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As a growing artist and young opera singer, I was taught very early on by a mentor the three rules of the theater: to be seen, to be heard, and, most importantly, to be understood.

Of course, this training manifested early on in the literal sense, with lessons in stagecraft, vocal pedagogy, acting, and diction.

Similarly to most things in my life, as I grew, these concepts became less literal. Their manifestation morphed into something different: an attempt to spread the rules of theater into the bigger picture of my own life -- that I could be comfortable being seen, heard, and understood

on and off the stage.

 "possessing swaggering strength and urgency"
(Opera News)


Gina's experiences in the high-pressure world of operatic training and performance have led to advocate for more transparency around the emotional, financial, and geographical realities of being a full-time opera singer, as one can read about in her vulnerable, stirring piece published in Huffington Post here.

A daughter and granddaughter in a family of quiet artists, Perregrino is determined to make some noise.



Seated in our dressing rooms in full hair and make up, an announcement comes over the theater's intercom calling us to the stage.

It is time. 

Taking one last look at ourselves in the mirror, we make our way backstage and stand in the wings. 

In the wings is where the magic is.

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