Biography
Biography
Andalusian tenor Pablo García-López is one of the rising voices on the European opera and concert scene. Praised by El Mundo for “the decisive beauty of his light-lyric timbre, his unquestionable musicality and communicability,” he is especially noted for his refined interpretations of Mozart and is in high demand for both baroque and contemporary repertoire. Recent engagements across Spain’s leading stages have led to international debuts at the Opéra Royal de Wallonie-Liège, Opéra de Lausanne, Royal Opera House of Muscat, Palau de les Arts Reina Sofía in Valencia, and Théâtre du Capitole de Toulouse. He has worked under the baton of conductors such as Zubin Mehta, Riccardo Chailly, Jesús López-Cobos, and Susanna Mälkki.
In the 2025/26 season, Pablo returns to the Gran Teatre del Liceu for his role debut as Bardolfo in Falstaff, and sings Pang in Turandot at the Palau de les Arts Valencia, and Maese Pedro in de Falla’s El retablo de Maese Pedro at the Teatro de la Zarzuela. On the concert stage, he presents his new solo programme Negroni Sbagliato with the Orquesta de Córdoba under Aarón Zapico, performs Mozart’s Requiem with the Orquesta de la Región de Murcia, and Schubert’s Mass No. 6 with the Orquesta de Granada. He also sings the tenor solos in Handel’s Messiah in Fundación Caixa’s participatory concerts with the orchestras of Granada and Valencia, again led by Zapico. A passionate interpreter of baroque music, he takes on the title role in A. Scarlatti’s Scipione nelle Spagne with La Ritirata, and releases a new recording of Carles Baguer’s El retorno del hijo pródigo with Vespres d’Arnadí. His chamber programme Trompicávalas Amor, with Josetxu Obregón and Ignacio Prego, tours to the Istanbul International Chamber Music Festival. He also gives a recital with pianist Duncan Gifford at the Auditorio del Centro de Cultura Contemporánea CondeDuque, premiering new works by Helena Cánovas and Jesús Torres. Meanwhile, De Sópitu, his programme with Forma Antiqva, continues to tour across Spain following the success of their CD.
In the 2024/25 season, he made his debut at the Opéra de Tours as Monostatos in Die Zauberflöte, and appeared at the Teatro de la Maestranza in Seville as Remendado in Carmen. He returned to the Gran Teatre del Liceu as Goro in Madama Butterfly and to the Ópera de Oviedo as Basilio in Le nozze di Figaro. At the Teatros del Canal, he revived the role of Miguel in Helena Cánovas’s Don Juan no existe, created at its 2024 world premiere at Festival Peralada. In concert, he sang Stravinsky’s Pulcinella with the Orquesta Sinfónica de Castilla y León and recorded Trompicávalas Amor with Ignacio Prego and Josetxu Obregón.
Other recent highlights include his debut as Monostatos at the Opéra de Lausanne, the world premiere of Marisa Machado’s La Regenta in Madrid, and the revival of Jesús Torres’s Tránsito at the Palau de les Arts. He also co-created and performed De Sópitu with Forma Antiqva at the Festival Internacional de Santander.
Pablo has previously appeared as Ferrando (Così fan tutte), Belmonte (Die Entführung aus dem Serail), Tamino (Die Zauberflöte), Don Ottavio (Don Giovanni), Nemorino (L’elisir d’amore), and Albazar (Il turco in Italia), with companies including the Gran Teatre del Liceu, Ópera de Oviedo, ABAO Bilbao Opera, Teatro Real, and Opéra de Lausanne. As a concert soloist, he has performed with leading Spanish orchestras—including the Orquesta Nacional de España and the Orquesta de València—in works such as Fanny Mendelssohn-Hensel’s Oratorium nach Bildern der Bibel, Berlioz’s Les Nuits d’Été, and Strauss’s Salomé.
«El tenor ofreció un Nemorino di grazia, con la fuerza necesaria para modelar el canto melódico, de carácter melodramático, que trazó Donizetti. Su voz clara y bien colocada llegó a la sala con naturalidad, mientras cuidaba las aristas de su personaje en la lucha por el amor de Adina, con momentos para recitados de altura y gestos de bravura –a subrayar, su «Adina credimi»–, además del aria «Una furtiva lagrima», de expresión personal, premiada por el público.»
Ópera Actual
Pablo is deeply committed to contemporary creation, having premiered works such as Don Juan no existe (Helena Cánovas), Tránsito and Hijo Mío (Jesús Torres), Sinfonía Córdoba and Escenas de una primavera alemana (Lorenzo Palomo), Fuenteovejuna (Jorge Muñiz), El guardián de los cuentos (Miquel Ortega), Café Kafka (Francisco Coll), and Caminos de la tarde (Hermes Luaces).
Born in Córdoba, he began his studies at the local conservatory with tenor Juan Luque, then continued at the Universität Mozarteum Salzburg and the Centre de Perfeccionamiento Plácido Domingo in Valencia. He completed his training in Berlin with John Norris. In 2020, he was awarded the Bandera de las Artes de Andalucía, and more recently, he was named an academician of the Real Academia de las Ciencias, Bellas Letras y Nobles Artes de Córdoba in recognition of his artistic trajectory and contribution to cultural heritage.
His discography includes the solo album Rutas with pianist Aurelio Viribay—awarded the Melómano de Oro—as well as Turandot (Decca) with Zubin Mehta, La Bohème (Accentus) with Riccardo Chailly, and Palomo’s Córdoba Symphony (Naxos) with Jesús López-Cobos. In 2025, he released De Sópitu with Forma Antiqva under Aarón Zapico, and the upcoming season will see the release of El retorno del hijo pródigo by Carles Baguer with Vespres d’Arnadí.