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-Schmopera, Carly Gordon
March 23, 2021
-Oberon’s Grove
March 23, 2021

-Opera Wire, David Salazar


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“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


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