Elena Villalón



Cuban-American soprano Elena Villalón recently completed her tenure with the Houston Grand Opera Studio. Described as having “a voice with considerable warmth and mellifluous legato tone, but also weight and breadth” by Washington Classical Review, Ms. Villalón is a 2019 Grand Finals winner of the Metropolitan Opera National Council Auditions, and most recently took home several prizes in the Hans Gabor Belvedere Competition, including 2nd  Prize, Audience Prize, CS Prize, and the Wil Keune Prize. In the 2022-2023 season, Ms. Villalón will join the ensemble of Oper Frankfurt, debuting as Iole in Hercules in a new production by Barrie Kosky as well as Atalanta in Xerxes. She will return to Houston Grand Opera as Susanna in Le nozze di Figaro, The Dallas Opera as Gretel in Hansel und Gretel, and the Queen of Sheba in Solomon for an international tour with The English Concert and Harry Bicket. She will also present a recital with the Tuesday Music Club in San Antonio, Texas.

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“One of the evening’s winners, soprano Elena Villalon was next for her first aria “Oh! Quante volte, oh! Quante,” from Bellini’s “I Capuleti e I Montecchi.” This selection made for a stunning showcase of Villalon’s vocal ability, employing silvery tones and leaps of anguished color. Her legato phrases rang clearly, as did the sustained diminuendo she used to scale her way back down from her passionate vocal heights. As the orchestra often dropped or made itself scarcer, Villalon showed herself not only comfortable with near-silence, but knowing how to break it as well. This sense of naturalness returned for her flexible cadenza which wove ornaments through the brief, aching, dramatic gaps of silence.” 

Logan Martell

Opera Wire

“Soprano Elena Villalón is a charming Lauretta who earned loud shouts of “brava” for her superb rendition of the opera’s hit tune, ‘O mio babbino caro.'”

Chuck Lavazzi


“Soprano Elena Villalón portrayed an amiable Lauretta and sang a charming ‘O mio babbino caro (Oh My Dear Father),’ the only aria in the work.” 

St. Louis Post-Dispatch