Gina Perregrino’s journey from a local talent to the prestigious Metropolitan Opera House in New York City is a testament to both her dedication and the transformative power of mentorship. Perregrino’s path to opera stardom began in an unassuming setting: a second-hand store purchase, a recorder, and a basement karaoke machine.
During her formative years, Perregrino showcased her talent on a recording played for Paul Perets, her future music teacher at A.I. duPont High School. “He heard me sing Andrea Bocelli’s ‘Time To Say Goodbye’ on that recording, and it changed everything,” Perregrino recalled. “He took me under his wing and was a major influence, urging me to pursue professional voice lessons.”
These lessons, which she received at the Peabody Conservatory in Baltimore, marked the beginning of her musical career. This October, Perregrino will make her debut at the Metropolitan Opera in New York City, performing in the Spanish opera Ainadamar from October 15 to November 9. In this opera, Perregrino will portray una Niña in a poignant story about playwright Federico García Lorca and his muse Margarita Xirgu, set against the backdrop of Lorca’s tragic fate due to his political and sexual views.
Perregrino’s preparation for this role was anything but conventional. “I was up against many talented dancers, which was intimidating,” she said. “I took Flamenco classes to prepare and embraced the unique aspects of this opera, which contrasts sharply with the traditional purity of Mozart’s works.” Her willingness to adapt and explore new styles ultimately earned her the role.
Despite the grandeur of the Metropolitan Opera, Perregrino remains grounded. “The scale of the institution can be overwhelming, but it has always been a dream of mine,” she said. “Seeing it from my New York neighborhood as a child, it was always a symbol of what could be.”
After earning both her Bachelor’s and Master’s Degrees from the Manhattan School of Music, Perregrino’s professional journey has taken her across various cities including St. Louis, Minneapolis, and Berlin. Yet, she remains realistic about the opera industry’s challenges. “Opera often doesn’t pay the bills unless you’re constantly traveling,” she noted. “That’s why I balance my career with roles at The Music School of Delaware and as an artist-in-residence at the Chenoa Manor Animal Sanctuary.”
In her teaching role, Perregrino strives to make music accessible and enjoyable, helping students overcome their fears and misconceptions. “I create a positive environment where even those who have been told they are tone-deaf can find joy in singing,” she said.
As Perregrino prepares for her debut at the Metropolitan Opera, she reflects on her journey with a sense of accomplishment and nostalgia. “It feels like a full-circle moment, reminiscent of my first day at Manhattan School of Music,” she said. “Back then, they told us only 1% would make it, and now I’m here, on one of the world’s grandest stages.”
For Gina Perregrino, her upcoming performances at The Met represent not just a personal milestone but a powerful reminder of her enduring commitment to the art of opera.
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