When you were a child, what did you dream of becoming?
I have always dreamt of performing! I wasn’t always sure if I would be a singer or a dancer (I originally wanted to be a background dancer for pop artists), but early on I eventually landed on being a vocalist and I have been singing ever since.
What first drew you to opera, and when did you know it was the path you wanted to follow?
I stumbled upon opera in my early teenage years. Growing up listening primarily to Motown and soul music, opera was completely foreign to me at first. But the more I studied and sang, the more my voice naturally moved in a classical direction. I am of the mindset that most voices can learn to sing multiple styles if you train the mechanism properly, but like people, voices have their own temperaments. Classical singing came to me more naturally than any other style—it just felt right.
After training formally for a while, I discovered my connection to opera was ancestral. My great-grandfather, who immigrated from Italy, loved opera and listened to the Met broadcast religiously every Saturday morning, so when I made my debut and became part of a broadcast myself, it felt like coming full circle.
Were there pivotal moments or mentors who shaped your journey as a singer?
Absolutely! I’ve had a few mentors who shaped my path so profoundly that I wouldn’t be where I am today without them. My first musical mentor came into my life when I was 12 years old, and I was fortunate that each mentor who followed appeared at just the right moment throughout my development. They were spaced a few years apart, perfectly timed, like passing a baton from one to the next. Looking back, I think what I miss most about being younger is having that many mentors and that level of support around you as you’re coming up. Once you’re more established in the field, it’s a different kind of journey.
What has been the most meaningful role or performance in your career, and why?
I have favorite roles and favorite composers, but two experiences stand out—both rooted in music that have international influences and that are outside of the standard operatic canon.
The first was A Thousand Splendid Suns at Seattle Opera, written by composer and now dear friend Sheila Silver, based on Khaled Hosseini’s novel. The story is profound on its own, but coupled with Sheila’s music, it jumped off the page. Indian music is wildly complicated – it was also quite possibly some of the most difficult music I’ve ever learned. The opera is set in Afghanistan, so the score incorporated Indian ragas with a traditional tabla player joining our Western classical orchestra. Even more amazing was that it was an entirely woman-led team, with our director being Roya Sadat, an Afghan film director who fled the Taliban herself. The entire experience was incredible.My other obvious top experience was Ainadamar at the Met last year, which was intertwined with the story of Federico García Lorca in Spain and featured music heavily influenced by flamenco. I was in a role that combined two passions of mine: song and dance. It was absolutely exhilarating.
You’re also a teaching artist. What do you hope to pass on to your students, and what do they give back to you in return?
I love my students! My studio ranges from ages 9 to 92, with students from all different musical backgrounds. What I hope to pass on is a sense of creative autonomy—that they are the creators. I have clear teaching goals, but this isn’t school where they’re told what to do. We reach the same destination through very different paths, and each student’s passions dictate how we get there. That’s what being an artist is really like—we thrive when we lean into what calls us on a soul level, which is different for everyone.Additionally, when I was young, I had to venture outside my circles to find a teacher who could prepare me for the level I wanted to reach. We eventually found her, but it meant driving 1.5 to 2 hours each way every week. When I started my studio, I wanted to be that one-stop spot for people so they wouldn’t have to search as far as I did.My students give me so much—they remind me to stay flexible, to be present, to cultivate what brings us joy. They make me laugh, they let me into their lives weekly, they trust me to prepare their performances. The list is endless. I’m just honored to play a small part in their musical journey.
Beyond singing, you’re a writer and speaker. How do these parts of your work connect with your music?
Most of my writing and lecturing is deeply rooted in my experience as a performer. I wrote an article for the Huffington Post about a poignant experience overseas that changed my perspective on performing, and when I’m asked to speak or lecture, it’s usually for performers. One of my favorite workshops to teach is one that is a collaboration with a social worker from Penn Medicine called Stage Ready, about performance anxiety and how it affects us on and off stage. That class, as you can imagine, is usually full… Managing nervous system stress is one of the most challenging parts of being a performer.
What advice would you give to women pursuing a creative life today?
Children learn from mirroring, and there is a little girl out there who needs to know she’s free to be herself.
Who is a woman, from the past or present, that you admire or find inspiring?
My favorite artist of all time across all genres is Chavela Vargas, a ranchera singer. She was so defiant and authentic in a time period that found everything about her blasphemous. Ranchera is a genre in Mexico that was traditionally only sung by men—until she came along. Her sound is visceral and imperfect, and I find her authenticity and wildness inspiring.
You can check Gina’s website here: https://ginaperregrino.com/
