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Maria Graciela Armendariz

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Maria Graciela Armendariz

Singer/Soprano

She was born in Mendoza (Argentina). Her relationship with music began at age 13, singing in a female choir; Later she became head of strings of the Choir of the City of Mendoza. She has studied oboe, important for her musical training.
She studied at the prestigious Peabody School of Music, Baltimore (U.S.A), and attended the masterclass Mozart Year 2006 with the soprano Mariana Nicolesco in Lausanne Switzerland, as well as with the international soprano Mariella Devia and the great stage director Giancarlo del Monaco..Actually she continues her technical development with the italian Maestro Antonio Lemmo.
She made her European debut at the Toledo Festival (2008) with the role of Paggio (Rigoletto, Verdi), alongside Juan Pons, and Despina (Cosi Fan Tutte, Mozart) at Teatro Romea in Murcia.

In 2009 she did her debut in Rigoletto (Verdi) Teatro Real of Madrid, next to Leo Nucci, Patrizia Ciofi, Josep Bros, Celso Albelo, and Roberto Abbado. She made her debut at the Zarzuela Festival in Tenerife, in Doña Francisquita, (Vives). In the season of the Auditorio de Tenerife she sang Mme Herz of Der Schaukspieldirektor (Mozart), under the musical direction of G. Martinenghi and scenic of Marco Carniti; she also sang the role of Gilda de Rigoletto (Verdi) in Madrid.
In 2010 she sang Lucia (Lucia de Lammermoor, Donizetti) in Madrid, Serafina (Il Campanello, Donizetti), Adèle (Die Fledermaus, J. Strauss), Queen of the Night (The Magic Flute, Mozart). In Slovenia she sang the Big Mozart Missa.

In 2011 she performed the Queen of the Night (Die Zauberflöte- Mozart) at the Teatro Campoamor in Oviedo, Garsington production, under the musical direction of Maestro Paul Goodwin and stage director Olivia Fuchs. From 2011 to 2013 she performed in the roles Of Violetta Valéry (La Traviata -Verdi) and Gilda (Rigoletto- Verdi) in the Teatro Jovellanos of Gijón, and Madrid. She has toured Spain with the Viva Verdi tribute show in various venues: Ávila, Jaca, Las Águilas etc.

In April of 2014 she performed Mozart's Requiem, solo soprano on tour in Andalusia, she also sand La Traviata and Rigoletto (Verdi) in Madrid and Cuenca.
Her recitals include "Trio Soare” voice, flute and piano), repertoire of melody and French opera, and Argentine, Spanish and German songs in Madrid, as well as Galas de Verdi and Antología de Zarzuela in Jaca, Palencia , Medina del Campo, and Tudela. In August 2014 she participated in the Medinaceli Opera Gala (August, Castillo de Medinaceli). She has performed alongside her Trio at the "Expoclásca de Conde Duque" in Madrid, especially mentioning the execution of the original Spanish repertory for trio.

In February of 2015 she performed a recital in the Falla Room of the Hotel Ritz, where the composer premiered "El Amor Brujo", along with figures such as Enrique Ferrer, Antonio Torres, Hanna Moroz.

In April of 2015 she interpreted Violetta of the Traviata of Verdi in Teatro Compac de la Gran Vía of Madrid. She participated in a recital, in the Palau de Les Arts, Valencia, with songs by C. Guastavino and zarzuela romances, as an Argentine representative and along with other Latin American artists.
In August of 2015 she sang Violetta in La Ttraviata of Verdi, in the Festival of summer of Medinaceli, with the tenor Alain Damas.


During 2016 she performed recitals on tour on the Integral for voice and piano of Joaquin Turina, along with the pianist Laurence Verna.
In August of 2016 she participated in the Frame of Summer Festival of Hossegor, France, with the spectacle Monumental Opera.
In November and December of 2016 she presented a series of concerts in Argentina, with the Philharmonic Orchestra of Mendoza under the baton of Gustavo Fontana with a program of opera arias and zarzuela romances; In the Auditorium Victoria of San Juan with the Symphony Orchestra under the direction of Emmanuel Siffert, with a program of selection of operettas and opera arias. She then returned to Mendoza to sing the soprano soloist of Carmina Burana in front of 4000 spectators.

