generosity and a devoted audience forced her to give up to four very high quality encores. The first was Tosca's "Vissi d'arte", sung superbly, perhaps the most rounded interpretation of the evening. This was followed by "O mio babbino caro", the Habanera from Carmen, which he sang from the stalls among the audience, with whom he also interacted in La Tarántula from Giménez's La Tempranica." Alberto Osácar (Ópera Actual)
MADAMA BUTTERFLY. GRAN TEATRE DEL LICEU. 2019
"...the most mediatic and popular Spanish soprano didn't hold back and demonstrated her passionate approach to the role, her technical mastery and her dramatic and expressive skills, achieving a resounding triumph in front of an enthusiastic audience - this was the demanding Sunday afternoon subscription audience - who enjoyed the Spanish diva par excellence [...] Arteta drew a strong and dramatic Butterfly [...] her performance was very emotional, with some fantastic pianissimos given at just the perfect moments". Pablo Meléndez-Haddad (El Periódico)
ANDREA CHÉNIER. TEATRO DE LA MAESTRANZA. 2019
"Spanish soprano Ainhoa Arteta as the blonde Maddalena was never less than impressive, owning the stage and rising to the challenge of “La Mamma Morta” with extraordinary levels of vocal control as she described how her mother sacrificed her own life letting her escape." David Smythe (Bachtrack)
LA TRAVIATA. TEATRO CERVANTES DE MÁLAGA. 2018
"...what the soprano from Toulouse is achieving in the latest roles she has taken on is outstanding and represents, in my opinion, a splendid vocal maturity of the singer, who is reaching an increasingly higher level of true excellence... Arteta really takes the show by far, no matter how good her colleagues are. She is Violetta from all points of view, by voice, by gesture, by commitment. [...] she really did a great and admirable performance [...] I would highlight a masterly Addio del passato, full of emotion and heartbreak, magnificent. Brava" Javier del Olivo (Platea Magazine)
"Arteta has used her enriched voice of new nuances with great experience in the first act, pointing out the agilities typical of a light lyric singer, think of the demonstration she made in the duet Un dì felice and the splendid interpretation of the "cabaletta" Sempre libera. She reached greater vocal power in the second and third acts, with the characteristic traits of a dramatic soprano appearing in her singing. [... She knew how to modulate her emission with a natural response in the duet with the baritone, Madamigella Valery, reaching the maximum of expressivity in the alternation of recitative and singing - right from the beginning of the reading of the letter - which helped her performance to grow in emotion until the final scene with her redemptive death, which she embroidered, placing her voice at the service of an extraordinary dramatic sense, a quality which makes this excellent soprano from Tolosa an actress of enormous stature, one of those artists whose presence alone fills the stage and energises all the action. This was confirmed in the Libiamo scene in the first act, and even more so in the lovers' duet, Amami Alfredo, in the second, or in the overwhelming moment of Teneste la promessa.... Addio del pasato from the third, in which Ainhoa Arteta shone with the poise and natural quality of a diva". José Antonio Cantón (El Mundo)
"Arteta has used her enriched voice of new nuances with great experience in the first act, pointing out the agilities typical of a light lyric singer, think of the demonstration she made in the duet Un dì felice and the splendid interpretation of the "cabaletta" Sempre libera. She reached greater vocal power in the second and third acts, with the characteristic traits of a dramatic soprano appearing in her singing. [... She knew how to modulate her emission with a natural response in the duet with the baritone, Madamigella Valery, reaching the maximum of expressivity in the alternation of recitative and singing - right from the beginning of the reading of the letter - which helped her performance to grow in emotion until the final scene with her redemptive death, which she embroidered, placing her voice at the service of an extraordinary dramatic sense, a quality which makes this excellent soprano from Tolosa an actress of enormous stature, one of those artists whose presence alone fills the stage and energises all the action. This was confirmed in the Libiamo scene in the first act, and even more so in the lovers' duet, Amami Alfredo, in the second, or in the overwhelming moment of Teneste la promessa.... Addio del pasato from the third, in which Ainhoa Arteta shone with the poise and natural quality of a diva". José Antonio Cantón (El Mundo)
ADRIANA LECOUVREUR. TEATRO DE LA MAESTRANZA. 2018
"Ainhoa Arteta, a soprano with a brilliant and well-known career, demonstrated her professionalism and artistic quality in her interpretation of the protagonist, a role she has embroidered since her first appearance. The candour and kindness of her voice and her expressiveness on stage earned her a splendid performance. The vocal power of the soprano from Guipuzcoa, her clean and clear treble, her perfect diction of Italian and the emotional quality of her singing are just some of the keys that help us to understand why her performance was sublime, filling the stage in her arias "Poveri fiori" and "Io son l'umile ancella". Her agility and naturalness in her dialogues with Michonnet or with the Princess of Bouillon also stand out, although her agony and death in the last act was undoubtedly the highlight of her performance". Gonzalo Roldán Herencia (Bachtrack)