| |
BIOGRAPHY |
|
|
The Spanish soprano’s international career was launched in 2009 since she was invited by Riccardo Muti to sing Paisiello’s Missa Defunctorum at the Salzburg Festival, the Maggio Musicale Fiorentino or Ravenna and to portray the role of DIANA of “Iphigénie in Aulide” at the Opera of Rome. Since then, she had guest performances at the Salzburg Festival, Opera di Roma, La Fenice in Venezia, Carlo Felice de Genova, Massimo de Palermo, Comunale de Bologna and Modena, Châtelet de Paris, Colón de Buenos Aires or the Gut Immling Festival. In her home country she appeared at the Teatro Real de Madrid, ABAO de Bilbao, Teatro de la Maestranza de Sevilla, Teatro de la Zarzuela de Madrid, Teatro Campoamor de Oviedo, Pérez Galdós de Las Palmas, ADDA Alicante, Tenerife Opera or at the Carlos V Palace in Granada. She also participated in several concerts in Saint-Jean-Cap-Ferrat, Doha, Rabat or Tokyo, among other cities.
In these theatres she appeared initially as DESPINA, MUSETTA, NANETTA, MENICA in Martin y Soler’s “Il Tutore burlato”, LIU, JULIET in Britten’s “The Little Sweep”, MICAELA, LAURETTA, OSCAR in “Un ballo in maschera”, NORINA, ADINA, MARZELLINA in “Fidelio” or LENIO in “Greek Passion”, shifting with the time to a more central repertoire. She succeeded with the interpretation of such roles as MIMI, GIORGIETTA in “Il Tabarro", GUITA in Zemlinsky’s “The Dwarf” or CIO CIO SAN in "Madama Butterfly”.
The Spanish singer is a celebrated Zarzuela singer: with roles such as SAGRARIO in “La rosa del Azafrán”, ASCENSION en “La del manojo de rosas”, ANTONELLI in “Dúo de la Africana”, MARTHA in “La luna de miel del Cairo”, CRISTETA in “Clementina”, AMOR in “El imposible mayor en amor, le vence amor”, OLIVIA in “El sueño de una noche de verano”, AMOR in “Viento, es la dicha de amor” or PRINCESA OLGA in “La Generala”, the Spanish soprano succeeded at the Teatro de la Zarzuela, Teatro Arriaga, Théâtre Chatelet, Oviedo Opera or Auditorio de Granada.
Among her performances as a concert singer her collaboration with La Fura dels Baus in their production of Carmina Burana in a Spain tour, Macedonia or Taiwan is particularly worth mentioning . Shhe was also chosen to sing Rossini’s Stabat Mater in the concert before the Ceremony of the prestigious Premios Princesa de Asturias 2018, with the King of Spain.
Beatriz Díaz studied in Spain with Elena Pérez Herrero and later with M. Freni, M. Caballé, E. Obraztsova and M. Mesplé. In 2007 she won the First Prize of the International Francisco Viñas Competition, and was awarded in the same competition with five other special Prizes. She also won other singing competitions, such as the «First Berliner International Music Competition», the Ciudad de Logroño Singing Competition and the contests Julián Gayarre and Fundación Guerrero.
Recently she portrayed MICAELA and MIMI at the Alicante Opera ADDA, ADELA in the new production “La Dama de Alba”, CIO CIO SAN, GIORGIETTA or LAURETTA at the Oviedo Opera, DESPINA and MARZELLINE at the Teatro Cervantes in Málaga, GUITA in “The Dwarf” and THE CHAIR LUIS XV, a SHEPHERDESS, the BAT and the OWL at the Tenerife Opera or SAGRARIO in “La Rosa del Azafrán” and PEPA in “Agua, azucarillos y aguardiente” at the Zarzuela Festival of Oviedo.