In February of 2017 she performed a series of recitals with her Trio Soare in Madrid. On May 26 and 27 she sang the role of Gilda in the opera Rigoletto in Portugal.

On June 15, 16, 18, and 20 she performed Violetta again in the opera La Traviata in Argentina (Mendoza- Teatro Independencia).

In November of 2017 (15) she will performe the role of Lucy Brown, in Die Dreigroschenoper by Kurt Weill-Brecht, in Auditorium Moncloa, Madrid , under the scene direction Maestro Constantino Jury.





Some reviews say:

Https://new.losandes.com.ar/article/-la-traviata-deslumbro

But let's leave for the final the leading role: Graciela Armendariz as Violetta Valéry has an agile and well projected voice, especially in the mid-high register. Since the last time she was seen in this role here (in 2004) her voice increased in body and volume, although not necessarily weight in the bass. Apart from the vocal merit, which in itself is great (considering that Verdi wrote the part for a soprano "dramatic coloratura", a type now extinct), managed to captivate the audience also from its scenic presence, because its expressiveness in the singing had a good correlation in the performance: it was ironic, easygoing, suffering, fragile in the disease, firm when its values ​​are at stake, attentive to the psychological attacks of the character.
And here we recall that one of the most famous interpreters of the role, Anna Moffo, said that before preparing a role she looked at herself in the mirror and asked herself a key question: "Can I be Violetta?", Because she considered not only His voice, but also his physical and dramatic aptitudes. If Armendariz did the same, the mirror would say yes: absolutely.


For her part, Argentina's Graciela Armendariz, undoubtedly lyrical-light soprano, generally defended the role of her daughter Gilda. He showed enormous ease in the exhibition of coloratura in his great solo moment ("Dear name"), issuing with ease scales, sharp and surly. Of course, the last two acts were the best of her vocal recreation of Gilda, addressing the aria of the second act ("Tutte le feste al tempio") with sufficient doses of delicacy and emotionality required by the Verdian heroine, as well as in her last moments before dying in the arms of her father ("Vho ingannato"). Magnificent therefore as a dramatic actress. CODALARIO- THEATER NEW ALCALA JANUARY 27, 2013
... In that line was Graciela Armendariz, who composed a good Traviata especially from the second act, reaching the third and fourth act brilliantly.

THEATER NEWS FROM THE PLATEA.

Review of the digital magazine OPERA WORLD
Http://www.operaworld.es/amor-y-desamor/#

Review of La Traviata Summer Festival of Medinaceli http://noticiasteatrales.es/platea.html#medinaceli







She was born in Mendoza (Argentina). Her relationship with music began at age 13, singing in a female choir; Later she became head of strings of the Choir of the City of Mendoza. She has studied oboe, important for her musical training.
She studied at the prestigious Peabody School of Music, Baltimore (U.S.A), and attended the masterclass Mozart Year 2006 with the soprano Mariana Nicolesco in Lausanne Switzerland, as well as with the international soprano Mariella Devia and the great stage director Giancarlo del Monaco..Actually she continues her technical development with the italian Maestro Antonio Lemmo.
She made her European debut at the Toledo Festival (2008) with the role of Paggio (Rigoletto, Verdi), alongside Juan Pons, and Despina (Cosi Fan Tutte, Mozart) at Teatro Romea in Murcia.

In 2009 she did her debut in Rigoletto (Verdi) Teatro Real of Madrid, next to Leo Nucci, Patrizia Ciofi, Josep Bros, Celso Albelo, and Roberto Abbado. She made her debut at the Zarzuela Festival in Tenerife, in Doña Francisquita, (Vives). In the season of the Auditorio de Tenerife she sang Mme Herz of Der Schaukspieldirektor (Mozart), under the musical direction of G. Martinenghi and scenic of Marco Carniti; she also sang the role of Gilda de Rigoletto (Verdi) in Madrid.
In 2010 she sang Lucia (Lucia de Lammermoor, Donizetti) in Madrid, Serafina (Il Campanello, Donizetti), Adèle (Die Fledermaus, J. Strauss), Queen of the Night (The Magic Flute, Mozart). In Slovenia she sang the Big Mozart Missa.

