The mezzosoprano Nancy Fabiola Herrera is currently one of the most outstanding performers on the international opera scene. Her exemplary performance of the lead in Carmen has taken her to the Metropolitan Opera House in New York, Covent Garden in London, the Verona Arena, the Thermae of Caracalla, Los Angeles Opera, Tokyo, Tel Aviv, Dresden, Quincena de San Sebastian, La Coruña and Jerez, among other cities. She is to sing this role soon in Berlin, Munich and Las Palmas. Other operas in her repertoire include Anna Bolenna (Jane Seymour, with the Barcelona Liceu Opera Company), Il Postino (in its world premiere in Los Angeles and soon in Santiago, Chile), Samson et Dalila (Manaos), Les contes d’Hoffmann (Paris, Seattle), L’Italiana in Algeri (Las Palmas, Jerez and Kansas City), Werther (Las Palmas and soon in Oviedo with José Bros), Norma (Adalgisa, Montpellier Opera), Rigoletto (Metropolitan and La Bastille in Paris), as well as lead roles in The Rake’s Progress, Madama Butterfly, I Capuleti ed i Montecchi, Die Fledermaus, La Dama de Picas, etc. Nancy Fabiola Herrera is also a great proponent of zarzuela and always has engagements to perform works of this genre in her agenda. She has recorded two zarzuelas for Deutsche Grammophon over recent seasons: Luisa Fernanda (in 2007 with Plácido Domingo) and La Bruja (in 2011 with José Bros).
She recently premiered her show Gitanas in the Pérez Galdós Theatre in Las Palmas, Gran Canaria. This production was tailored especially for her by the director and costume designer and the singer submerges herself in a bewitching and passionate brew of gypsies and Spanish ladies, performing some of the most fascinating and complex characters from the world of opera, zarzuela and symphonic repertoire. In 2012 she will take the show to the Teatro de La Zarzuela in Madrid, before then taking it on tour to other theatres in Spain and South America.
Nancy Fabiola Herrera trained at the Las Palmas Conservatory, the Madrid Royal Conservatory, the Juilliard School of Music in New York and at the Academy of Vocal Arts in Philadelfia, where she is now on the board of directors. In 1990 she won the prize for the best Canarian voice in the Alfredo Kraus Competition, in 1995 she was awarded first prize in the Francisco Alonso Competition and the following year won the Pepita Embil prize awarded by Plácido Domingo in the Operalia Competition. She has also been commended by the Royal Economic Society for Friends of the Country in Gran Canaria with a prize for her career in opera and received the prize for the Best Zarzuela Singer awarded by the Teatro Campoamor Foundation for Lyrical Prizes in Oviedo for her performance in La Bruja in the Madrid Teatro de La Zarzuela. She has also been recognized as an Adoptive Daughter of the city of Las Palmas de Gran Canaria (June 2005) and Adoptive Daughter of the Island of Gran Canaria (March 2011). In 2010 she debuted in the Vienna Musikverein, in the same year that Los Angeles Opera bestowed the 2010 Plácido Domingo Award on her for her performance of Carmen in the same opera house.
She has toured in countries such as China, Italy, Puerto Rico and Spain with pieces, among others, such as Verdi´s Requiem, Mahler Symphonies and El amor brujo and La vida breve by Falla peforming with Orchestras such as the NordNetherlands, Balearic Symphony, RTVE, Oviedo Philharmonic, the Gran Canaria Philharmonic, Montreal Symphony, Washington Symphony, Euskadi Symphony, National Orchestra of Spain, and the SODRE Symphonic, among others. She has worked with conductors such as Jesús López Cobos, Rafael Frühbeck de Burgos, Michel Plasson, Plácido Domingo, Philippe Jordan, Charles Dutoit, Pedro Halffter, David Giménez Carreras, Daniel Oren, Lorenzo Ramos, Alain Guingal, José Manuel Pérez Sierra, Enrique García Asensio, Miguel Ángel Gómez Martínez, José Ramón Encinar, Josep Pons, Miguel Roa, Emmanuel Villaume, Joseph Rescigno, Mariano Rivas, Enrique Ricci, Friedrich Haider and Enrique Patrón de Rueda. As a recitalist she performs frequently with the pianists Ricardo Requejo, David Lofton, Lucy Arner, Danielle Orlando, Julio Muñoz, Pedro Carboné, Rubén Fernández Aguirre and Mac MacClure, among others.
She has made recordings for Deutsche Grammophon, Opus Arte, Columna Música, ASV Living Era, Arte Nova and Naxos.
|Date and venue||Title|
|Verdi's Rigoletto at the Hollywood Bowl with the LA Phil and Dudamel|
|A mid-19th-century Italian opera with the sound of the human voice front-and-center, and seemingly dependent on the trappings of the theater. If we want to keep the program conservative why not go with an opera by Mozart, Bizet, Wagner, or Weber instead? All of them used the orchestra with greater freedom and independence than we associate with Italian composers, many of whom composed for the orchestra as if it were little more than a giant guitar. Or so you would think.
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