* Exclusive management: USA
Her latest major successes include roles as Donna Anna (Don Giovanni) in her debut at London's prestigious Covent Garden, Seattle Opera and Dresden's Semperoper under the baton of maestro Omer Meir Wellber; Sabina from composer Rufus Wainwright's opera Hadrian at the emblematic Teatro Real in Madrid where critics have hailed her as the great outstanding singer of the night; Rosario at the Limoges opera; Micaëla at Seattle Opera; Fiordiligi (Così fan tutte) in her debut at the Teatro de la Maestranza; Vitellia (La clemenza di Tito), Donna Anna and Valencienne (Die lustige Witwe) at the Gran Teatre del Liceu; Mimì at ABAO and at the Dresden Semperoper; Susana (La verbena de la Paloma) and Nedda (Pagliacci) at Colon Theater in A Coruña; her debut in the title role of Tosca at the Teatro de la Maestranza, and her debut as Donna Elvira at the Teatro Campoamor in Oviedo; the role of Fiordiligi in a new production at ABAO, under the baton of Maestro Oliver Díaz; the role of Mimì at the Semperoper Dresden, and Marina Abramovic's 7 Deaths of Maria Callas.
She stands out as a soloist in Gloria by Poulenc, under the baton of Erik Nielsen and in Alban Berg's Sieben Frühe Lieder under the baton of Maestro Giancarlo Guerrero together with the BOS. She sang the title role in the opera Gisela! at the opening of the season of the Teatro Massimo in Palermo and Marzelline at the Teatro Campoamor. Other roles she has performed include Alice Ford (Falstaff) in Japan, Armilla (La donna serpente) at the Festival della Valle d'Itria in Martina Franca, Hanna Glawari (Die lustige Witwe) and Jenny Hill (Aufstieg und Fall der Stadt Mahagonny) at the Korean National Opera.
She has participated in the world premiere of the work Zeru Urdinetik, interspersed with Ein Deutsches Requiem, under the musical direction of Erik Nielsen and the BOS. She has also been invited by Maestro Marcon to perform Mendelssohn's Lobgesang at the Manuel de Falla Auditorium and has sung Mahler's 2nd Symphony at the Miguel Delibes Auditorium. She has also performed the Budavári Te Deum with the Münchner Rundfunk Orcherster in Munich.
She made her debut recently singing Strauss’ Vier Letzte Lieder where the reviews were also overwhelming.
She is a regular at the Semperoper theater in Dresden, performing leading roles such as Bystrouška (The Cunning Little Vixen), Alcina (Alcina), Musetta (La bohème), Rachel (La juive), Hanna Glawari (Die lustige Witwe), among others, to great critical acclaim.
Her recordings include Braunfels’ Verkündingung under Ulf Schirmer and Casella's La donna serpente under Fabio Luisi.
She obtained an enormous success in her debut as Vitellia (La clemenza di Tito) at the Gran Teatre del Liceu, under the stage direction of David Mc Vicar and musical direction of maestro Philippe Auguin, and recently at ABAO under the baton of maestro Riccardo Frizza.
Upcoming projects include her return to Seattle Opera in the title role of Alcina, the title role of Rusalka at the Opéra Nice Côte d'Azur, Juan José at the Teatro de la Zarzuela in Madrid and Pagliacci at the Opéra de Limoges.
Date last modified: October 2023
Not to be altered without permission. Please delete any previous biographic material
She stands out as a soloist in Gloria by Poulenc, under the baton of Erik Nielsen and in Alban Berg's Sieben Frühe Lieder under the baton of Maestro Giancarlo Guerrero together with the BOS. She sang the title role in the opera Gisela! at the opening of the season of the Teatro Massimo in Palermo and Marzelline at the Teatro Campoamor. Other roles she has performed include Alice Ford (Falstaff) in Japan, Armilla (La donna serpente) at the Festival della Valle d'Itria in Martina Franca, Hanna Glawari (Die lustige Witwe) and Jenny Hill (Aufstieg und Fall der Stadt Mahagonny) at the Korean National Opera.
She has participated in the world premiere of the work Zeru Urdinetik, interspersed with Ein Deutsches Requiem, under the musical direction of Erik Nielsen and the BOS. She has also been invited by Maestro Marcon to perform Mendelssohn's Lobgesang at the Manuel de Falla Auditorium and has sung Mahler's 2nd Symphony at the Miguel Delibes Auditorium. She has also performed the Budavári Te Deum with the Münchner Rundfunk Orcherster in Munich.