In 2011 she performed the Queen of the Night (Die Zauberflöte- Mozart) at the Teatro Campoamor in Oviedo, Garsington production, under the musical direction of Maestro Paul Goodwin and stage director Olivia Fuchs. From 2011 to 2013 she performed in the roles Of Violetta Valéry (La Traviata -Verdi) and Gilda (Rigoletto- Verdi) in the Teatro Jovellanos of Gijón, and Madrid. She has toured Spain with the Viva Verdi tribute show in various venues: Ávila, Jaca, Las Águilas etc.

In April of 2014 she performed Mozart's Requiem, solo soprano on tour in Andalusia, she also sand La Traviata and Rigoletto (Verdi) in Madrid and Cuenca.
Her recitals include "Trio Soare” voice, flute and piano), repertoire of melody and French opera, and Argentine, Spanish and German songs in Madrid, as well as Galas de Verdi and Antología de Zarzuela in Jaca, Palencia , Medina del Campo, and Tudela. In August 2014 she participated in the Medinaceli Opera Gala (August, Castillo de Medinaceli). She has performed alongside her Trio at the "Expoclásca de Conde Duque" in Madrid, especially mentioning the execution of the original Spanish repertory for trio.

In February of 2015 she performed a recital in the Falla Room of the Hotel Ritz, where the composer premiered "El Amor Brujo", along with figures such as Enrique Ferrer, Antonio Torres, Hanna Moroz.

In April of 2015 she interpreted Violetta of the Traviata of Verdi in Teatro Compac de la Gran Vía of Madrid. She participated in a recital, in the Palau de Les Arts, Valencia, with songs by C. Guastavino and zarzuela romances, as an Argentine representative and along with other Latin American artists.
In August of 2015 she sang Violetta in La Ttraviata of Verdi, in the Festival of summer of Medinaceli, with the tenor Alain Damas.


During 2016 she performed recitals on tour on the Integral for voice and piano of Joaquin Turina, along with the pianist Laurence Verna.
In August of 2016 she participated in the Frame of Summer Festival of Hossegor, France, with the spectacle Monumental Opera.
In November and December of 2016 she presented a series of concerts in Argentina, with the Philharmonic Orchestra of Mendoza under the baton of Gustavo Fontana with a program of opera arias and zarzuela romances; In the Auditorium Victoria of San Juan with the Symphony Orchestra under the direction of Emmanuel Siffert, with a program of selection of operettas and opera arias. She then returned to Mendoza to sing the soprano soloist of Carmina Burana in front of 4000 spectators.

In February of 2017 she performed a series of recitals with her Trio Soare in Madrid. On May 26 and 27 she sang the role of Gilda in the opera Rigoletto in Portugal.

On June 15, 16, 18, and 20 she performed Violetta again in the opera La Traviata in Argentina (Mendoza- Teatro Independencia).

In November of 2017 (15) she will performe the role of Lucy Brown, in Die Dreigroschenoper by Kurt Weill-Brecht, in Auditorium Moncloa, Madrid , under the scene direction Maestro Constantino Jury.





Some reviews say:

Https://new.losandes.com.ar/article/-la-traviata-deslumbro

But let's leave for the final the leading role: Graciela Armendariz as Violetta Valéry has an agile and well projected voice, especially in the mid-high register. Since the last time she was seen in this role here (in 2004) her voice increased in body and volume, although not necessarily weight in the bass. Apart from the vocal merit, which in itself is great (considering that Verdi wrote the part for a soprano "dramatic coloratura", a type now extinct), managed to captivate the audience also from its scenic presence, because its expressiveness in the singing had a good correlation in the performance: it was ironic, easygoing, suffering, fragile in the disease, firm when its values ​​are at stake, attentive to the psychological attacks of the character.
And here we recall that one of the most famous interpreters of the role, Anna Moffo, said that before preparing a role she looked at herself in the mirror and asked herself a key question: "Can I be Violetta?", Because she considered not only His voice, but also his physical and dramatic aptitudes. If Armendariz did the same, the mirror would say yes: absolutely.