Future engagements take her to sing the leading role of ASCENSIÓN in “La del Manojo de Rosas” at the Teatro de la Zarzuela de Madrid or SUOR ANGELICA in Oviedo.
|
|
|
| |
| REVIEWS |
| |
| Teatro de la Zarzuela – La del manojo de rosas- ASCENCION |
And the singers. I must admit that I really, really liked Beatriz Díaz's work. She has been able to embellish her character with all the graces that the composer endows her with. Her voice is close to a light soprano, with a beautiful and musical high register and a medium timbre that captivates…
When Beatriz Díaz sang the beautiful romanza ‘No corté más que una rosa’, it was of exemplary of vocal quality and excellent interpretative taste. I have often heard this beautiful romanza and in my opinion the Asturian soprano's version was one of the best I can have ever heard. Once again, she sang with extraordinary taste, great delicacy, making the audience experience all the drama that the text demands: pain, sadness, bitterness, rage, anger at what she considers a mockery. Her singing and her vocal achievements were outstanding, sung with a very beautiful voice, clear, brilliant trembles, full of musicality and a velvet mezza voce and a perfect diction. Throughout the rest of the work she repeatedly shone again. In the habanera duet she sang admirably, conveying the whole message of melancholy, longing for times gone by, a love that was still latent, painful but almost triumphant. The standing ovations and the ‘brava’ at the end of her performance were applause worthy and a just reward for a truly outstanding interpretative work. |
Operaworld -José Antonio Lacarcel
operaworld.es
|
| Teatro Campoamor Oviedo – La rosa del azafrán – SAGRARIO |
| Alongside them, voices of the highest quality. As good actresses as they are singers, something difficult in zarzuela and which always limits the acceptance of this demanding Spanish genre. The Asturians, Beatriz Díaz and María Zapata were impeccable as Sagrario and Catalina. Beatriz Díaz, from Allera, has gained a low register without losing her exquisite treble and amazing pianissimos in an intelligent, rounded and faithful interpretation. |
La Nueva España
elespanol.com
|
| The ‘vocal duel’ of the Asturian sopranos Beatriz Díaz and María Zapata, Sagrario and Catalina, reflected two lyrical generations as in the libretto itself, mistress and servant united by good work. As excellent actresses as singers, the Allerana faced a technically demanding score, with basses that have gained body, clear and secure trebles, plus a range of nuances where her pianissimi are still unique, well projected, with all the respect from the pit to enjoy a voice that continues to thrill from a well-focused maturity. Her romanzas, especially ‘No me duele que se vaya’, the lyrical ‘La rosa del azafrán es como la maravilla’ which turned out like that, and the duets with Catalina or the finale with Juan Pedro ‘Tengo una angustia de muerte’ were full of good taste, musicality, filling and dedication in a complex character. |
La Nueva España
elespanol.com
|
| Teatro Principal de Alicante - La Bohème - MIMI |
| But the star of the evening was undoubtedly the beautiful Mimi. And not only because she was the most important character, but also because the Asturian soprano Beatriz Díaz, who already managed to subjugate the audience with her Micaela in Carmen, managed with her prodigious voice to create a dramatic climax of sublime elegance and sensibility. This Mimi is simply unbeatable! |
El Español
elespanol.com
|
| We already know that in Puccini and Italian verismo opera, the likelihood of any of the cast escaping with their lives is very low. The unlucky one, in this case, was Mimi (at least La Bohème is not a trail of corpses, as Tosca is), played by a very emotional Beatriz Díaz who received long applause from the audience; Her last act was exceptional, especially her farewell (full of memories, with inevitable musical tears, very intimate)… achieving a touching moment in its simplicity and tenderness. |
Ritmo
ritmo.es
|
