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Adriana
Bastidas-Gamboa

current productions
Mezzo-soprano Adriana Bastidas-Gamboa is seated on a black stool against a light grey studio background. She looks directly at the camera with a warm smile. Her long, dark, wavy hair falls over her shoulders. She wears a dark, subtly shimmering sleeveless top and wide-legged grey trousers. A large ring and hoop earrings stand out as distinctive accessories. The portrait conveys an open, confident, and approachable impression.

vita

Mezzo-soprano Adriana Bastidas-Gamboa was born in Cali, Colombia, and completed her vocal studies at the conservatory in her hometown, supplemented by postgraduate studies at the Cologne University of Music. In the 07/08 season, she was a member of the International Opera Studio at Cologne Opera and joined the Cologne Opera ensemble in 2008, where she has been a permanent member ever since.

At the Cologne Opera, she has performed in a variety of roles, including Martina Laborde in Peter Eötvös' "Love and Other Demons," the title roles in Bizet's "Carmen" and Handel's "Rinaldo," Maddalena in "Rigoletto," Dorabella in "Così fan tutte," Olga in "Eugene Onegin," Suzuki in "Madama Butterfly," Judith in "Duke Bluebeard's Castle," Faust/a in "The Song of the Women of the River," Preziosilla in "La forza del destino," Margarita in York Höller's "Master and Margarita," Le Pélérin in "L'amour de loin," and Rosina in Ruth Berghaus's production of "Il barbiere di Siviglia." She has also appeared repeatedly in this role at the Berlin State Opera.

Her most recent roles include Angelina in Rossini's "La Cenerentola," the title role in Purcell's "Miranda," Federica in Verdi's "Luisa Miller," Cornelia in "Giulio Cesare in Egitto," Virtù & Ottavia in "L’Incoronazione di Poppea," Mother in "Hänsel und Gretel," Zia Francesca in Frank Pesci's "The Strangers," and Mrs. Sedly in "Peter Grimes."

In May 2012, she was awarded the Offenbach Prize in recognition of her outstanding achievements at the Cologne Opera. In 2013, she released her first solo CD, entitled "Un viaggio in Italia," which took listeners on a musical journey through the stages of her career. At the Munich Opera Festival of the Bavarian State Opera in 2016, she appeared in the role of Penthesilea, composed especially for her, in the world premiere of Hauke Berheide's opera "Mauerschau." This was followed by Felix Leuschner's "Requiem für einen Lebenden" at the 2019 Opera Festival. She also sang under the musical direction of Gabriel Feltz in Verdi's Requiem with the Dortmund Philharmonic Orchestra, Judith in "Duke Bluebeard's Castle" with the Belgrade Philharmonic Orchestra and the Dortmund Philharmonic Orchestra, and with the Flemish Symphony Orchestra and Jan Latham-Koenig in "El amor brujo" by Manuel de Falla.

In the 24/25 season, her roles at the Cologne Opera included the title roles in "Carmen" and "Maria de Buenos Aires," Medoro in "Orlando," Fenena in "Nabucco," the First Maid in "Elektra," and Cornelia in "Giulio Cesare in Egitto."

In 25/26, she appeared in "Manon Lescaut," as Erda in "Das Rheingold," as Angelina in "La Cenerentola," as Schwertleite in "Die Walküre," as Woman in "Picture a day like this," and in the title role in "Tancredi," among others.

