Since her operatic debut as Donna Elvira in Don Giovanni, Ana Ibarra has built an intense international career, receiving numerous awards and recognitions, including the prestigious Grammy Award.
She regularly collaborates with the Gran Teatre del Liceu in Barcelona and the Teatro Real in Madrid, as well as with the Canadian Opera Company (Toronto), Dutch National Opera (Amsterdam), La Monnaie (Brussels), Mariinsky Theatre (Saint Petersburg), Theater an der Wien (Vienna), ABAO (Bilbao), English National Opera (London), Teatro Colón (Buenos Aires), Vlaamse Opera (Antwerp and Ghent), Teatr Wielki (Warsaw), Opera de Oviedo, and the Teatro de la Maestranza (Seville), among others.
She has worked under the baton of internationally renowned conductors such as Yannick Nézet-Séguin, Sir Colin Davis, Enrique Mazzola, Marc Minkowski, Marc Albrecht, James Gaffigan, Riccardo Frizza, Giampaolo Bisanti, Jesús López Cobos, Edward Gardner, Kazushi Ono, Bertrand de Billy, Josep Pons, Rossen Milanov, Juanjo Mena, Dima Slobodeniouk, Pedro Halffter, Víctor Pablo Pérez, José Miguel Pérez-Sierra, David Giménez, Paul Goodwin, and Jérémie Rhorer, among many others.
A passionate performer of symphonic repertoire, she combines her operatic performances with concerts and recitals. She has performed in prestigious venues such as the Barbican Centre (London), the Konzerthaus (Vienna), the Tonhalle (Zurich), the Hong Kong Arts Festival, the Savonlinna Opera Festival, the Four Seasons Centre (Toronto), the Auditorio Nacional (Madrid), the Auditori (Barcelona), and the Kursaal (San Sebastián). Her symphonic repertoire includes Verdi’s Requiem, Wesendonck Lieder by R. Wagner, Mahler’s Symphony No. 2 and Symphony No. 3, Beethoven’s Symphony No. 9, and Siete canciones populares españolas by Manuel de Falla.
Throughout her career, her repertoire has expanded and evolved, currently focusing on the traditional leading mezzo-soprano roles such as Carmen and Dalila, as well as the major Verdi roles for this voice type, including Amneris (Aida), Azucena (Il Trovatore), and Ulrica (Un Ballo in Maschera). She also performs significant 20th-century characters such as Judith in Bluebeard’s Castle and Jocasta in Oedipus Rex.
A dedicated interpreter of contemporary music, she has participated in world premieres of works by several composers, including Leonardo Balada’s opera Faust-Ball, Babel 46 by Xavier Montsalvatge, La Casa de Bernarda Alba by Miquel Ortega, and El Abrecartas by Luis de Pablo.
She has recorded for major labels such as Deutsche Grammophon, Opus Arte, BBC, LSO, Dynamic, and Naxos. Notable recordings include the complete opera Falstaff, conducted by Sir Colin Davis with the London Symphony Orchestra, which was awarded the Grammy Award; La Conquista de Granada by Emilio Arrieta at the Teatro Real in Madrid under Jesús López Cobos; Wagner’s Ring Cycle at the Liceu with Bertrand de Billy; Zarzuela Gala alongside Carlos Álvarez; and numerous albums of Spanish chamber music.
Among her recent performances are Il tabarro / Gianni Schicchi at the Oviedo Opera, Dialogues des Carmélites at the Teatro Cervantes in Málaga, Doña Francisquita at the Teatro de la Zarzuela, Il Trittico with ABAO, the double bill La vida breve / Tejas verdes at the Teatro Real, and Dialogues des Carmélites at the Palacio de Festivales de Cantabria, among others.
Her upcoming engagements include Pepita Jiménez at the Teatro de la Zarzuela, Elektra at the Opéra Théâtre de Metz Métropole, Verdi’s Messa da Requiem with the Orquesta de Valencia, Der fliegende Holländer at the Teatre Principal de Palma, and Andrea Chénier at the Ópera de Las Palmas.
