Biography
"A show of raw power, an aural force to glue you to your seat.”
Praised for her “rich, heartfelt orchestral sound” (Chicago Sun-Times), “rhythmic vitality” (San Francisco Chronicle) and “raw power” (LA Times), Colombian-American Lina Gonzalez-Granados has distinguished herself nationally and internationally as a singularly-talented young conductor. Her powerful interpretations of the symphonic and operatic repertoire, as well as her dedication to highlighting new and unknown works by Latin-American composers, have earned her international recognition, most recently as the recipient of the 2021 Sphinx Medal of Excellence, the Third Prize and ECHO Special Award (European Concert Hall Organization) of La Maestra Competition, as well as the 2020 and 2021 Solti Foundation US Career Assistance Award.
CompLETE BIOGRAPHY
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Upcoming Performances
“González-Granados delivered clean, efficient performances... and demonstrated a feel for theatrical flair.”
Latest Press
Opera Wire
Los Angeles Opera has announced that Lina González-Granados has renewed her contract as Resident Conductor and will remain with the organization through 2028.
“I’m deeply honored to continue as LA Opera’s Resident Conductor, making music with the extraordinary artists of the orchestra and chorus,” said González-Granados per an official press release. “Our work has never been more important than at this moment. I look with immense pride at all that we have achieved, from interpretations of classic works like Britten’s ‘The Rape of Lucretia’ and Donizetti’s ‘Lucia di Lammermoor,’ to new works like Gabriela Lena Frank’s ‘El último sueño de Frida y Diego,’ the world premiere of Joel Thompson’s ‘Fire and Blue Sky’ and the upcoming company premiere of Osvaldo Golijov’s ‘Ainadamar.’ It is a privilege to continue our mission to expand the art form and to reach ever wider audiences.”
Bachtrack
This concert was an exploration of contrasting worlds, a journey that moved from intimate, ethereal contemplation to grand, unbridled romanticism.
"González-Granados came into her own, leading with a palpable sense of confidence and urgency. From the lugubrious introduction to the riotous ebullience of the finale, she had us riveted. She injected rhythmic vitality into the outbursts of the first movement before the snarl of the brass died away, relapsing into a miasma of gloom. The recapitulation of the first movement possessed a charming vernal innocence to it while González-Granados garnished a deep, heart-felt romanticism from the orchestra."