For her part, Argentina's Graciela Armendariz, undoubtedly lyrical-light soprano, generally defended the role of her daughter Gilda. He showed enormous ease in the exhibition of coloratura in his great solo moment ("Dear name"), issuing with ease scales, sharp and surly. Of course, the last two acts were the best of her vocal recreation of Gilda, addressing the aria of the second act ("Tutte le feste al tempio") with sufficient doses of delicacy and emotionality required by the Verdian heroine, as well as in her last moments before dying in the arms of her father ("Vho ingannato"). Magnificent therefore as a dramatic actress. CODALARIO- THEATER NEW ALCALA JANUARY 27, 2013
... In that line was Graciela Armendariz, who composed a good Traviata especially from the second act, reaching the third and fourth act brilliantly.

THEATER NEWS FROM THE PLATEA.

Review of the digital magazine OPERA WORLD
Http://www.operaworld.es/amor-y-desamor/#

Review of La Traviata Summer Festival of Medinaceli http://noticiasteatrales.es/platea.html#medinaceli






She was born in Mendoza (Argentina). Her relationship with music began at age 13, singing in a female choir; Later she became head of strings of the Choir of the City of Mendoza. She has studied oboe, important for her musical training.
She studied at the prestigious Peabody School of Music, Baltimore (U.S.A), and attended the masterclass Mozart Year 2006 with the soprano Mariana Nicolesco in Lausanne Switzerland, as well as with the international soprano Mariella Devia and the great stage director Giancarlo del Monaco..Actually she continues her technical development with the italian Maestro Antonio Lemmo.
She made her European debut at the Toledo Festival (2008) with the role of Paggio (Rigoletto, Verdi), alongside Juan Pons, and Despina (Cosi Fan Tutte, Mozart) at Teatro Romea in Murcia.

In 2009 she did her debut in Rigoletto (Verdi) Teatro Real of Madrid, next to Leo Nucci, Patrizia Ciofi, Josep Bros, Celso Albelo, and Roberto Abbado. She made her debut at the Zarzuela Festival in Tenerife, in Doña Francisquita, (Vives). In the season of the Auditorio de Tenerife she sang Mme Herz of Der Schaukspieldirektor (Mozart), under the musical direction of G. Martinenghi and scenic of Marco Carniti; she also sang the role of Gilda de Rigoletto (Verdi) in Madrid.
In 2010 she sang Lucia (Lucia de Lammermoor, Donizetti) in Madrid, Serafina (Il Campanello, Donizetti), Adèle (Die Fledermaus, J. Strauss), Queen of the Night (The Magic Flute, Mozart). In Slovenia she sang the Big Mozart Missa.

In 2011 she performed the Queen of the Night (Die Zauberflöte- Mozart) at the Teatro Campoamor in Oviedo, Garsington production, under the musical direction of Maestro Paul Goodwin and stage director Olivia Fuchs. From 2011 to 2013 she performed in the roles Of Violetta Valéry (La Traviata -Verdi) and Gilda (Rigoletto- Verdi) in the Teatro Jovellanos of Gijón, and Madrid. She has toured Spain with the Viva Verdi tribute show in various venues: Ávila, Jaca, Las Águilas etc.

In April of 2014 she performed Mozart's Requiem, solo soprano on tour in Andalusia, she also sand La Traviata and Rigoletto (Verdi) in Madrid and Cuenca.
Her recitals include "Trio Soare” voice, flute and piano), repertoire of melody and French opera, and Argentine, Spanish and German songs in Madrid, as well as Galas de Verdi and Antología de Zarzuela in Jaca, Palencia , Medina del Campo, and Tudela. In August 2014 she participated in the Medinaceli Opera Gala (August, Castillo de Medinaceli). She has performed alongside her Trio at the "Expoclásca de Conde Duque" in Madrid, especially mentioning the execution of the original Spanish repertory for trio.

In February of 2015 she performed a recital in the Falla Room of the Hotel Ritz, where the composer premiered "El Amor Brujo", along with figures such as Enrique Ferrer, Antonio Torres, Hanna Moroz.

In April of 2015 she interpreted Violetta of the Traviata of Verdi in Teatro Compac de la Gran Vía of Madrid. She participated in a recital, in the Palau de Les Arts, Valencia, with songs by C. Guastavino and zarzuela romances, as an Argentine representative and along with other Latin American artists.
In August of 2015 she sang Violetta in La Ttraviata of Verdi, in the Festival of summer of Medinaceli, with the tenor Alain Damas.


During 2016 she performed recitals on tour on the Integral for voice and piano of Joaquin Turina, along with the pianist Laurence Verna.
In August of 2016 she participated in the Frame of Summer Festival of Hossegor, France, with the spectacle Monumental Opera.
In November and December of 2016 she presented a series of concerts in Argentina, with the Philharmonic Orchestra of Mendoza under the baton of Gustavo Fontana with a program of opera arias and zarzuela romances; In the Auditorium Victoria of San Juan with the Symphony Orchestra under the direction of Emmanuel Siffert, with a program of selection of operettas and opera arias. She then returned to Mendoza to sing the soprano soloist of Carmina Burana in front of 4000 spectators.

In February of 2017 she performed a series of recitals with her Trio Soare in Madrid. On May 26 and 27 she sang the role of Gilda in the opera Rigoletto in Portugal.

On June 15, 16, 18, and 20 she performed Violetta again in the opera La Traviata in Argentina (Mendoza- Teatro Independencia).

In November of 2017 (15) she will performe the role of Lucy Brown, in Die Dreigroschenoper by Kurt Weill-Brecht, in Auditorium Moncloa, Madrid , under the scene direction Maestro Constantino Jury.





Some reviews say:

Https://new.losandes.com.ar/article/-la-traviata-deslumbro

But let's leave for the final the leading role: Graciela Armendariz as Violetta Valéry has an agile and well projected voice, especially in the mid-high register. Since the last time she was seen in this role here (in 2004) her voice increased in body and volume, although not necessarily weight in the bass. Apart from the vocal merit, which in itself is great (considering that Verdi wrote the part for a soprano "dramatic coloratura", a type now extinct), managed to captivate the audience also from its scenic presence, because its expressiveness in the singing had a good correlation in the performance: it was ironic, easygoing, suffering, fragile in the disease, firm when its values ​​are at stake, attentive to the psychological attacks of the character.
And here we recall that one of the most famous interpreters of the role, Anna Moffo, said that before preparing a role she looked at herself in the mirror and asked herself a key question: "Can I be Violetta?", Because she considered not only His voice, but also his physical and dramatic aptitudes. If Armendariz did the same, the mirror would say yes: absolutely.


For her part, Argentina's Graciela Armendariz, undoubtedly lyrical-light soprano, generally defended the role of her daughter Gilda. He showed enormous ease in the exhibition of coloratura in his great solo moment ("Dear name"), issuing with ease scales, sharp and surly. Of course, the last two acts were the best of her vocal recreation of Gilda, addressing the aria of the second act ("Tutte le feste al tempio") with sufficient doses of delicacy and emotionality required by the Verdian heroine, as well as in her last moments before dying in the arms of her father ("Vho ingannato"). Magnificent therefore as a dramatic actress. CODALARIO- THEATER NEW ALCALA JANUARY 27, 2013
... In that line was Graciela Armendariz, who composed a good Traviata especially from the second act, reaching the third and fourth act brilliantly.

THEATER NEWS FROM THE PLATEA.

Review of the digital magazine OPERA WORLD
Http://www.operaworld.es/amor-y-desamor/#

Review of La Traviata Summer Festival of Medinaceli http://noticiasteatrales.es/platea.html#medinaceli