Maria Brea soprano

As Elena, María Brea showcased a fantastic soprano, particularly in her high range. She gets the zarzuela’s most famed number “Me llaman la primorosa,” which she pulled off with incredible precision and ease. The phrases sounded easy in her voice, with each elegantly woven into the next, the leaps to the high notes often approach with a splendid portamento that only added to the luxurious polish that she imbued. This aria is supposed to showcase Elena’s virtuosity as a singer and there was no doubt that she did just that in this particular selection. Her soprano soared wonderfully in ensembles, with the opening trio another example of her vocal presence. At one point Elena must practice some scales, giving Brea her first opportunity to showcase the flexibility of her voice; she managed these runs with ease, adding some comic touches with her body language. 

Martina Arroyo Foundation’s Prelude to Performance presented an outstanding Falstaff on Friday, July 13th at the Kaye Playhouse at Hunter College in New York City.

Had you told her six years ago that she would end up pursuing her dreams in New York City, Maria Fernanda Brea would likely have called you crazy. More so if you had told her she would be studying in one of the most distinguished schools in the World.

Growing up in one of the most dangerous slums in Caracas, Venezuela, Break didn’t exactly come up in the safest environment. The slum, called Los Frailes De Catia, experienced violence and homicides on a daily basis.

It is the height of irony that this is the second time that the same two young singers had recitals scheduled simultaneously--once at Manhattan School of Music and yesterday at Juilliard. 

THIS YEAR'S OFFERINGS by Martina Arroyo’s Prelude to Performance at The Kaye Playhouse were Madama Butterfly (seen July 9) and La Fille du Régiment (July 10).