Last date modified: January 2026
Not to be altered without permission. Please delete any previous biographic material.
She regularly collaborates with the Gran Teatre del Liceu in Barcelona and the Teatro Real in Madrid, as well as with the Canadian Opera Company (Toronto), Dutch National Opera (Amsterdam), La Monnaie (Brussels), Mariinsky Theatre (Saint Petersburg), Theater an der Wien (Vienna), ABAO (Bilbao), English National Opera (London), Teatro Colón (Buenos Aires), Vlaamse Opera (Antwerp and Ghent), Teatr Wielki (Warsaw), Opera de Oviedo, and the Teatro de la Maestranza (Seville), among others.
She has worked under the baton of internationally renowned conductors such as Yannick Nézet-Séguin, Sir Colin Davis, Enrique Mazzola, Marc Minkowski, Marc Albrecht, James Gaffigan, Riccardo Frizza, Giampaolo Bisanti, Jesús López Cobos, Edward Gardner, Kazushi Ono, Bertrand de Billy, Josep Pons, Rossen Milanov, Juanjo Mena, Dima Slobodeniouk, Pedro Halffter, Víctor Pablo Pérez, José Miguel Pérez-Sierra, David Giménez, Paul Goodwin, and Jérémie Rhorer, among many others.
A passionate performer of symphonic repertoire, she combines her operatic performances with concerts and recitals. She has performed in prestigious venues such as the Barbican Centre (London), the Konzerthaus (Vienna), the Tonhalle (Zurich), the Hong Kong Arts Festival, the Savonlinna Opera Festival, the Four Seasons Centre (Toronto), the Auditorio Nacional (Madrid), the Auditori (Barcelona), and the Kursaal (San Sebastián). Her symphonic repertoire includes Verdi’s Requiem, Wesendonck Lieder by R. Wagner, Mahler’s Symphony No. 2 and Symphony No. 3, Beethoven’s Symphony No. 9, and Siete canciones populares españolas by Manuel de Falla.
Throughout her career, her repertoire has expanded and evolved, currently focusing on the traditional leading mezzo-soprano roles such as Carmen and Dalila, as well as the major Verdi roles for this voice type, including Amneris (Aida), Azucena (Il Trovatore), and Ulrica (Un Ballo in Maschera). She also performs significant 20th-century characters such as Judith in Bluebeard’s Castle and Jocasta in Oedipus Rex.
A dedicated interpreter of contemporary music, she has participated in world premieres of works by several composers, including Leonardo Balada’s opera Faust-Ball, Babel 46 by Xavier Montsalvatge, La Casa de Bernarda Alba by Miquel Ortega, and El Abrecartas by Luis de Pablo.
She has recorded for major labels such as Deutsche Grammophon, Opus Arte, BBC, LSO, Dynamic, and Naxos. Notable recordings include the complete opera Falstaff, conducted by Sir Colin Davis with the London Symphony Orchestra, which was awarded the Grammy Award; La Conquista de Granada by Emilio Arrieta at the Teatro Real in Madrid under Jesús López Cobos; Wagner’s Ring Cycle at the Liceu with Bertrand de Billy; Zarzuela Gala alongside Carlos Álvarez; and numerous albums of Spanish chamber music.
Among her recent performances are Il tabarro / Gianni Schicchi at the Oviedo Opera, Dialogues des Carmélites at the Teatro Cervantes in Málaga, Doña Francisquita at the Teatro de la Zarzuela, Il Trittico with ABAO, the double bill La vida breve / Tejas verdes at the Teatro Real, and Dialogues des Carmélites at the Palacio de Festivales de Cantabria, among others.
Her upcoming engagements include Pepita Jiménez at the Teatro de la Zarzuela, Elektra at the Opéra Théâtre de Metz Métropole, Verdi’s Messa da Requiem with the Orquesta de Valencia, Der fliegende Holländer at the Teatre Principal de Palma, and Andrea Chénier at the Ópera de Las Palmas.
