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.


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  • “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, Charles H. Parsons
  • “De Trejo 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
  • “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.”

    -St. Petersburg Times, John Fleming
  • “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
  • “Elizabeth De Trejo's technically superb soprano lends strength and beauty to her role as she seeks revenge. Her brilliant Act II, scene 4 aria "Non mi dir," reveals her love for her fiance, but says she cannot marry until her father's death is avenged.”

    -Syracuse.Com, Linda Loomis
  • “As Donna Anna, soprano Elizabeth de Trejo took on a sombre and raw portrayal, with a bright dolce tone agilely navigating the darkness of her role. As she described the details to Don Ottavio, terror tinged her recitative with a halting, earnest pace, gradually gaining momentum as the fearful memories of that night blended with a fierce mixture of resilience and rage.” (Florida Grand Opera, Don Giovanni)

    -Schmopera, Carla Gordon
  • “Donna Anna, igualmente importante, quedó estupendamente representada por Elizabeth de Trejo. Su entrega de “Crudele! Ah no mio bene!” fue especialmente aplaudida.”

    -El Nuevo Herald, Miami, Daniel Fernandez
  • “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
  • “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
  • “As Donna Anna, soprano Elizabeth de Trejo took on a sombre and raw portrayal, with a bright dolce tone agilely navigating the darkness of her role.”

    -Schmopera, Carly Gordon
  • “Donna Anna was played by the lovely soprano Elizabeth de Trejo, effectively expressing emotion, anger and determination by approaching her lyrics softly and amplifying them with strength in her aria "Or sai chi l'onore Rapire a me volse," imploring her fiancé Don Ottavio to avenge her honor. She navigated the heavenly aria "Non mi dir," assuring Ottavio of her love, with nuance and sincerity, sweetness and love ringing true. Applying her substantial voice to the full range of her low notes and highs and expressing her challenging runs with exceptional ease, brought cheers from the audience.”

    -Miami ArtZine, Steve Gladstone
  • “Donna Anna (Elizabeth de Trejo), projects high vocal lines with a haughty arrogance, and dominates the ensembles in which she appears.”

    -Palm Beach Arts Paper
  • “Zhou had soprano Elizabeth De Trejo stand center stage and address the audience directly. Speaking out like so many women at the trials of powerful men, her testimony was chilling. De Trejo’s stunning, tremulous high notes in the aria that follows calls for her vengeance with anguish.”

    -Opera News, Celeste Landeros
 

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: