Suzanna Guzmán

mezzo

The Industry Credits

Biography

Los Angeles native Suzanna Guzmán is one of the original Associate Artists of the Los Angeles Opera singing leads in over 400 mainstage performances in 39 different productions. She’s appeared as a principal artist with orchestras and opera houses around the world including: Metropolitan Opera, Houston Opera, Washington National Opera, Dallas Opera, Seattle Opera, Opera de Montpellier, Opera de Genéve, San Diego Opera with opera legends Placido Domingo, Alfredo Kraus, Jonathan Miller, John Copely, Mstislav Rostropovich, Francesca Zambello, John Mauceri, Giancarlo Menotti, Franco Zeffirelli, Thomas Allen,Tobias Picker, Julius Rudel, Anna Netrebko, Deborah Voight, to name a few. Known for her portrayal of the title role in Bizet’s Carmen, “Fire-breathing singing actress, devastatingly sexy.” (TIME magazine), she is also a champion of new music, creating roles in world/US premieres in works by Michael Nyman (Art Banker in Facing Goya), Daniel Catán (Paula in Florencia en el Amazonas) Giancarlo Menotti (Leocadia & The Duchess of Alba in Goya), and appearing recently as the Mother in Jake Heggie’s Dead Man Walking: “Guzmán came across as so authentic, it transcended the artificiality of the theatrical experience. Everything seemed to melt away: the moment danced between sobering and exhilarating.” (Fresno Bee)

Among her many honors, she received a Grammy nod for the 2006 Best Classical Recording with Southwest Chamber Music and Tambucco Percussion Ensemble, Helen Hayes Award best actress nomination for the Mother in Amahl and the Night Visitors directed by Giancarlo Menotti, an honorary PhD from Occidental College and a 2015 Lifetime Achievement Award from the Nederlander Association for Service to Arts and Community. Guzmán continues to perform her one-woman show Don’t Be Afraid! It’s Just Opera! which has been played to over 200,000 inner-city students nationwide. The Industry credits include First Take 2015, Hopscotch, Galileo and War of the Worlds with the LA Philharmonic. Future engagements: title role in the West Coast premiere of Bless me, Ultima by Hector Armienta, Lupita in the mariachi opera Cruzar la Cara de la Luna, and reprises for the 16th time the title role in the annual pageant: La Virgen de Tepeyac: Dios Inantzin with Latino Theater Center.

Meet Suzanna Guzmán

Press

The tension is palpable. In her vocals and body language, Guzmán came across as so authentic at that moment – so frightened and stubborn and sad – that it transcended the artificiality of the theatrical experience.Everything seemed to melt away for me: the people seated around me, my awareness of the stage and design of the show, even the sense of being in the Saroyan Theatre. In that moment, Mrs. De Rocher was real. I felt her pain. Caught in her grip, the moment danced between sobering and exhilarating.

, Fresno Bee

A fortune teller looks you straight in the eye as she sings to you, and you are part of the story. Observe a veteran opera star like mezzo-soprano Suzanna Guzmán up close, and the rest of the world simply vanishes from your consciousness.

, LA Times

Suzanna Guzmán was strong as the Art Banker.

, New York Times

Any futuristic coolness was further undercut by mezzo-soprano Suzanna Guzmán, whose winning presence as the Art Banker relied mostly on old-fashioned vocal technique and a time-honoured dramatic conviction with the text.

, London Times

Suzanna Guzman, who was presented at Weill Recital Hall Sunday evening as winner of the Center for Contemporary Opera’s vocal competition, is a rarity in at least one respect: she is a mezzo-soprano who does not sound like an undeveloped soprano. Her low notes are real, strong and dark-colored.

, New York Times