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A native of Puerto Rico, soprano Zulimar López-Hernández has been seen on the stages of Royal Albert Hall in London, Utah Opera, Des Moines Metro Opera, Nashville Opera, Virginia Opera, and Opera de Puerto Rico, among others. She was a National Semifinalist in the Metropolitan Opera Vocal Competition, Third Place winner in the 2010 Palm Beach Opera Vocal Competition and was awarded Radio Choice Audience Favorite in the 2007 Giargiari Bel Canto Competition.

Ms. López-Hernandez’s 2022-23 season begins in the summer with rescheduled performances of Y los Pasteles with Teatro de la Opera de Puerto Rico. She also bows as Micaela in Carmen with Opera de Puerto Rico in the closing performance of the Casals Festival, and in the fall she joins Minnesota Opera for rescheduled performances of Edward Tulane, creating the roles of Abilene and Betty in this long-awaited world premiere.

Zulimar’s 2021-2022 season included her debut with Arizona Opera as La Mujer in El milagro del Recuerdo, rescheduled from the COVID-19 impacted 2020-2021 season. She also joined the Orlando Philharmonic for Orff’s Carmina Burana. Other recent engagements have included a recital with the Theater of the University of Puerto Rico with pianist Pedro Juan Jiméne, a return to Dayton Opera in the role of Musetta in La bohème, and a workshop of Paola Prestini’s Edward Tulane. Minnesota Opera’s world premiere production of that piece, in which Zulimar was slated to create the roles of Abilene and Betty, was unfortunately cancelled due to the COVID-19 pandemic, as was a performance of Conexiones Puerto Rico with the Orchestra 2001 in Philadelphia.

Operatic highlights include multiple performances with Des Moines Metro Opera including Tina in Flight, Beatriz in Rappaccini’s Daughter, Zerlina in Don Giovanni, and Norina in Don Pasquale; Musetta in La bohème with Royal Albert Hall in London, Virginia Opera, Opera Memphis, and Opera Grand Rapids; Maria in West Side Story with Newport Music Festival and Evansville Philharmonic; Despina in Cosí fan tutte with Annapolis Opera and Mannes Opera; Pamina in The Magic Flute with Utah Opera; Susanna in Le nozze di Figaro with Utah Opera, Dayton Opera, and Annapolis Opera; Norina in Don Pasquale with Opera Santa Barbara and Nickel City Opera; Micaela in Carmen with Knoxville Opera; Rosalba in Florencia en el Amazonas with Nashville Opera; Violetta in La traviata with Union Avenue Opera; Juliette in Romeo et Juliette with Knoxville Opera; Nanetta in Falstaff with Mannes Opera; and Beth in Little Women with Syracuse Opera.

In concert Ms. Lopez-Hernandez has appeared with the Puerto Rico Symphony Orchestra for performances of Messiah and their Christmas Concerts; Grand Junction Symphony for a suite of music from West Side Story; the Casals Festival for Mozart’s Requiem; the Eugene Ballet for Orf’s Carmina Burana; Glimmerglass Opera for a recital of Strauss, Debussy, Greer and Obradors; and appeared in the Mannes Recital Series and Evening of Songs.

 

She holds an Artist Diploma from the prestigious Academy of Vocal Arts, where she performed the roles of Poussette in Manon, Despina in Così fan tutte and Norina in David Gately's Wild Wild West production of Don Pasquale, and a Bachelor of Arts in Music Education from the University of Puerto Rico, where she performed the roles of Zerlina in Don Giovanni, Gilda in Rigoletto and Olympia in The Tales of Hoffmann.

Utah Opera – Le nozze di Figaro

"López-Hernández’s acting — through her sparkling voice, movement and facial expressions — was flawless.”

- Catherine Reese Newton, The Salt Lake Tribune

 

“Lopez-Hernandez was an absolute delight as Susanna. Her singing was bright and full, and her acting was tender, without stepping into naivete. Her Susanna was smart, intuitive, warm and proud, but never brash.”

