“This Fidelio had a first class cast of which the soprano Beatriz Díaz was particularly outstanding as Marzelline, approaching this difficult composition with a well-adjusted, effective and splendid interpretation. She also is a superb actress, shining as the perfect arche-type of Marzelline, both fragile and courageous, culminating in her emotional outburst Nichts, mein Florestan!, which was absolutely brilliant.”
the press enthusiastically commented Beatriz Díaz last successful debut as MARZELLINE at Teatro Cervantes in Málaga.
The Spanish soprano’s international career started in 2009 after being 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 in Iphigénie in Aulide at the Opera of Rome. Since then, she has been a guest artist of the Salzburg Festival, the Opera di Roma, La Fenice in Venezia, the Teatres Carlo Felice de Genova, Massimo de Palermo, Comunale de Bologna and Modena, Châtelet de Paris and Colón de Buenos Aires. In her native country has appeared at the Teatro Real de Madrid, the ABAO de Bilbao, Teatro de la Maestranza de Sevilla, Teatro de la Zaruzuela de Madrid, Teatro Campoamor de Oviedo, Perez Galdós de Las Palmas or at the Carlos V Palace in Granada. She has also participated in several concerts in Saint-Jean-Cap-Ferrat, Doha, Rabat or Tokyo, just to name a few.
Here, Beatriz could be seen as DESPINA, MUSETTA, NANETTA in Falstaff, MENICA in Martin y Soler’s Il Tutore burlato, LIU in Turandot, JULIET in Britten’s The Little Sweep, MICAELA in Carmen, LAURETTA in Gianni Schicchi, OSCAR in Un ballo in maschera, NORINA in Don Pasquale, ADINA in L’elisir d’amore or LENIO in Greek Passion.
The Spanish singer is also a sought-after Zarzuela singer: with roles such as ANTONELLI (dúo de la Africana), MARTHA (La luna de miel del Cairo), CRISTETA (Clementina), AMOR (El imposible mayor en amor, le vence amor), OLIVIA (El sueño de una noche de veran), AMOR (Viento, es la dicha de amor) or PRINCESA OLGA (La Generala), the Spanish soprano performed in venues at the Teatro de la Zarzuela, the Teatro Arriaga, the Théâtre Chatelet, the Oviedo Opera or theAuditorio de Granada.
In the concert field her collaboration with La Fura dels Baus in their production of Carmina Burana in tour in Spain, Macedonia or Taiwan is particularly worth mentioning. Last year she was chosen to sing Rossini’s Stabat Mater in the concert before the Ceremony of the prestigious Premios Princesa de Asturias, with the King of Spain.
Beatriz Díaz studied with Elena Pérez Herrero in Spain and later with Mirella Freni, Montserrat Caballé, Elena Obraztsova and Mady Mesplé. In 2007 she won the First Prize of the International Competition Francisco Viñas, being also awarded in the same competition with five other special Prizes. She is also winner of several other singing contests such as the First Berliner International Music Competition, the Ciudad de Logroño Singing Competition as well as the Julián Gayarre Contest and the Prize of the Fundación Guerrero.
Recently, she succeeded as ADINA at the Oviedo Opera, as DESPINA at the Teatro Cervantes in Málaga, as MARTHA in Luna de Miel en el Cairo at the Teatro Arriaga Bilbao or in CARMINA BURANA in Barcelona with la Fura dels Baus. In summer 2019 she made her successful debut as LIU at the Gut Immling Festival, Germany.
She has started the season 2022/23 singing the leading role of La Dama de Alba, ADELA, in the world premiere at the Oviedo Opera. Future projects include GHITA in Der Zwerg at the Tenerife Opera, MIMI in Emilio Sagi’s new production of La Boheme in Alicante or LAURETTA / GIORGETTA in Puccini’s Trittico at the Oviedo Opera. As a renowned Zarzuela singer, she will also sing LUCRECIA in San Franco de Sena by Arrieta with the Navarra Symphonic Orchestra.
|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!
|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.
|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.
|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...
|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.
|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.
|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.
|...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.
|Beatriz Diaz top-class Pepa also proved to be a real lucky stoke.
|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.
|And also Beatriz Díaz as the suffering slave Liú, touches eith beautiful piani.
|… 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.
|Teatro Cervantes Malaga - Fidelio - MARZELLINE
|This Fidelio had a first class cast , of which the soprano Beatriz Díaz was particularly outstanding as Marzelline, approaching this difficult composition with a well-adjusted, effective and splendid interpretation.
She also is a superb actress, shining as the perfect arche-type of Marzelline, both fragile and courageous, culminating in her emotional outburst Nichts, mein Florestan!, which was absolutely brilliant.
|The Marzelline of Beatriz Díaz, who was a great Despina two years ago, also became a warm welcome. The Asturian sang the character with a voice more lyrical than light, particularly bright in the high registers and with excellent dramatic skills. She used each appearance to draw full attention, especially in the initial duet and the wonderful quartet that followed.
|Also back at the Cervantes Theatre was the Asturian soprano Beatriz Díaz as Marzelline, daughter of Rocco. …/… in this German debut role the Asturian artist proved as usual to be just perfect in everything: a voice full of nuances with sufficient projection, even in the spoken parts, also in the bass register she maintained impeccable heights. Besides, her stage presence filled each of her appearances (impeccable the second scene with Rocco)…
|Teatro Cervantes Malaga – Cosi fan tutte - DESPINA
|His companion in the intrigues was the Asturian Beatriz Díaz, who apparently enjoyed her play, which perfectly suits the role of Despina and has the ideal voice for the character.
|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.
|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.
|Musikfestival Gut Immling- Turandot – LIÚ