She made her debut recently singing Strauss’ Vier Letzte Lieder where the reviews were also overwhelming.
She is a regular at the Semperoper theater in Dresden, performing leading roles such as Bystrouška (The Cunning Little Vixen), Alcina (Alcina), Musetta (La bohème), Rachel (La juive), Hanna Glawari (Die lustige Witwe), among others, to great critical acclaim.
Her recordings include Braunfels’ Verkündingung under Ulf Schirmer and Casella's La donna serpente under Fabio Luisi.
She obtained an enormous success in her debut as Vitellia (La clemenza di Tito) at the Gran Teatre del Liceu, under the stage direction of David Mc Vicar and musical direction of maestro Philippe Auguin, and recently at ABAO under the baton of maestro Riccardo Frizza.
Upcoming projects include her return to Seattle Opera in the title role of Alcina, the title role of Rusalka at the Opéra Nice Côte d'Azur, Juan José at the Teatro de la Zarzuela in Madrid and Pagliacci at the Opéra de Limoges.
Date last modified: October 2023
Not to be altered without permission. Please delete any previous biographic material
2022-2023 Performances
DON GIOVANNI
13 November 2022 19:00 Teatro Campoamor, Oviedo
15 November 2022 19:30 Teatro Campoamor, Oviedo
17 November 2022 19:30 Teatro Campoamor, Oviedo
19 November 2022 19:30 Teatro Campoamor, Oviedo
LA BOHÈME
3 December 2022 19:00 Semperoper, Dresden
6 December 2022 19:00 Semperoper, Dresden
6 May 2023 19:00 Semperoper, Dresden
COSÌ FAN TUTTE
21 January 2023 19:00 Palacio Euskalduna, Bilbao
24 January 2023 19:30 Palacio Euskalduna, Bilbao
27 January 2023 19:30 Palacio Euskalduna, Bilbao
30 January 2023 19:30 Palacio Euskalduna, Bilbao
7 DEATHS OF MARIA CALLAS
09 March 2023 19:00 Gran Teatre del Liceu, Barcelona
10 March 2023 19:00 Gran Teatre del Liceu, Barcelona
11 March 2023 19:00 Gran Teatre del Liceu, Barcelona
SPANISCHE LIEDER WITH RUBÉN FERNÁNDEZ AGUIRRE
18 April 2023 19:30 Teatro Arriaga, Bilbao
TOSCA
13 June 2023 20:00 Teatro de la Maestranza, Sevilla
16 June 2023 20:00 Teatro de la Maestranza, Sevilla
13 November 2022 19:00 Teatro Campoamor, Oviedo
15 November 2022 19:30 Teatro Campoamor, Oviedo
17 November 2022 19:30 Teatro Campoamor, Oviedo
19 November 2022 19:30 Teatro Campoamor, Oviedo
LA BOHÈME
3 December 2022 19:00 Semperoper, Dresden
6 December 2022 19:00 Semperoper, Dresden
6 May 2023 19:00 Semperoper, Dresden
COSÌ FAN TUTTE
21 January 2023 19:00 Palacio Euskalduna, Bilbao
24 January 2023 19:30 Palacio Euskalduna, Bilbao
27 January 2023 19:30 Palacio Euskalduna, Bilbao
30 January 2023 19:30 Palacio Euskalduna, Bilbao
7 DEATHS OF MARIA CALLAS
09 March 2023 19:00 Gran Teatre del Liceu, Barcelona
10 March 2023 19:00 Gran Teatre del Liceu, Barcelona
11 March 2023 19:00 Gran Teatre del Liceu, Barcelona
SPANISCHE LIEDER WITH RUBÉN FERNÁNDEZ AGUIRRE
18 April 2023 19:30 Teatro Arriaga, Bilbao
TOSCA
13 June 2023 20:00 Teatro de la Maestranza, Sevilla
16 June 2023 20:00 Teatro de la Maestranza, Sevilla
Gallery
Multimedia
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Per pietà ben mio, perdona (Cosi fan tutte)
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Je dis (Carmen)
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Reviews
CONCERT WITH THE ORQUESTA SINFÓNICA DE GALICIA. TEATRO ROSALÍA IN CORUÑA. 2022
"[...] the Spanish performer is at almost the opposite extreme, displaying a restrained, very elegant singing. A controlled intensity, in which each note is studied and has its colour, its meaning. The highlights of the concert came in the first part, mainly with Marietta's aria from Die tote Stadt. Goikoetxea handles his instrument with great mastery, timbre and brilliance throughout, regulating the emission and weaving moments of remarkable exquisiteness. Sensitivity in interpretation was one of her hallmarks, also evident in the moon song from Rusalka. [..] "Senza mamma, o bimbo, tu sei morto" from Suor Angelica. Mezze voce and pianissimi of enormous sensitivity." José Luis Jiménez (Ópera Actual)
