(Credit: Soloman Howard)

Puerto Rican soprano Kresley Figueroa is a graduate of the Cafritz Young Artist with Washington National Opera where she has performed in numerous productions including “The (R)evolution of Steve Jobs,” “Partenope,” “La Périchole,” and “The Lion, The Unicorn, and Me.” She has also appeared alongside Renée Fleming, Thomas Hampson, and Denyce Graves in WNO’s annual gala.

Figueroa has also went on to perform with the Aspen Music Festival, and OPERA San Antonio.

She is a National Semifinalist in The Metropolitan Opera Laffont Competition, First Place and Audience Favorite in the James Toland Vocal Arts Competition and a First Place in the Kyrenia Opera Vocal Competition.

This season she makes her Metropolitan Opera debut in “El Último Sueño de Frida y Diego,” returns to the Washington National Opera (WNO) and sings with the Mid-Atlantic Symphony Orchestra.

OperaWire had a chance to speak with the soprano about the importance of regional orchestras, her Met debut and her time as a Cafritz young artist.

OperaWire: Having finished the Cafritz Young Artist Program at the Washington National Opera, you are now in a new phase of your career. Tell me about this new step in your career, and what challenges do young artists face?

Kresley Figueroa: I tried to soak up every moment, but it’s still so hard to believe how quickly my two years as a Cafritz Young Artist with Washington National Opera went by! My time as a young artist was truly transformational—the mentorship, visibility, and artistic trust I received there gave me the foundation I’m leaning on now. I’m deeply grateful to WNO and the Kennedy Center for believing in me, allowing me the space to grow in such meaningful ways, and for continuing to support me now as a principal artist.

This year has shown me the power of consistency— a force far more powerful than one singular audition. Many of my opportunities have come from a long trail of auditions, submissions, and conversations over time. You can face a month of rejections and then receive an offer from someone who heard you years earlier—opera has its own timing.

When the program ended, I had a real moment (a good three to four months) of panic. I was unemployed and had no singing work lined up for 2025–26, even though I felt more confident in my singing and my artistry than ever before. Then, at last, I stepped into a milestone I’d been chasing for the past seven years: a European audition tour. As an unmanaged singer, I’d never been able to secure a single live audition abroad— not even through studio and summer program submissions, which are the most common route for young singers— until someone happened to discover my singing online and chose to advocate for me. There was luck in that moment, but it mattered only because I was prepared to meet it. I may not know how these auditions will unfold in my career, but the experience was deeply worthwhile, and I trust that something wonderful is on its way to me—in its own time.

Slowly, offers began to appear, and I went from unemployed to unexpectedly busy. That shift taught me the value of staying open, nurturing relationships, asking for help, believing in myself even in uncertain moments, and showing up every single day.

If there’s one lesson I hope young artists take away, it’s that even extraordinary resources like WNO don’t guarantee a career. You don’t need a Young Artist Program to succeed—you need to make the most of whatever you do have. The job market is tougher than ever, financial barriers are steep, and many singers aren’t receiving the technical or practical training they need. I know the winding path well; after my master’s, I didn’t get into any programs, worked in tech recruiting for two years, and only made about $800 from singing between 2021–2023. I applied to WNO four times before finally being accepted.

Ultimately, young artists face a combination of financial strain, limited opportunities, and uneven training—and even with a prestigious program behind you, you still have to advocate for every step forward, but resilience, consistency, and genuine generosity in how you move through the world can open doors in ways you might not see coming.

OW: As a Cafritz Young Artist graduate, are you still working closely with the WNO, and do you have projects with the company coming up?

KF: Yes! I honestly didn’t expect to be asked back so quickly—many wonderful Cafritz graduates wait years for the chance to return, so I’m incredibly grateful.

My history with the Kennedy Center actually began before WNO; I made my NSO debut in 2018 as Francisca in “West Side Story.” This season, the NSO invited me back for their Halloween Spooktacular to sing “La Llorona”, and I’m thrilled to return to WNO this February/March as Mary Warren in “The Crucible.”