Last date modified: January 2026
Not to be altered without permission. Please delete any previous biographic material.
2025-2026 Performances
ELEKTRA
07 of November of 2025 Opéra Théâtre de Metz Métropole (Francia)
09 of November of 2025 Opéra Théâtre de Metz Métropole (Francia)
MESSA DI RÉQUIEM VERDI
14 of November of 2025 Concert with the Valencia Orchestra at the Iturbi of de Palau de la Música (Valencia)
DER FLIEGENDE HOLLÄNDER
18 of February of 2026 Teatro Principal (Palma)
20 of February of 2026 Teatro Principal (Palma)
22 of February of 2026 Teatro Principal (Palma)
ANDREA CHENIER
19 of May of 2026 Teatro Pérez Galdós (Gran Canaria)
21 of May of 2026 Teatro Pérez Galdós (Gran Canaria)
24 of May of 2026 Teatro Pérez Galdós (Gran Canaria)
07 of November of 2025 Opéra Théâtre de Metz Métropole (Francia)
09 of November of 2025 Opéra Théâtre de Metz Métropole (Francia)
MESSA DI RÉQUIEM VERDI
14 of November of 2025 Concert with the Valencia Orchestra at the Iturbi of de Palau de la Música (Valencia)
DER FLIEGENDE HOLLÄNDER
18 of February of 2026 Teatro Principal (Palma)
20 of February of 2026 Teatro Principal (Palma)
22 of February of 2026 Teatro Principal (Palma)
ANDREA CHENIER
19 of May of 2026 Teatro Pérez Galdós (Gran Canaria)
21 of May of 2026 Teatro Pérez Galdós (Gran Canaria)
24 of May of 2026 Teatro Pérez Galdós (Gran Canaria)
Gallery
Multimedia
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Reverenza (Falstaff)
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Babel 46
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Reviews
IL TABARRO / GIANNI SCHICCHI. ÓPERA DE OVIEDO. 2023
“Muy buena prestación la de Ana Ibarra como La Frugola ” Cosme Marina (Ópera Actual)
"Ana Ibarra volvió a demostrar que no hay papeles pequeños sino artistas grandes. Su Frugola se oía como un cohete al ser dueña de una voz bien proyectada." Enrique Bert (Platea Magazine)
"Ana Ibarra volvió a demostrar que no hay papeles pequeños sino artistas grandes. Su Frugola se oía como un cohete al ser dueña de una voz bien proyectada." Enrique Bert (Platea Magazine)
LA CASA DE BERNARDA ALBA. TEATRO VILLAMARTA DE JEREZ. 2021
"En lo canoro, hay que destacar el papel de la mezzo Ana Ibarra, con buena dicción y con capacidad dramática " Jesús Sánchez-Ferragut (Ópera Actual)
LA TEMPRANICA. FESTIVAL DE ZARZUELA DE OVIEDO. 2021
"Hay que destacar la actuación de Ana Ibarra por su fuerza dramática, con gruesos medios vocales, en medio de un ambiente escénico lúgubre, opresor, incluso gótico –baste recordar el número cuatro, con «Vaya un borriquillo»–, en el que tuvo especial peso la versátil Capilla Polifónica Ciudad de Oviedo que dirige Pablo Moras. Así, Ibarra brilló en la romanza «Sierras de Granada», entre las páginas de María de lucimiento complejo, como el dúo con don Luis" Diana Díaz (Ópera Actual)
"[...] de Ibarra cabe apuntar su arrolladora presencia escénica y medida precisión vocal, derrochando carácter en “Sierras de Granada”, uno de los pocos momentos que realmente lograron acercarnos a la obra de Giménez" Javier Labrada (Platea Magazine)
"[...] de Ibarra cabe apuntar su arrolladora presencia escénica y medida precisión vocal, derrochando carácter en “Sierras de Granada”, uno de los pocos momentos que realmente lograron acercarnos a la obra de Giménez" Javier Labrada (Platea Magazine)