"Goikoetxea, a pure lyricist with a warm, creamy, rounded timbre in the centre and no force at the extremes, sings with an innate sense of musicality, giving due intention to the phrasing (attentive to the sense of the text and the internal logic of the phrases) and recreating herself in the use of extraordinary regulators. She plans her versions from the small, more from attention to detail than from easy dramatic explosions. In short, from an intrinsic intimacy that in no way detracts from the emotion of what she does: the singing is sensitive, sincere and expressive. In the first part, she shone in a heartfelt song by Marietta, from Die tote stadt (what mezze voce!) or in the restrained passion she brought to the scene of Tatiana's letter from Eugene Onegin. In the second, she was pleasing in La bohème (with phrases of overflowing luminosity) and in the restrained but palpably moving character with which she approached Suor Angelica. [...] Goikoetxea closed the programme with beautiful versions of García Abril's Coita and Montes' Negra Sombra: a moving moment that earned her well-deserved ovations." Hugo Álvarez Domínguez (La Voz de Galicia)
"Goikoetxea, a pure lyricist with a warm, creamy, rounded timbre in the centre and no force at the extremes, sings with an innate sense of musicality, giving due intention to the phrasing (attentive to the sense of the text and the internal logic of the phrases) and recreating herself in the use of extraordinary regulators. She plans her versions from the small, more from attention to detail than from easy dramatic explosions. In short, from an intrinsic intimacy that in no way detracts from the emotion of what she does: the singing is sensitive, sincere and expressive. In the first part, she shone in a heartfelt song by Marietta, from Die tote stadt (what mezze voce!) or in the restrained passion she brought to the scene of Tatiana's letter from Eugene Onegin. In the second, she was pleasing in La bohème (with phrases of overflowing luminosity) and in the restrained but palpably moving character with which she approached Suor Angelica. [...] Goikoetxea closed the programme with beautiful versions of García Abril's Coita and Montes' Negra Sombra: a moving moment that earned her well-deserved ovations." Hugo Álvarez Domínguez (La Voz de Galicia)
CONCERT WITH THE ORQUESTA FILARMÓNICA DE MÁLAGA. teatro cervantes IN MÁLAGA. 2022
"Strauss' Last four songs sounded magnificent in the voice of lyric soprano Vanessa Goikoetxea. [...] The OFM musicians modulated their interventions to adapt to the voice inflections, ritardandos, breaths and attacks made by the singer. This art of matching the orchestra allowed Vanessa Goikoetxea to move with ease in her tessitura and to bring out, cleanly and carefully, every nuance of her voice" Verónica G. Prior (Codalario)
PAGLIACCI. TEATRO COLÓN IN CORUÑA. 2021
"Vanessa Goikoetxea combined an ideal voice for the character, youthful and fluid, with stage skills that allowed her to live up to Nedda's multiple registers, both in her commedia dell'arte and verismo sides. Her mezzo-voce, but also her clean and powerful treble, were decisive in her spectacular "Qual fiamma avea nel guardo", while in "Stridono lassù" her coloratura shone.” Pablo Sánchez Quinteiro (Bachtrack)
CONCERT WITH THE ORQUESTA SINFÓNICA DE BILBAO. PALACIO EUSKALDUNA. 2021
"But the brilliant, high-class performance that made the concert a jewel was the performance of the young but outstanding soprano Vanessa Goikoetxea [...] She offered the difficult concert aria - or cantata perhaps we should call it - Herminie, composed by the young Arriaga during his stay in Paris, a page full of difficulties through which Goikoetxea moved with ease and with a delightful musicality, which undoubtedly came from deep inside her. Filados that left the audience moved, her voice clean and brilliant, the right nuance in each phrase; with good pronunciation of French, careful vocalisation, in short, a lesson in good singing: a joy. Recovering Guridi even more, she offered as a gift the aria from the opera Mirentxu, premiered in Barcelona a little over a hundred years ago, "Goikeko eguzki anguian", a beautiful melody that in Goikoetxea's voice sounded like morning light, which is precisely what the lyrics of the piece are about" José Miguel Balzola (Opera Actual)