In the 26/27 season, she will appear as Cain in Alessandro Scarlatti’s "Cain and Abel" in Dietrich W. Hilsdorf’s acclaimed production, which premiered at the Aalto-Theater Essen in 2020. She will also perform the roles of Lucile / Rosita in Hans Werner Henze’s "La Piccola Cubana," presented on the occasion of the composer’s 100th birthday, and Erda in Richard Wagner’s "Siegfried," part of Paul-Georg Dittrich’s new Cologne Ring cycle. In Giuseppe Verdi’s "Macbeth," she will portray Lady Macbeth in Damiano Michieletto’s celebrated 2018 production, which was acclaimed at Teatro La Fenice. In addition, she will sing Maddalena in Giuseppe Verdi’s "Rigoletto" as well as Virtù / Ottavia in Ted Huffman’s highly acclaimed production of Claudio Monteverdi’s "The Coronation of Poppea".

current productions with Adriana Bastidas-Gamboa

  • Festakt der Bühnen

    Blick von der Bühne in den Zuschauerraum der Oper am Offenbachplatz mit ansteigenden Sitzreihen mit hellblauen Bezügen, mehreren geschwungenen Balkonen und warmen Holzvertäfelungen.
    Detailaufnahme der markanten Holzvertäfelung im Saalinnenraum der Oper Köln am Offenbachplatz. Die Maserung des Holzes ist deutlich sichtbar und wirkt lebendig, während die warme Farbgebung dem Raum eine elegante und einladende Wirkung verleiht.
  • Kain und Abel

    Alessandro Scarlatti

    Nahaufnahme eines jungen Mannes mit cineastischer Bildwirkung und warmer Lichtstimmung: Mit blondem, zerzaustem Haar und schmutzverschmierter Haut blickt er mit grün-blauen Augen intensiv nach vorn. Sein Ausdruck ist angespannt und innerlich aufgewühlt, die rechte Hand zur Faust geballt und nahe am Kinn. Er trägt ein weißes Langarmshirt. Die Szene evoziert die Figur des Kain aus Alessandro Scarlattis Oper Kain und Abel.
    Abstraktes, stimmungsvolles Bild in warmen Braun- und Grüntönen: Weiche Farbverläufe und unscharfe Formen erinnern an Moos und Naturstrukturen und evozieren die Atmosphäre der Oper Kain und Abel von Alessandro Scarlatti.

    Premiere | OPER on

  • Macbeth

    Abstract, atmospheric image in warm shades of orange, red, and deep violet. Soft color gradients create a dense, shimmering atmosphere without recognizable forms. The composition feels glowing and intense, with darker edges and a subtly illuminated center. The result is a dramatic, tension-filled mood that evokes heat, unrest, and an underlying sense of threat. An associative reflection of the dark, psychologically charged world of Giuseppe Verdi’s opera Macbeth.
    Abstract, atmospheric image in warm, blending tones of orange, red, and deep violet. The soft transitions create a dense, almost shimmering atmosphere without discernible forms. The color composition appears intense and glowing, with darker areas at the edges and a slightly brightened center. Overall, the image conveys a dramatic, tension-filled mood, evoking heat, unrest, and an underlying sense of threat, and reflectively capturing the dark, psychologically charged world of Giuseppe Verdi’s opera Macbeth.

    Premiere | OPER on

  • Rigoletto

    Giuseppe Verdi

    Scene from Rigoletto by Giuseppe Verdi: A group of elegantly dressed men in dark suits and tailcoats stand closely packed in front of a neoclassical architectural backdrop with columns and balustrades; their bodies lean forward, tense, as if reacting to something together.

    Revival | OPER on

  • Siegfried

    Richard Wagner

    Close-up of a young man in cinematic lighting. Shown in right-facing profile, he gazes into the distance with a vigilant and determined expression. His silvery-blond hair is swept back, while multiple earrings add a modern, subtly rebellious edge. Cool blue and violet light shapes his luminous skin and accentuates the contours of his face. The dark background enhances the dramatic effect. A contemporary interpretation of Siegfried from Richard Wagner’s opera Siegfried.
    Abstract, atmospheric image in cool, blending tones of blue, violet, and deep red. The soft transitions create a calm yet mysterious atmosphere. The color composition appears deep and layered, with a dark, nearly black edge that subtly brightens toward the center. Overall, the image conveys a dense, dramatic mood, evoking night, tension, and inner strength, and reflectively capturing the mythical, intense world of Richard Wagner’s opera Siegfried.

    Premiere | OPER on

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