In the last two seasons Ms. De Trejo appeared as Donna Anna with Florida Grand Opera, in recital with Lyric Fest in Philadelphia, was a featured soloist with The Orchestra Now, conducted by Leon Botstein at Carnegie Hall in a U.S. premiere of Joachim Raff’s Te Deum and the De Profundis by Lili Boulanger; and was also soprano soloist in the Verdi Requiem with the Oratorio Society of New York, again in Carnegie Hall. Ms. De Trejo was also invited to sing Donna Anna with Syracuse Opera, with Christian Capocaccia conducting.


Read all about me
  • “And while Elizabeth de Trejo has had several critically acclaimed starring roles at Opera Tampa and other venues around the country in recent years, this was to be her first Norma. Brava! Norma's first major aria — an invocation to the goddess of the moon — was a moment of great delicacy.” As the music unfolded, new dimensions of de Trejo's voice kept revealing themselves until, at the climax on a final high G, it came into full bloom. Throughout the opera, as Norma moves through moods of patience, betrayal, anguish and resolve, there were many such moments that could make a listener swoon. “
    - Tampa Bay Times, Jim Harper
  • "De Trejo, also debuting in her role, looked ideal as a chaste girl. She brought an unforced, almost conversational style of singing to Marguerite's complex three-part aria in the garden scene that was the highlight of the evening. Her voice fit beautifully into the layered textures of Gounod's orchestration."
    - St. Petersburg Times, John Fleming
  • “As the ill-fated Gilda, soprano Elizabeth De Trejo,(Rachel Watkins), has it all - a shimmering coloratura of great of great agility and intriguing color as well as superb acting ability. De Trejo, another newcomer to the local stage, was a standout in every way, yet her performance was balanced and thoroughly integrated.”
    -The Toledo Blade, Sally Volongo
  • “It was easy to see why Nemorino and Belcore were smitten with Rachel Watkins's, (Elizabeth De Trejo), Adina. A sprite of a young lady, Watkins sparkled as much as Donizetti's music, offering a lovable characterization with a warmly glowing voice to match.”
    -Opera News Online, Charles H. Parsons
  • “Opera careers are unpredictable, but I think that some years from now, there will be a good chance that people who attended Opera Tampa's staging of Lucia di Lammermoor this weekend are going to be able to brag that they were there when Elizabeth de Trejo made her debut in the title role. De Trejo (the married name of the soprano formerly known as Rachel Watkins) was excellent as the prima donna in previous productions here of Gounod's Romeo et Juliette and Faust. But she seems to have grown in dramatic presence in performing the flamboyant coloratura passagework of the woman who kills her husband on their wedding night. Lucia contains a number of scenes topped off by the soaring high notes that opera fans thrill to. On Friday, de Trejo delivered with accuracy and flair the high D in Lucia's Act 2 duet with her brother Enrico (baritone Michael Corvino) and the high E flat in her mad scene.”
    -St. Petersburg Times, John Fleming
  • “Elizabeth de Trejo, but they are singers to be reckoned with, especially de Trejo, whose performance of the ¨Laudate” from Mozart’s Vesperai solennes de confessore was a highlight of the first act. In fact, that piece was such a tour de force that the audience, who had been correctly silent between movements, burst into spontaneous applause; they simply couldn’t stop themselves.”
    -Glen Roven, HuffPost
  • “Guest artist Elizabeth de Trejo showed off her spectacular range and control during “In quali eccessi … Mi tradì quell’alma ingrata,” an aria that wasn’t performed in the Prague premiere of “Giovanni.” The difficult coloratura piece was composed for the opera’s Vienna premiere to showcase the skill and tact of the soprano performing Donna Elvira at the time. The piece flaunted Trejo’s experience and impressive timbre, as it was written to do, and was one of the show’s high points."
    -Caren Levine
  • “Emotions were in play, and the Requiem has seldom sounded so operatic. Soon, we were hanging on every word and note. Soprano Elizabeth de Trejo's silvery tone and well-projected high notes allowed her to sail over the massed chorus and orchestra forces in the concerted moments. In her solo and duet passages, she sang with intensity or reassuring calm as the texts suggest. One had the feeling of a Mozartean soprano singing this music; it worked for Elisabeth Schwarzkopf and Pilar Lorengar, and Ms. de Trejo's personal commitment to the score made it work for her tonight. She is a very individual singer, of unique timbre.” (Verdi Requiem, Oratorio Society of NY, Carnegie Hall)
    -Oberon’s Grove
  • “De Trejo had her fair share of gorgeous moments throughout the evening, particularly during “Quid sum miser” and throughout “Salva me;” in the latter passage, her voice soared over the massive ensemble. She dovetailed nicely with mezzo-soprano Raehann Bryce-Davis throughout the “Recordare” and their voices were in perfect synchronization throughout the “Agnus Dei.” All night long, she moved up and down her register with ease, her upper notes projecting potently over the orchestra. However, “Libera Me” is the soprano’s big moment to shine and De Trejo was sublime throughout. From the opening line, there was desperation in her singing. Even if her bottom didn’t quite have tremendous heft, she made up for it with clear diction and intensity. There was increasing fear in her face throughout this passage, her singing growing more potent. She hit one high note after another, blasting through the tremolos that follow the “Dies Irae” and eventually climaxing it all with a glorious and cathartic high C rocketing over a full orchestra and chorus. But the most glorious moment of singing came during the reprisal of the first “Requiem” theme. Here De Trejo delivered a pure and delicate legato line that was exquisite in every way. Verdi asks for increasingly softer dynamics, getting to a pppp at one point near the end of the passage. De Trejo’s voice retained its gentleness throughout, her final high B flat floating effortlessly into the hall.”
    -Opera Wire, David Salazar

