📸 by Kirsten McTernan
OnStage Pittsburgh Review: Resonance Works – Verdi’s ‘Rigoletto’
Soprano Maria Brea, a native of Caracas, Venezuela, took the role of Gilda for the first time on any stage, and also made her first appearance in Pittsburgh. Her voice is gloriously luxurious, well developed and lovely throughout its range, and well suited to the demands of the part. Her warm tones rang out with freshness and clarity, and she acted the role of the naïve, hapless and doomed young lady with a most becoming, subtle innocence.
Paris Opera Competition 2022 - Paris (Garnier)
As for the duos, Maria Brea and George Virban embody a convincing Violetta and Afredo . No fear concerning the technical baggage and the vocal ease of the soprano: the beauty of the tone, a long breath which supports a perfect legato and even venturing into a few extrapolated variations of the most beautiful effect. She will confirm this first beautiful impression in Act II with a magnificent Louise with dramatic accuracy and an exceptional vocal level. In George Virban, she finds a replica full of stylish elegance
De Catia a París: La soprano María Brea participa en la final del Paris Ópera
María Fernanda Brea se une al grupo de venezolanos que sigue dejando al país en alto. La cantante participó el pasado domingo, 23 de enero, en la final de concurso de ópera que se realiza en Palais Garnier, en París, Francia.
Around the World in Song Review: February 2020 Performance
Starting off the program was soprano Maria Brea, singing six selections from Venezuela; accompanying her was Pablo Zinger who arranged three of pieces. Brea opened with an a capella rendition of “Duermete mi nino,” a lullaby which shares the same music as the country’s national anthem. Her warm tones were nicely balanced in the church’s intimate but resonant space.
Teatro Grattacielo 2020 Review: Fedora
Maria Brea, who created the role of Countess Olga with her seemingly unfettered vocal abilities, conquers the entire stage with her every appearance. Her cheerful soprano fully reflected the sparkling temper of her heroine.
Classical opera meets modern in Opera Tampa's world premiere of 'Lady Swanwhite'
There is at least one aria by Swanwhite early on, played with childlike exuberance by Maria Brea in the titular role.
Crítica: Concurso Tenor Viñas 2020
Siguió la soprano venezolana María Brea, ganadora del 6º premio y del premio a la mejor interpretación de zarzuela. Cantó en primer lugar Depuis le jour, de la Louise de Charpentier, donde me produjo una buena impresión, con voz atractiva y sabiendo apianar.
New Camerata Opera 2019-20 Review: El Barbero De Sevilla
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.
NTN24 Tenor Viñas Competition
"La soprano venezolana, María Brea, conquistó a la audiencia y jurado del Concurso Tenor Viñas 2020 en España y se convirtió en la ganadora del Premio Zarzuela."