- Sara Neal, The Utah Review

 

“Baritone Seth Carico as Figaro and soprano Zulimar López-Hernández as Susanna led the impressive cast. The handsome, young couple achieved a charmingly palpable chemistry, and their ability to best the lecherous Count Almaviva was never in doubt. They possessed an energy and physicality that left one wondering how they maintained such wonderfully spun vocal focus.”

- Robert Coleman, Opera News

Eugene Ballet – Carmina Burana

"Soloist soprano Zulimar López-Hernández delights with her range and delivery.”

- Rachael Carnes, Eugene Weekly

Virginia Opera – La bohème

"Zulimar Lopez-Hernandez showed fine nuance in her portrayal of the mercurial Musetta …[her] flirty, facile soprano and pouty persona sold the consummate diva aria.”

- B.J. Atkinson, Hamtponroads.com

Des Moines Metro Opera – Rappaccini’s Daughter

"As the ill-fated daughter of the title, Zulimar López-Hernández offered radiant singing as Beatriz. Ms. López-Hernández is[sic] possessed of a lustrous soprano, with a rich middle register and a capability of glinting thrust in the role’s higher reaches. While she can also float effortless pianissimi, her exciting delivery is just on the verge of spinto territory. She is an artist to watch.”

- James Sohre, Opera Today

Knoxville Opera – Carmen

"…Soprano Zulimar López-Hernández, seen before by Knoxville audiences as Juliette in the 2012 production of Gounod’s Roméo et Juliette, needed no assistance in standing out as a lovely Micaëla. Ms. López-Hernández’s voice seemed made for the role, light and lyrically luscious, but with a penetrating strength that effortlessly supports her phrasing.”

- Alan Sherrod, Arts Knoxville

“There are real stars, of course, not the least of which is Zulimar López-Hernández, who turns the minor role of Micaëla, essentially a messenger, into a stellar performance with superb singing.”

Harold Duckett, Knoxville News Sentinel

Union Avenue Opera – La traviata

"…López-Hernández didn’t shy away from the role’s daunting coloratura passages — her lilting voice by turns ethereal, lighthearted and haunting — as Violetta is torn between her life of pleasure and her need to be loved.”

- Malcom Gay, Riverfront Times

"As Violetta, the courtesan dying of love and tuberculosis, soprano Zulimar López-Hernández has a spectacular voice that manages the coloratura flash of “Sempre libera” as easily as the delicate lyricism of “Un dì felice,” the amorous Act I duet with Alfredo. Better yet she acts the role with total conviction—her death scene is a certified tearjerker—and she certainly looks like the kind of woman who might be the toast of Paris. The standing ovation for her during the curtain call was both enthusiastic and well deserved.”

- Chuck Lavazzi, kdhx.org

 

"Soprano Zulimar López-Hernández, who had had many roles in mostly Midwestern opera companies, makes her UAO debut as Violetta, a courtesan. She looked spectacular in sparkling white and lurid red gowns, and has a voice to match. With just the right touch of vibrato, it has a richness that fills the room powerfully, without being strident or overwhelming. Her character is on stage most of the time, but she didn’t seem tired or stressed. Plus her acting was completely convincing.”

- John Huxhold, The Saint Louis Post-Dispatch

Nickel City Opera – Don Pasquale

"Soprano Zulimar Lopez-Hernandez, as Norina, is gorgeous and has an admirable star quality. Her voice is robust and commanding, and up to Donizetti’s considerable demands.”
- Mary Kunz Goldman, The Buffalo News

Opera Santa Barbara – Don Pasquale

"Highest praise, however, should be reserved for the soprano Zulimar López-Hernández, who dazzled in the multifaceted role of Norina/Sophronia. Her transformations from a lover to a shy young woman just out of the convent to a spendthrift shrew and back again were a joy to behold.”
- Charles Donelan, Santa Barbara Independent

Fundación de Zarzuela y Operetta – Los Gavilanes

"López was perfect as the ingénue Rosaura with her light lyrical soprano, which expresses her youth and emerging passion with subtlety.”
- Peggy Ann Bliss, Puerto Rico Daily Sun

Des Moines Metro Opera – Don Giovanni

"…and Zulimar López-Hernández, the Zerlina, emerged as a real person, not a cardboard coquette.”
- Mark Thomas Ketterson, Opera News

Opera Grand Rapids – La bohème

"heat comes courtesy of Musetta and Marcello, a pair of well-matched flame throwers in Zulimar López-Hernández and Corey McKern.

