Hailed as a “true artist” (Opera News), soprano Raquel González is a recipient of the prestigious Sphinx Organization’s Medal of Excellence. This season, she makes her Metropolitan Opera mainstage debut in Parsifal (Flower Maiden I/2) and returns to the company for Otello (Desdemona cover). On the concert stage, she returns to the Knoxville Symphony for Bernstein’s Songfest and performs Verdi’s Messa da Requiem with both the New Haven Symphony Orchestra and Virginia Symphony Orchestra. She also joins Art Song Chicago for a recital as part of its Collaborative Works Festival.
Last season, González made her debut with Opera Louisiane in Madama Butterfly (Cio-Cio-San) and returned to Sarasota Opera in The Merry Widow (Hanna Glawari). She also made her first appearance at the Gilmore International Piano Festival in recital with pianist Charlotte Hu, in a program highlighting works by Pauline Viardot and Chopin.
During the 2024/25 season, González made her Opera Colorado debut in La bohème (Mimì), performed Verdi’s Messa da Requiem with the Colorado Symphony and Pacific Symphony, and joined the Boston Symphony Orchestra at Tanglewood for Poulenc’s Gloria. Additional engagements included returns to Opera San Antonio and Austin Opera in Madama Butterfly (Cio-Cio-San), the Boston Youth Symphony Orchestra in Don Carlo (Elisabetta), The Metropolitan Opera for La bohème (Mimì cover), and Berkshire Opera Festival for its 10th anniversary concert.
Recent highlights include debuts with Houston Grand Opera in Madama Butterfly (Cio-Cio-San), Austin Opera in Carmen (Micaëla), Berkshire Opera Festival in Faust (Marguerite), Opera San Antonio in Don Giovanni (Donna Anna), and Virginia Opera in La bohème (Mimì). She returned to the roster of The Metropolitan Opera for the company premiere of Catán’s Florencia en el Amazonas (Rosalba cover) and to Opera Theatre of Saint Louis for Harvey Milk (Dianne Feinstein). She has also appeared with the New York Festival of Song in programs including Buenos Aires, Then and Now and a concert celebrating Latin music.
Other notable engagements include Inland Northwest Opera in La traviata (Violetta) and Sarasota Opera in Madama Butterfly (Cio-Cio-San). During this period, González joined the roster of The Metropolitan Opera for the first time for La bohème (Mimì cover). On the concert stage, she made her debut with the St. Louis Symphony and Music Director Stéphane Denève, performing “Vissi d’arte” from Tosca, and performed Verdi’s Messa da Requiem with the Bach Festival Society of Winter Park. She also made a role and house debut with Chicago Opera Theater in Rimsky-Korsakov’s Kashchej the Immortal (Princess), conducted by Lidiya Yankovskaya.
Additional appearances include returns to Lyric Opera of Kansas City in La bohème (Mimì), Opera Tampa in La bohème (Mimì), and Central City Opera in Madama Butterfly (Cio-Cio-San), as well as debuts with Lyric Opera of Chicago in Madama Butterfly, New Orleans Opera in Turandot (Liù), Washington National Opera in Silent Night (Anna Sørensen), North Carolina Opera in Carmen (Micaëla), The Atlanta Opera in Eugene Onegin (Tatyana), and Opera on the James in La traviata (Violetta).
González made her debut at The Glimmerglass Festival in The Magic Flute (First Lady) before returning as a guest artist in La bohème. She spent three seasons as a Young Artist with Washington National Opera, where she appeared in Madama Butterfly (Cio-Cio-San), Le nozze di Figaro (Contessa Almaviva), Don Giovanni (Donna Anna), Carmen (Micaëla), and La bohème (Mimì). Additional assignments included Hansel and Gretel (Sandman) and Dialogues of the Carmelites (Blanche cover). She also made her Boston Youth Symphony Orchestra debut in Otello (Desdemona).
2026-2027
