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Born in Venezuela, she began her musical studies as a violinist. After gaining experience as a concert artist for the Orquesta Sinfonica of Venezuela, in 1995 she began her vocal studies with Rosita Del Castillo. Shortly after that, she sang the role of Ortlinde in Die Walküre, conducted by Gregor Buhl. In 1998 she moved to Spain to attend the Escuela Superior de Mùsica Reina Sofia in Madrid, where she studied with Alfredo Kraus and Teresa Berganza. Besides, she attended masterclasses given by Renata Scotto, Ileana Cotrubas, Tom Krause, Magda Oliveiro, Vincenzo Spatola. During the first years of her career, she worked with Orquesta Nacional de España, Real Orquesta de Sevilla, Orquesta de Radio Televisiòn Espanola, Sinfonica de Galicia, Sinfonica Venezuela, Sinfonica de Santo Domingo, Sinfonica del Principado Asturias, and she performed at Auditorio Nacional de Musica de Madrid, Teatro Monumental, Maestranza de Sevilla, Arriaga de Bilbao, Cervantes de Malaga, conducted by Jiri Kout, Antoni Ros Marbà, Garcìa Asensio, Josep Pons, Vìctor Pablo, Juanjo Mena, Vasily Petrenko, Alvaro Albiach. In 2001 she debuted with great reviews from public and critics the role of Fiordiligi in Così Fan Tutte at

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Born in Venezuela, she began her musical studies as a violinist. After gaining experience as a concert artist for the Orquesta Sinfonica of Venezuela, in 1995 she began her vocal studies with Rosita Del Castillo. Shortly after that, she sang the role of Ortlinde in Die Walküre, conducted by Gregor Buhl.

In 1998 she moved to Spain to attend the Escuela Superior de Mùsica Reina Sofia in Madrid, where she studied with Alfredo Kraus and Teresa Berganza. Besides, she attended masterclasses given by Renata Scotto, Ileana Cotrubas, Tom Krause, Magda Oliveiro, Vincenzo Spatola.

During the first years of her career, she worked with Orquesta Nacional de España, Real Orquesta de Sevilla, Orquesta de Radio Televisiòn Espanola, Sinfonica de Galicia, Sinfonica Venezuela, Sinfonica de Santo Domingo, Sinfonica del Principado Asturias, and she performed at Auditorio Nacional de Musica de Madrid, Teatro Monumental, Maestranza de Sevilla, Arriaga de Bilbao, Cervantes de Malaga, conducted by Jiri Kout, Antoni Ros Marbà, Garcìa Asensio, Josep Pons, Vìctor Pablo, Juanjo Mena, Vasily Petrenko, Alvaro Albiach.

In 2001 she debuted with great reviews from public and critics the role of Fiordiligi in Così Fan Tutte at Palacio de Festivales de Santander and at Teatro de la Zarzuela de Madrid. After that, she sang Pergolesi’s Stabat Mater with Teresa Berganza conducted by Peter Csabà, and the role of Clarice (Il Mondo della Luna) at Teatro Lliure de Barcelona.

She then was Salud in a concert version of Manuel de Falla’s La Vida Breve with Orquesta Nacional de Lorreine and Jacques Mercier conductiong, and Suor Angelica in a production of the Alcalà University of Heneres with scenic direction by Giancarlo Del Monaco.

During the following years, she performed Aida in Madrid and Segovia and in 2008 she was highly acclaimed for her USA debut at Seattle Opera with Aida conducted by Riccardo Frizza. Further highlights include Aida in Athens, Oman, Qatar and Berlin Staatsoper, Don Carlo in Frankfurt and at Deutsche Oper Berlin, Mefistofele in Valencia, Attila at La Scala, at Terme di Caracalla in Rome, at Palace of the Arts in Budapest, in Seattle and San Francisco, Aida and Nabucco at Arena di Verona, Norma in Salerno, I Masnadieri in Naples, I due Foscari in Palermo.

Most recently, Nabucco, Macbeth and Il Trovatore at La Scala, Un Ballo in Maschera in Frankfurt, Attila at Theater an der Wien, again Nabucco and Aida at Arena di Verona, Aida at Opéra Bastille in Paris and at Teatro San Carlo in Naples, a concert version of Attila in Warsaw.

Future plans include: Cavalleria Rusticana at the New National Theatre in Tokyo, Turandot in Dresden, Aida at Arena di Verona.

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Reviews

"Yet the evening's greatest vocal triumph belonged to soprano Lucrecia Garcia, who made a superb company debut as Odabella in a performance marked by clarion, precise high notes, lustrous chest tones and striking flexibility in the role's demanding passagework. Here's hoping she returns, and soon."

Joshua Kosman, San Francisco Chronicle

"The powerful, truly Verdian voice — a rare treat these days — of Venezuelan soprano Lucrecia García made her an excellent Helen."

José Mª Irurzun, Seen and Heard

"Garcia nailed all of the treacherous runs with an attractive blend of power and vocal beauty. Her searing top notes threw shafts of defiance at Attila."

James Bash, Oregon Music News

"Garcia's Odabella is no less admirable. Garcia does not shy away from the challenge of this role, and in fact embraces it. Her opening aria was stunning as she covered the scale from high to low and back again, seemingly effortlessly. Through her, the audience feels the fiery passion of a patriot and the despair of a woman who has lost everything."

Audrey Gervasi, The Examiner

"Garcia's stunning aria in the first act, the harp gently playing behind her, was first rate. Gorgeous."

Jackson Holtz, HeraldNet

"There are not too many singers these days that can plaster you to your seat with a sheer volley of sound, but Ms Garcia is certainly one such. Her voice is enormous with some perfectly intoned pianissimi as well as the stunning, hypnotic blasts of drama. A perfect warrior maiden. Stately in her movements too. There were moments when she succeeded in bringing the cardboard Odabella to life. A truly memorable show."

Jack Buckley, Seen and Heard International