Serafin welcomes opera sensation Gina Perregrino

When Gina Perregrino was about 12 years old, Alexis I. du Pont High School music teacher Paul Parets asked her to sing a song for him.

She chose Andrea Bocelli’s “Time to Say Goodbye” (in Italian) which left a lasting impression on Parets, an influential music educator in Delaware, and a friend of her family.

Celebrated opera singer Gina Perregrino: “I think I’ve always had a rebellious streak in my blood.”

“He insisted to my parents that I take singing very seriously and propelled me to take professional voice lessons,” she said. “He became one of the biggest professional influences in my life.”

Encouraged by Parets, Perregrino went on to become one of the most celebrated voices on the opera stage, performing with the Deutsche Oper Berlin, Seattle Opera, Opera, Minnesota Opera, Opera Philadelphia, The Atlanta Opera, The Dallas Opera, Opera Theatre of Saint Louis, Ópera de Guatemala, OperaDelaware, and Central City Opera.

“At the time of Mr. Parets’ death, I was making my debut at the Metropolitan Opera in a show that happened to be about legacy and mentorship – the opera ending with the mentor’s death in the final scene. I felt like we had achieved that career milestone together,” she said.

When she’s not jetting around the world to perform, Perregrino, 33, lives in the heart of Kennett Square, Pa., where she coaches younger singers in her private voice studio. She also collaborates with local veterinarian Dr. Rob Teti to bring animals and music therapy to young men held in local detention centers.

In addition to a busy performance schedule, the mezzo soprano is also a teaching artist, writer and speaker. Her innovative lectures and workshops on creativity, artistry and vulnerability have been presented to graduating students at conservatories like New England Conservatory and University of Michigan.

Though primarily trained in opera, Perregrino’s temperament is with the folk music of Mexico and Latin America. She is an avid performer of rancheras and mariachi, and interpretation of Latin songs has also been featured in operatic crossover programs at companies like Santa Fe Opera.

In May, she sang a part in OperaDelaware’s production of “Fearless,” which follows the life of Hazel Ying Lee, trailblazing World War II aviator.

She is one of the featured performers at the upcoming Serafin Sumer Music festival, a celebration of chamber music performed by musicians from around the world, where she will sing glorious arias by Mozart and Handel as well as art songs by Poulenc and Fauré.

She found a few minutes to talk with IAH:

How does it feel when Opera News says you possess “swaggering strength?”
It’s always nice when people like and validate what you do! As artists, good reviews are good for our websites, but we can’t put too much importance on any of them – it distracts you from the real job.

What is it about Latin music that so many people find irresistible?
Oh goodness, I have always had an affinity for Latin music. Since I was a child, I was absolutely taken by the Spanish language and particularly loved everything about Mexico. I think it’s just one of those inexplicable things that your spirit deeply gravitates towards for whatever reason. Across all genres, my favorite artist of all time is a Mexican ranchera singer named Chavela Vargas.

You had a part in “Fearless,” right? Are you drawn to art that delivers a certain message about identity and breaking stereotypes?
Yes! What a great show! Most of my favorite operatic experiences have been world premieres because, aside from working with the living composer (which is the coolest), most of the stories have to do with really important current events or about breaking stereotypes and cycles. I think I’ve always
had a rebellious streak in my blood, so I do love to bring these stories to life with like-minded artists.

What do you aim to stir or spark in your audience? What do you want them to come away with?
Serafin has master programming and the level of musicianship is just so high, so I am very excited to return to the festival. On an extroverted note, of course I want audiences to enjoy the fireworks that the virtuosic repertoire brings. On a more inward note, I want what I always want for an audience: to see some of themselves in these characters and in this music. So many people think classical music isn’t really accessible, but that’s the biggest fallacy. Parts of all of us are written into each note value, so it’s our job to try to make that connection for the audience.