Maria Valdes



American soprano Maria Valdes has been praised for her “silvery tone, glassily smooth phrasing, and fine-caliber dynamics” (San Francisco Classical Voice). Highlights of the 2018-2019 season include a debut with Atlanta Opera as Doris Parker in Charlie Parker’s Yardbird, the Maiden in the world-premiere piece Sueños de Béjar with Opera San Antonio, and a return to Phoenix Symphony for performances of Handel’s Messiah.

In the 2017-2018 season, Ms. Valdes made 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 made her company debut with The Berkshire Opera Festival as Gilda in Rigoletto and Opera Theatre of St. Louis as Amore in Gluck’s Orfeo ed Euridice. On the concert stage, Ms. Valdes performed Mahler’s Symphony No. 4 and Barber’s Knoxville: Summer of 1915 with the California Symphony. She also joined the Phoenix Symphony as the soprano soloist in Brahms’s Ein deutsches Requiem and returned to the Bellingham Festival of Music to sing Poulenc’s Gloria.

 Read more


“The soprano Maria Valdes has already proven herself in more modern fare; she was a standout this past January in New York City Opera’s mariachi opera ‘Cruzar la Cara de la Luna.’ Here she was a first-rate singing actress and a perfectly charming Gilda.”

Anthony Tommasini

New York Times

“Valdes, another star in ascendance, was in excellent voice on opening night, her ‘Caro nome’ sung almost entirely seated, from the floor. At least for this reviewer, it helps that the soprano’s also a fine actress and looks more than a little like a young Renée Fleming, though her sound has a sharper, more youthful edge in its upper reaches—a nice touch for a doomed jester’s daughter torn between chaste duty and adolescent desire.”

Joel Rozen

Parterre Box

“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

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

Steven Winn, The San Francisco Classical Voice 

“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