|
Génesis Moreno interviewed in Ópera Actual
21 of January of 2026 |
Génesis Moreno has been interviewed by Ópera Actual following her recent success at the Ópera de Oviedo, where she starred in a highly acclaimed Roméo et Juliette by Gounod. The young Venezuelan soprano now returns to Spain to face a new challenge in her career: her national debut as Adina in L’elisir d’amore, which will take place at the Ópera de Las Palmas de Gran Canaria.
Initially trained in Venezuela and later at the Estudio de Ópera of Bellas Artes in Mexico, Moreno is experiencing a period of intense artistic activity. In recent months, she has performed roles such as Gilda, Juliette, Micaëla, and Violetta. After taking on Adina in February, she will perform Mozart’s Requiem in Málaga before returning to the Principal de Palma as Gilda in Rigoletto.
In the interview, the soprano highlights her special connection with Juliette, one of the most important characters in her career, and emphasizes the appeal of Adina as a role that is far from tragic and full of human nuances. Moreno underscores the character’s complexity, in which humor, intelligence, and contradiction coexist—elements that, she says, allow the audience to recognize themselves on stage and connect directly with the opera.
Read the full interview at this link.
Initially trained in Venezuela and later at the Estudio de Ópera of Bellas Artes in Mexico, Moreno is experiencing a period of intense artistic activity. In recent months, she has performed roles such as Gilda, Juliette, Micaëla, and Violetta. After taking on Adina in February, she will perform Mozart’s Requiem in Málaga before returning to the Principal de Palma as Gilda in Rigoletto.
In the interview, the soprano highlights her special connection with Juliette, one of the most important characters in her career, and emphasizes the appeal of Adina as a role that is far from tragic and full of human nuances. Moreno underscores the character’s complexity, in which humor, intelligence, and contradiction coexist—elements that, she says, allow the audience to recognize themselves on stage and connect directly with the opera.
Read the full interview at this link.