I also feel incredibly lucky that my primary Cafritz mentors, Chris Cano and Ken Weiss, continue to support me long after the program. They check in, offer guidance, and still coach me simply because they care. I’ve also had the chance to get to know WNO’s General Director, Timothy O’Leary, and Artistic Director, Francesca Zambello, in a more personal, more “human” way I guess you could say, through all of the events and productions throughout my tenure. That kind of connection is rare for young artists to have with company leadership—and it wasn’t exclusive to me, which speaks volumes about the culture of the organization. It’s made me feel like a true part of the community rather than just an employee, which really is the icing on the cake for any artist.

The donor community at WNO is extraordinary as well and we’re lucky as resident artists to have so many chances to interact with them. They care deeply about the artists and the company, and many have become genuine friends. When I walk into the Kennedy Center, I truly feel at home—surrounded by people who know me and cheer for me wholeheartedly. That sense of community means the world to me.

OW:  You’ll be back with the Mid-Atlantic Symphony. The first time you performed on New Year’s Eve. What was that experience like, and what do you remember from that concert?

KF: It ended up being one of the most joyful, fulfilling nights of music-making I’ve had to date—but the crazy part is that I nearly had to cancel. I’d caught a terrible cold over the holiday and could barely speak the day before the concert. It was the classic singer’s nightmare: do I push through this or is it just not happening? In the end, I felt just well enough to try, and I’m so grateful I did. Thankfully, I was the only one who could tell I wasn’t at full strength!

What made the evening so special was the extraordinary sense of trust and collaboration. The organization let me choose my own repertoire—a true luxury—and Michael Repper, the brilliant conductor, brought such enthusiasm and generosity to every moment of rehearsal and performance. The musicians of the Mid-Atlantic Symphony were equally wonderful: deeply skilled, warm, and supportive. And Dane Krich—who I’m still convinced is half-angel—made sure I felt cared for, was cared for, and had everything I needed to be successful.

The atmosphere that night was electric. The church was completely packed, decorated beautifully for the holidays, and had a distinct energetic warmth I’ll always remember. Someone even told me they’d traveled across the country that day just for the concert. Backstage, two young girls—the daughters of one of the orchestra’s musicians—took it upon themselves to be my personal cheer squad. Before every entrance, they told me I looked like a princess and danced with me; when I’d come back between my entrances they would rush over to tell me they “really, really liked that song” and that I was “super loud”. I was soaking up that lip service and had to stifle too many giggling fits from all three of us.

With all of that—an ecstatic audience, generous colleagues, and two tiny hype-girls cheering me on—it became one of those evenings that reminds you exactly why you do this work.

OW: You’ll be doing a holiday concert. What can audiences expect from that, and what repertoire will you be sharing with them?

KF: Audiences can expect a mix of beloved holiday classics—”White Christmas,” “O Holy Night”—with a touch of Spanish flair woven in. Michael Repper always understands the artistic assignment when it comes to programming, and this year he paired Jonathan Patton’s rendition of the famous Toreador Song from “Carmen” with one of my favorite lesser-known gems: “Me llaman la primorosa” from the Spanish zarzuela version of “The Barber of Seville.”

Zarzuela is underrepresented in this country, and I wanted to take this opportunity to spotlight it—not only because the music is gorgeous and so much fun to perform, but because it carries cultural significance for me. It felt like the perfect aria to bring to this concert, and I think audiences will fall for its charm and sparkle the moment they hear it.

OW: What do the holidays mean to you, and what do you love about this time period?

KF: The holidays are a funny time for singers, because they’re usually our busiest weeks of the year—spent working, traveling, and often far from the people we love. While most of the world is winding down, we’re gearing up. But there’s something beautiful in that, too. I feel genuinely privileged to help create holiday memories for other people, and in its own way, that gives the season a very personal meaning for me.

