Peruvian & Mexican American Soprano Vanessa Becerra’s 26/27 season includes her returns to Lyric Opera of Kansas City in The Pirates of Penzance (Mabel) and Chicago Opera Theater in The Importance of Being Earnest (Gwendolyn Fairfax). She will also debut with Opera Colorado for Così fan tutte (Despina) and with Heartbeat Opera in Queeny Todd, Heartbeat’s annual Drag Opera Extravaganza. On the concert stage, Vanessa returns to Phoenix Symphony for Handel’s Messiah and a Christmas themed Baroque concert.
Last season, Vanessa debuted at the Seattle Opera for The Pirates of Penzance (Mabel) and Fellow Travelers (Miss Lightfoot) and returned to Chicago Opera Theater for Salieri’s Falstaff (Mistress Ford). She also debuted with Collaborative Arts Institute of Chicago in an art song recital.
Vanessa’s 24/25 season was highlighted by her return to LA Opera for Ainadamar (Nuria). Additional engagements included her house and titular role debut in Paër’s Leonora at Chicago Opera Theater, and debuts at UC Davis in Don Pasquale (Norina), Berkshire Opera Festival in La traviata (Violetta) and Sacramento Philharmonic & Opera in Le nozze di Figaro (Susanna). On the concert stage, Vanessa debuted with Madison Symphony Orchestra as a guest soloist for their holiday concert, Chamber Music Society of Lincoln Center for their Spanish Journey program on tour, and the Boise Philharmonic as the Soprano Soloist in Mozart’s Requiem.
In the 23/24 season, Vanessa was a featured soloist at Fort Worth Opera’s annual gala, debuted with Sacramento Philharmonic & Opera in Die Fledermaus (Adele) and returned to Opera Omaha for Don Pasquale (Norina), Minnesota Opera for L’elisir d’amore (Adina), Arizona Opera for Don Giovanni (Zerlina), and Opera Theatre of Saint Louis for Galileo Galilei (Maria Celeste/Eos). On the concert stage she debuted with The Phoenix Symphony for Messiah. In the 22/23 season, she made debuts with Florida Grand Opera for El matrimonio secreto (Carolina), and Opera Theatre of Saint Louis for Così fan tutte (Despina) along with returns to Minnesota Opera for La fille du régiment (Marie), Opera Omaha for Le nozze di Figaro (Susanna), and Houston Grand Opera for El Milagro del Recuerdo (La Mujer). On the concert stage, she debuted with the newly formed San Antonio Philharmonic.
Recent highlights include returns to Washington National Opera for Sankaram’s Rise (Alicia Hernández), Opera San José for the title role in Il segreto di Susanna by Wolf-Ferrari, following her success at Opera San Jose as the title role in Alma Deutscher’s Cinderella (featured internationally on Medici.tv) conducted by Jane Glover, and Francesca Zambello’s West Side Story (Maria) with Lyric Opera of Kansas City, The Glimmerglass Festival, and Atlanta Opera.
Vanessa debuted at The Metropolitan Opera in Cendrillon (Noémie), Boston Lyric Opera in Roméo et Juliette (Juliette), Intermountain Opera Bozeman in Il barbiere di Siviglia (Rosina), Austin Opera in Fidelio (Marzelline), Opera Parallèle in La Belle et la Bête (Belle), Houston Grand Opera in the world premiere of El Milagro del Recuerdo (La mujer), Washington National Opera in Don Giovanni (Zerlina), Lyric Opera of Chicago in Fellow Travelers (Miss Lightfoot), Opera Delaware and Baltimore Concert Opera in Werther (Sophie), Opera Omaha in Medea (Glauce), Atlanta Opera in Sweeney Todd (Johanna), and Arizona Opera for the feature length film adaptation and world premiere of The Copper Queen (Julia Lowell). She also has debuted with the Los Angeles Philharmonic under the baton of Gustavo Dudamel in Die Zauberflöte (Papagena), San Francisco Symphony with Michael Tilson Thomas in Candide (Paquette).
Ms. Becerra is a graduate of the Young Artist Program at the Los Angeles Opera. She received her master’s degree from The Boston Conservatory, her bachelor’s degree from Texas Christian University in her hometown of Fort Worth, TX and is a graduate of the Fort Worth Academy of Fine Arts.
2026-2027
