Praised by Opera News for singing with "palpable purity" and by LA Opus for her "large, lovely, and vibrant voice," Colombian-American soprano Oriana Geis-Falla, described as “exquisite” and celebrated for her “flawless intonation, diction, and emotional wallop,” has had a significant impact on the opera world. Recognized as “the complete package, a star” by the Houston Press, Oriana has continued to captivate audiences and critics alike.
In the recently concluded 2024-2025 season, Oriana made her role debut as Lucia in "Lucia di Lammermoor" at Opera in the Heights, earning acclaim for her vivid portrayal and strong vocal prowess. She also led as Angela in Adam del Monte’s world premiere of "Llantos 1492" at Opera Southwest, showcasing her versatility and depth in contemporary opera.
Oriana recently lent her voice to Paris Hilton for the now-popular show "Paris & Nicole: The Encore" on Peacock. Demonstrating her commitment to philanthropy, she performed at a gala for Fundacion Sanar in Pereira, Colombia, supporting children with cancer. Her dedication to community and arts advocacy continues to define much of her professional ethos.
Previously, Oriana portrayed Ana Maria in the West Coast premiere of "Zorro" at Opera Santa Barbara and delivered a stunning performance as Adina in "The Elixir of Love" with Pacific Opera Project and Opera in the Heights. Her other notable roles include the soprano soloist in "Carmina Burana," and performances at a Zarzuela concert with Palm Springs Opera Guild, Fiesta Latina with Opera Las Vegas, and as a backup singer for Ely Guerra with the Los Angeles Philharmonic.
Oriana joined Actor's Equity following her role as Mrs. Anderssen in "A Little Night Music" at the Tony Award-winning Pasadena Playhouse. Her voice is also featured on Adam del Monte’s album "Transcendence Through Sound: Meditation for World Peace" and in recordings for Yuval Ron’s project, "Four Medicinal Plants for Sleep: Uchosihi" (Breathe).
Her previous engagements have included performances as Mimi in Pacific Opera Project's drive-in performance of "La Bohème," Violetta in "La Traviata" with New Rochelle Opera, and as the Infanta in "Der Zwerg" with Numi Opera Theater. Throughout her career, Oriana has been praised for her ability to delve into the emotional depths of her characters, bringing a rare clarity and intensity to her performances.
Born and raised in Los Angeles, Oriana pursued her education at UCLA under the guidance of renowned baritone Vladimir Chernov. She was the featured soprano soloist in Vaughan Williams' "Dona Nobis Pacem" at Royce Hall, performed Orff's "Carmina Burana" with the UCLA Philharmonia, and portrayed La Fée in Massenet's "Cendrillon." She was awarded the Opera Buffs' grant and performed the role of Frasquita in Bizet's "Carmen" with the organization.
Currently, Oriana lives in Laguna Beach with her husband Arnold and their cat Dimpy, and continues to refine her craft under the tutelage of internationally acclaimed soprano Joyce El-Khoury. Oriana is a member of the Actors' Equity Association and co-founder of Opera Laguna.
The star-crossed lovers were played by Oriana Geis Falla and Arnold Livingston Geis, who were making their role debuts and actually got married just before coming to Houston for this production. She proved to be a vivid actress and deployed a darkish, strong soprano capable of lovely soft singing and bright (if not long-sustained) top notes. With shoulder-length hair and a topknot that suggested Braveheart meets Shogun, he contributed a clear, mightily ringing tenor, some delicacy and much verbal and musical intensity. - William Albright, Opera Magazine
“The principal roles of this production are filled with performers who are experts in their craft. It is sometimes rare in the Opera world to find singers with superior acting abilities. However, Opera in the Heights has cast some fantastic people. In the challenging title role of Lucia soprano, Oriana Falla does a masterful job. Falla left many speechless, mainly as her character deals with the tumultuous nature of being confined to a potentially loveless marriage and the perceived betrayal of her love from her family’s enemy, Edgardo. Falla was breathtaking, and her chemistry with both on- and off-stage partners was a sight. During the Act I duet with Edgardo, it was impossible not to feel the energy from Falla as she sang about her undying love. However, Falla shines the most in her Act 3 “mad scene,” where for 15 uninterrupted minutes, Falla is singing for the high heaves, and in the intimate space that is Lambert Hall, one can feel yourself vibrating with her energy. If anything is worth the price of a ticket, it is Falla’s phenomenal performance.”
“Falla was exquisite all evening, hypnotizing us with flawless intonation, diction, and emotional wallop. With Hollywood stage presence, she’s also quite a beauty. Even dressed in a hideous wedding costume of puffed white sleeves appended to her tartan skirt with a bejeweled cloche hat like a Roaring ‘20s flapper, she dazzled. For an opera singer, she’s the complete package, a star.”
“Her voice is large, lovely, and vibrant, and she sang her solo with moving conviction.”
“Ms. Falla was a smirking force with a rich voice.”
“The soloists the other day were excellent... Oriana Falla a vibrant soprano”
“Soprano Oriana Falla’s stunning red dress, didn’t distract from some extraordinarily spectacular vocalism... Falla scaled the insane heights of ‘Dulcissime’ with ease while supplying a meltingly lovely ‘In trutina.”
“What a voice, again rich and vibrant, with an effortless ability to scale Donizetti’s complex bel canto. She’s a veteran of Pacific Opera Project’s Elixir last season, and she, too, is destined to become a star. She’s a looker, too, in her A-line dresses and red-and-cream patent shoes, with hair pulled back in soft pony tail. She’d turn heads in any era. ”