Calendar

  • Donna Anna, Don Giovanni, Wolfgang Amadeus Mozart


    Florida Grand Opera
    Christopher Allen, Conductor and Mo Zhou, Director
    November 16, 19, 21, 24 & December 5, 7, 2019
    Link: Florida Grand Opera
  • Lyric Fest, Tutti Fior


    Laura Ward, Piano
    Suzanne DuPlantis, Mezzo
    Irini Kyriakidou, Soprano
    December 10, 11, 2019
    Link: Lyric Festival
  • Guest Soloist, Beethoven 2020!


    Greenwich Choral Society
    Saturday, March 14
    Link: Beethoven 2020
  • Soprano Soloist, Beethoven 9th Symphony


    York Symphony
    Lawrence Golan, Conductor
    May 2, 2020
    Link: SeasonAtGlance PDF

News

6 Classical Music Concerts to See in N.Y.C. This Weekend

THE ORCHESTRA NOW at Carnegie Hall (May 2, 7 p.m.). Only Leon Botstein, the conductor, could have come up with something like this — a concert made up of four settings of Psalm 130, “De Profundis,” all completely different. Virgil Thomson’s is for an a cappella choir, sung by the Bard Festival Chorale; Joachim Raff’s is for an orchestra, an eight-part choir and a soprano (here, Elizabeth de Trejo); Lera Auerbach’s is a violin concerto, with the soloist Vadim Repin; and, best of all, there’s a chance to hear the mighty version by Lili Boulanger, a prodigy who died far too young, at just 24, in 1918. 212-247-7800, carnegiehall.org

 

Art exists because Creation is.


“The High Office of Singing is to express what passes in the mind and the soul.”
H.C. Deacon

The Studio has two partitions:

The Studio De Trejo and The International School of the Voice.

Located both in New York City and Philadelphia, is the original atelier where the love of the art and the craft of the classical voice is worked, one artist at a time. Studio De Trejo was built on the recommendations from coaches, other singing colleagues, and artist managers. It has become a haven for those artists looking for a way to make the most of their instruments. They have heard that here, at our studio, we do what we say we will do.

What is technique? Technique, in short, is a tool or set of conceptual tools that when applied produces the same successful result every time. We thrive on technique and know that there is a solution to every vocal problem.
We will show you how can remove old tensions and psychological blocks that may be preventing you from using your full instrument and realizing your full potential through the application of the Elizabeth De Trejo model.

The philosophy and values of the EDT model are:
Elasticity, Determination, and Talent.



The Technical Principles of the EDT model are:

Respiration Inspiration and Expiration
Corporal Awareness Cognitive Focus
Appoggio/Air Pressure Management
Artist Mind Creative Expressive Energy
Resonance Management How to direct the shape of the vocal instrument from inspiration to onset, and through the register passages, optimizing the acoustical capacity for ultimate control of the sound.

In any instructive setting, I begin with the understanding that each student is there to nurture a love of the music that sings itself through them. I may not know immediately what kind of a seed we will be caring for, and what kind of fruit it will produce; and it is true, that not each candidate is suitable for a career of international importance. However, each case requires the same amount of attention and care, and if done with expertise and discipline, each will grow to its fullness and flourish in its appropriate environment, ideally inspiring those environs infinitely outward. There are many aspects of varying priority that a budding artist needs, but there are two very important possessions they must garner right away: a limitless technique and the confidence in the knowledge of the physical application of its theoretical concepts. It is just as important to train them in the craft as it is to healthily build them to perform the craft. They must be taught to understand the importance of discipline because in time, the discipline reveals the mastery of the technique, which is the only way to express fully what is in the Artist Mind in any given moment. This is the key, the Rosetta Stone, to unlocking the fullness of the artistic gift in any interpretation. Without at least a partial-mastery of the craft, you’re not able to call on the communication of that greatness.



Lessons details:

Presencial Lessons 1 hour $200.
Online Lessons 45-50 minutes $150.

All Studio members are also required to attend the Studio De Trejo ‘Open Class.’ I established ’Open Class’ several years ago, a weekly or bi-monthly performance class whereby the current studio singers are invited to sing in front of their colleagues and peers. It is very important to have a safe place to apply work. The studio private lessons are for the theory of the voice technique and performance of the craft; and the ‘open class’ is for the application of those theories and concepts. If you are invited to be in the studio, you will be expected to attend the Open Class as much as possible. This work is essential to your success in the employment of the principles of the technical model.

If you are interested in contacting the studio for a consultation and possibly a lesson, please send an email to the studio assistant at: