María Bayo

Maria Bayo is a Spanish soprano who established her profession in the 1990s and quickly made a changeover from being truly a teen light soprano to getting (in her own phrases) a “lyric soprano with coloratura service.” She’s been performing and dance for so long as she can keep in mind. She acquired her first performing lessons using the nuns from the Cistercian abbey in the tiny city of Fitero, her birthplace. She sang in her cathedral within an organization with guitars and in a choral ensemble in Cintruenigo. She examined on the Pablo Sarasate Conservatoire of Pamplona with Edure Aguerri, after that on the Hochschule für Musik in Detmold, Germany, where her instructor was Arthur Janzen. She got into Spanish tournaments in Logrono, the Julian Gayarre competition of Pamplona, as well as the Viñas Competition of Barcelona, and, in Italy, the Maria Callas Competition of Naples. In 1988, she gained eleven awards in the Belvedere Competition in Vienna, like the Initial Award. In 1991, she gained the Initial Award in the Spanish Radio Classical Music Honours by unanimous vote from the judges. She produced her debut as a specialist vocalist while in Germany, after that sang The Pearl Fishers in Pisa, Italy, and La Sonnambula in St. Gallen. In the springtime of 1990, she debuted in Madrid as Susanna in Mozart’s The Relationship of Figaro to unanimous essential acclaim and wide general public favor. She’s also sung the part at Marsella, Montpellier, the Opéra-Bastille in Paris, and Teatro Colón in Buenos Aires. Additional of her early tasks included Almirena in Handel’s Rinaldo, which she sang in Lisbon, Madrid, and Reggio Emelia; and Micaëla in Bizet’s Carmen at Monte Carlo, Madrid, and Bologna, and she regularly sings Zerlina in Don Giovanni, Antonio in The Stories of Hoffmann, and Lauretta in Gianni Schichi. Spanish soprano Teresa Berganza is usually a coach to Bayo; both have sung on a single stage in Rinaldo and in Pergolesi’s Stabat Mater in the Salle Pleyel in Paris. It had been at Berganza’s recommendation that Bayo produced a unique decision to sing Rosina in The Barber of Seville in the initial lower important. Bayo offers sung this component broadly, including Marseilles, Montpellier, and Strasbourg. Also at Berganza’s recommendation, Bayo produced the uncommon decision to sing the component of Fiordiligi (generally considered the low role) instead of Despina in Così lover tutte. She’s also sung in the Metropolitan Opera in NY, La Scala in Milan, and La Monnaie in Brussels. In the last-named home, she received a rapturous reception on her behalf overall performance in the name part of Cavalli’s La Calisto, and came back there for an extraordinary portrayal of Mélisande in Debussy’s Pélleas et Mélisande with stage path by Herbert Wernicke which required the unusual look at that Mélisande, from the usual unaggressive manner, progressively turns into mad throughout the opera. Around the concert stage, she’s sung Mahler’s Second Symphony in London beneath the path of Giuseppe Sinopoli, as well as the Stabat Mater of Rossini in the Schwetzingen Event, the Aix-en-Provence Celebration, as well as the International Spiritual Week in Cuenca, Spain. She sings Lieder recitals, however, not with great regularity. (She actually is particularly keen on Richard Strauss’ Four Last Tracks.) She’s a few modern functions to her credit, but up to now has mainly continued to be in the Baroque through Intimate eras. She actually is also respectable in Spain being a zarzuela vocalist. As of the finish from the twentieth hundred years, she begun to branch out into German operatic repertoire, acknowledging engagements to sing Pamina in Die Zauberflöte and Sophie in Der Rosenkavalier.