Reviews
📸 by Kirsten McTernan
George Frederick Handel: Rosmene’s Choice (distilled from Imeneo, HWV 41)
But the real honest joy here came with the voices. For such a lightweight show, the five actors had voices which could enhance any serious operas. My personal favorite was the soprano with the smallest part. Yet Maria Brea the least interesting role of Clomiri, and with a dark strong soprano made it vocally thrilling.
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.
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.