Eglise Gutierrez

"As Linda it introduced the remarkable Cuban-American Soprano Eglise Gutierrez, who was captivating. When last did we hear a soprano send a gently shining, purely formed note floating into a silent house; or such accuracy of attack; such purity of tone through a very wide range, soaring effortlessly above the stave with no hint of harshness, screech, or push? Only the trills were less distinct than those of Patti or Melba. The answer is perhaps the young Caballé. Gutierrez is also slim and graceful"

– Opera Magazine

 

"…The main interest in Cincinnati Opera’s sumptuous new production of La Traviata was the performance of Eglise Gutierrez, making her company and role debuts as Violetta.  It was impossible to believe these were Gutierrez's first Violettas: hers was radiantly assured interpretation that many a more seasoned soprano would envy.  Her luxiously worm soprano moved with ease through the coloratura of Act I, then adjusted to the lyric-dramatic outbursts demanded by the rest of the opera.  Gutierrez's death scene would have made a stone weep.  I attended all three performances of the run, and this young singer’s Violetta—already an impressive piece of work on opening night—gained depth and commitment throughout the run."

– Opera Magazine

 

"This vibrant cast navigated Bellini's bel canto hurdles with aplomb.  Dressed at times in a wedding gown, at times in a nightdress, the Cuban-born soprano, Eglise Gutierrez offered a wonderfully nuanced portrayal of Amina, the sleepwalking bride to be.  Vulnerable and sweetly innocent, she sang (often in a stratospherically high range) with graceful phrasing and dynamic control."

– New York Times

 

"…unleased a glistening, almost maniacal torrent of exquisitely placed sound. At first, even though Santa Fe is a great honor, I wasn't so excited, because I thought they wanted a 'peep-peep-peep' kind of canary.  But [Eglise's] funny, sexy, ageless, and the boss of everything! I was in love…"

– San Francisco Chronicle

 

"Lakmé is sometimes dismissed as simply a singer's opera, and Leo Delibes's sentimental, perfumed score certainly is that. But in Sarasota Opera’s well-thought-out production (seen February 26) it emerged as a work of rare refinement. The company had the singular advantage of a sensational young singer in the title role. Eglise Gutierrez, a Cuban-born soprano, gave a riveting opening performance that showed off not only the requisite coloratura fireworks but passionate depth of character Ira Siff's staging kept the focus firmly on Lakmé, gracefully acted by Gutierrez with stylized arm and hand gestures. Even with the admitted glories of the flower duet and the bell song, the highlight of the evening was Gutierrez's electrifying portrayal of Lakme's sensual awakening and duet with Gerald in the woods at the end of Act I."

– Opera News