But I’ll be honest: as a girl from San Juan, winter and I are not on friendly terms. Cold weather is my lifelong enemy, but I adore Christmas music, holiday parties, and all of the sparkle that becomes socially acceptable during this time of year. Those are the things that keep me warm when my giant North Face coat isn’t cutting it.

OW: Why do you think regional orchestras are important, and how have they helped you in your career?

KF: Regional orchestras are the heartbeat of the arts in their community. Not everyone lives near a major cultural hub where they can see a performance at La Scala or the New York Phil on a weekend, but that doesn’t mean they can’t have world-class, unforgettable musical experiences in their own backyard. Regional orchestras design programs with their specific communities in mind—the tastes, traditions, and personalities of the people who live there—which creates a kind of artistic intimacy you don’t always find in larger institutions.

For singers like me, they’re not only essential— they’re a gift! Any performance experience is valuable, and regional orchestras often give us the freedom to perform repertoire that we love as well as provide us the chance to take risks on new repertoire. Additionally, there’s an opportunity to become part of a community’s cultural life longer term instead of just passing through.

The Mid-Atlantic Symphony, in particular, has had a remarkable impact on my career in such a short time. They’ve offered me opportunities that have enriched me artistically and professionally, but also on a personal level. The creative freedom I’ve experienced with them has led to some of my happiest and most fulfilling projects to date. When an organization trusts you to bring your artistry to the table, compensates you generously, and genuinely supports your vision, there’s really nothing more an artist could ask for.

OW: Coming up this spring, you will be making your Metropolitan Opera debut in “El Último Sueño de Frida y Diego.“ When was the first time you saw a performance there, and what memories do you have from that theater?

KF: The first performance I ever saw at the Met was “Armida“ with Renée Fleming in 2010— my biggest idol at the time. My mom got us tickets with that in mind, of course. I never could have imagined that one day I would work 1:1 with her as a Renée Fleming Artist with the Aspen Music Festival. She was absolutely incredible and looked so stunning in her pink gown (honestly giving Glinda vibes). It was the most magical evening I could have imagined, and so inspiring.

I remember walking into the Met and gawking at how beautiful it was—the chandeliers, the red velvet everywhere, the portraits of great singers, and the costume displays lining the lobby— but what struck me most was the wall of singers’ headshots. I stood there before the performance and again at intermission, studying every face. I said a quiet prayer that one day my photo might be up there too and I let myself imagine what age I would be in that photos and what role I was going to sing if I ever made it onto that wall. I was super wrong in my head about all of it, and I’m so happy with how things turned out.

Now my photo is up there— my headshot taken by my friend and colleague, the incredible Soloman Howard— and so many of my friends have already seen it in person before I’ve had the chance to! It’s going to be very surreal to have my full-circle moment in 2025 when I finally get to stand in front of that wall again and take it all in.

OW: As a Latina, what does it mean to sing in a Spanish-language opera at the Met, and what does it mean to make your Met debut in a Spanish opera?

KF: Making my Met debut is an honor on its own, but doing so in a Spanish-language opera feels especially meaningful. Hispanic and Latino narratives are still rare on major U.S. opera stages (though thankfully that is beginning to change), and it means a great deal to be part of a production rooted in my own cultural world. I’m Puerto Rican by birth and by my Puerto Rican father, but my mother is half Mexican so I am also proudly Chicana.

With that opportunity comes responsibility. Representation matters, and I take that very seriously. I always bring my best to any role, but this one feels like carrying something both deeply personal and larger than myself.

Having my Met debut also honors a part of my identity that means so much to me makes this milestone even more profound—for myself and for my family!

OW: As a young artist, what are you most looking forward to in the coming season?

KF: I’m really looking forward to the evolution that comes with a season full of new roles, experiences, and challenges. By the end of it, I know I won’t be the same singer—or the same person—I am now. Every project shapes you, and I’m excited to see who I become on the other side of these performances!