Maria Valdes



American soprano Maria Valdes has been praised for her “silvery tone, glassily smooth phrasing, and fine-caliber dynamics” (San Francisco Classical Voice). In the 2017-2018 season, Ms. Valdes will make her debut with New York City Opera, in cooperation with Houston Grand Opera as Diana in the mariachi opera, Cruzar la cara de la luna, and with Opera San José as Despina in Così fan tutte She will also make her company debut with The Berkshire Opera Festival and Opera Theatre of St. Louis as Amore in Gluck’s Orfeo ed Euridice. On the concert stage, Ms. Valdes performs Mahler’s Symphony No. 4 and Barber’s Knoxville: Summer of 1915 with the California Symphony. She will also be heard with the Phoenix Symphony as the soprano soloist in Brahms’s Ein deutsches Requiem. Finally, Ms. Valdes returns to the Bellingham Festival of Music to sing Poulenc’s Gloria.

Maria Valdes finished out the 2016-2017 season with a return to San Francisco Opera to cover the role of Gilda; she went on in-role during a performance after a colleague fell ill. A distinguished alumna of the SongFest program in Los Angeles, she was heard in a solo recital of Nordic, Spanish and Latin American music. Other season highlights included performing Mahler’s Symphony No. 4 and Mozart’s Exsultate, jubilate with both the Las Vegas Philharmonic and Chattanooga Symphony, and with Kaleidoscope Chamber Orchestra singing Barber’s Knoxville: Summer of 1915 and the West Coast premiere of Scott Ordway’s “Tonight We Tell the Secrets of the World.” She also performed Handel’s Messiah with Concert Royal at St. Thomas Church in New York City, where The New York Times exclaimed that she performed “beautifully, growing stronger as the evening progressed.”

Most notably from the 2015-2016 season, Valdes made her Lyric Opera of Chicago debut covering Juliette in Roméo et Juliette immediately upon finishing her tenure as an Adler Fellow with San Francisco Opera. Throughout the two-year fellowship she performed the roles of Musetta in La Bohème, Papagena in Die Zauberflöte, Clorinda in La Cenerentola, and Barbarina in Le nozze di Figaro. Covers included Johanna in Sweeney Todd, Pamina in Die Zauberflöte, Oscar in Un ballo in maschera, Magnolia in Showboat and Susanna in Le nozze di Figaro, which she also performed in 2013 as member of that company’s Merola Program.

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“Soprano Maria Valdes used her silvery tone, glassily smooth phrasing, and fine-caliber dynamics”

Steven Winn

San Francisco Classical Voice

“There was a heart-rending and emotionally transparent scene from Debussy’s “Pelléas et Mélisande” done by soprano Maria Valdes and bass-baritone Philippe Sly. Even before that, Valdes had stormed her way fearlessly through the expressive and technical challenges of Anne Truelove’s great Act 1 aria and cabaletta from Stravinsky’s “The Rake’s Progress,” culminating in a beautiful and secure high C.”

Joshua Kosman

SF Gate

More Reviews

“Valdes’s movement even topped the beautiful third movement in sheer gorgeousness. As the graceful confidence in her voice suggested, Valdes had performed this work with Cabrera … before. It was certainly a finale worth waiting for.”

Jessica Balik, The San Francisco Classical Voice

“Equally lovely to gaze at, and just as strong in the acting department, she was able to control her every facial expression and movement, making them seem to arise naturally from her heart and gut rather than her head. The same can be said of her perfectly placed, sweet voice, which brought light to her every utterance. She also knows when to add body to the voice…and when to lighten. ”

Jason Victor Serinus, San Francisco Classical Voice 

“Maria Valdes charmingly portrayed his ultimate prize Papagena.”

James Ambroff-Tahan, San Francisco Examiner