“López-Hernández, as Musetta, is brassy and ballsy, not the clever coquette but a take-charge type with her elderly paramour, Alcindoro. Supplied with a lithe voice, her character grows the most from frivolous flirt to faithful friend who turns to prayer in the hour of need.”
- Jeffrey Kaczmarczyk, The Grand Rapids Press

Knoxville Opera – Roméo et Juliette

"And the soprano López-Hernández is frighteningly good. One has the instinct that she exercises a staggering degree of control over an instrument that could shatter windshields should she so choose. Yet that control is effortless, and the results are always a joy to hear.”
- Mike Gibson, Knoxville News Sentinel

 

"Also making a KO debut as Juliette was soprano Zulimar López-Hernández…Juliette’s Act I waltz, the famous “Je veux vivre,” gave the soprano a chance to show a voice that, while not overly imposing, was full of gentle, subtle detail defined by lyrical clarity and bolstered by surprising reserves of vocal strength. Her Act IV bedchamber-potion aria was deeply affecting.”
- Alan Sherrod, Metro Pulse

Des Moines Metro Opera – Don Pasquale

"Soprano Zulimar Lopez-Hernandez displayed a scintillating trill for Norina’s ‘So anch’io la virtu magica’.”
- Mark Thomas Ketterson, Opera News

 

"López-Hernández (also making her first appearance here)…brought her considerable charm and spot-on coloratura to Norina’s enchanting music.”
- Bruce, Carr, The Des Moines Register

Mannes Opera – Falstaff

"Zulimar Lopez-Hernandez was a bright, pretty Nannetta who found her shining moment in her address to the wood spirits, the last phrase taken in one perfectly poised breath.”
- Fred Cohn, Opera News Online

Annapolis Opera – Le nozze di Figaro

"Susanna, created by Zulimar López-Hernández in her bright Annapolis Opera debut, was a fine match for Figaro. She displayed a lovely soprano and winning acting skills, especially as she bested the untrusting Figaro at his own game.”
- Mary Johnson,

"Eagle-eyed readers will note that I have avoided any mention of the Susanna up to now. She is the one main character whose level of vocal prowess remained constant from start to finish. From her strong entrance in the Act I interplay with her husband-to-be, Figaro, through her schemes, tricks, and observations on life and men, Ms. Lopez-Hernandez gave as close to an ideal reading of this complex character as any I have seen. Her singing was superb, from the gorgeous blending of her voice with the Countess, Colleen Daly, to her own lovely little arias where she artfully spun the ends of phrases out delicately and strikingly.”
- David Lindauer, The Capital

Palm Beach Opera Vocal Competition

"The third prize of $6,000 went to soprano Zulimar Lopez-Hernandez, who exhibited a lustrous timbre…”
- Lawrence Budmen, South Florida Classical Review

Little Women – Syracuse Opera

"Soprano Zulimar Lopez-Hernandez as Beth captured the character’s ingrained kindness and love for her older sister, Jo, who is all too well aware of what she has lost when Beth dies”.
- Wayne Myers, NY Cultural Arts Examiner

Academy of Vocal Arts – Don Pasquale

"Who can resist the charms of Zulimar Lopez-Hernandez’s Norina (aka ‘Sofronia’), whether she’s working a prairie skirt, opera gown or holstered corset. She can handle high Cs and High Noon as cool as Clint, proving there‘s nothing quite like a gun slinging soprano.”
- Culturevulture.net

"A Boy Like That/I Have a Love" - West Side Story​Zulimar López-Hernández
00:00 / 02:31

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Zulimar López-Hernández

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