| If we are talking about dreams, it is clear that the dream of every Musetta is to sing Mimì, and the Asturian soprano Beatriz Díaz not only fulfilled the task, but demonstrated once again that Puccini wrote the role especially for her. Not only did she offer an authentic lesson in singing with a range of nuances where the "pianissimi" are incredible for the projection and some "crescendi" with delicacy, musicality combined with an overwhelming fiato, but her character was delineated from beginning to end. Simplicity of the first act in good response to Rodolfo "Mi chiamano Mimì", an innocent ensemble in the "Momus" always clear by emission and presence, the striking and demanding third act passing from despair ("O buon Marcello" in yet another duet to remember) to breathtaking consolation, not to mention the last act where her voice was all the soul of Mimì, poetry in its purest form sung with vital and crystalline breath, giving us goose bumps and achieving after her death a sepulchral silence, the consequent sigh of the audience and the well-deserved explosion of jubilation for a dream come true with the whole auditorium on its feet. |
pablosiana
pablosiana.wordpress.com
|
| Ópera de Tenerife – Der Zwerg - GHITA |
| But also the great calamity, with which Beatriz Díaz as Ghita points with her melodious soprano voice to the dimensions of the human tragedy and she finally shortly before his death , gives back the white rose to the dwarf, is extremely impressing... |
Online Merker
onlinemerker.com
|
| Triumph also for Beatriz Díaz in the role of Ghita, perhaps the only character who really sympathizes with the dwarf; the empathic character perfectly reflected by the soprano, who was very good throughout the performance and stood out especially in the final moments. |
Bachtrack
bachtrack.com
|
| ABAO – La Dama del Alba - ADELA |
| Notable however Marina Pinchuk and Sandra Ferrández , as they defend their roles Telva and the Mother. This also holds true for Beatriz Díaz as Adela, that surely must have been a truly demanding role for the soprano. Diabolically both in the tessituras and the phrasing. |
Platea Magazine
www.plateamagazine.com
|
| The Asturian soprano Beatriz Díaz interpreted with lyrism and warmth. The beginning of the second act, as she sings and plays with the children, was particularly successful. |
| El Comercio, 12. September 2022 Ramón Avello
|
| Beatriz Díaz as Adela was as always brilliant. |
Scherzo
www.scherzo.es
|
| ...whereas Beatriz Díaz and Santiago Vidal presented in their duet one of the most touching moments of the evening. |
| Ópera Actual, 13 de septiembre de 2022 · Cosme Marina |
| Zarzuela Festival Oviedo - Agua, azucarillos y aguardiente - PEPA |
| With excellent expression Beatriz Diaz perfectly portrayed La Pepa. |
Scherzo
www.scherzo.es
|
| Beatriz Diaz top-class Pepa also proved to be a real lucky stoke. |
Platea Magazine
www.plateamagazine.com
|
| Musikfestival Gut Immling- Turandot – LIÚ |
| The role of the slave Liu, who later dies for Calaf, was wonderfully sung with an incomparably intense, soft soprano voice by the Spanish Beatriz Diaz, who received for her interpretation the greatest applause of the evening. |
Berchtesgadener Anzeiger
www.berchtesgadener-anzeiger.de
|
| And also Beatriz Díaz as the suffering slave Liú, touches eith beautiful piani. |
BR Klassik
www.br-klassik.de
|
| … the slave Liú, sung with marvellous piani by Beatriz Díaz. With a pure, melodious soprano voice she confesses her love to Calaf, touching the audience both with her play and her voice. Beatriz Diaz turns Liú’s suicide in order to give Calaf free for his big love , princess Turandot, into another touching highlight of the evening. |
Ioco
www.ioco.de
|
| Teatro La Fenice – La Bohème - MUSETTA |
| The artist, who already knew great success as Adina in La Fenice, presented a superb interpretation of the sensual Musetta. |
codalario
www.codalario.com
|
| Teatro Campoamor de Oviedo– l’elisire d’amore – ADINA |
| Really admirable was Beatriz Díaz. Here is a very talented soprano, who inspite her youth, has already made in interesting career- let’s not forget she has won the Francisco Viñas Singing Competition with an overwhelming majority and she was chosen by Riccardo Muti himself.
.. She has a beautiful, absolutely lyrical, rich and agreeable voice. Her Adina was a real jewel. Díaz performed the role as if she intended to show her entire repertoire of vocal possibilities. The Asturian soprano triumphed in Campoamor in a magnificent leading role. |
codalario
www.codalario.com
|
| |
|
|
|
| |
|
