The Catholic University of America


Fabiana Bravo
Soprano

Fabiana Bravo

Soprano

Argentinian Soprano Fabiana Bravo made her professional debut in 1996 as Lucia in Lucia de Lamermoor with Luciano Pavarotti at the Academy of Music in Philadelphia after winning the 5th Luciano Pavarotti International Voice Competition. Since then she has achieved recognition as Tosca, Madama Butterfly, Norma, Ariade auf Naxos, La Gioconda, Mimi in La Bohème, Countess Almaviva in Le Nozze di Figaro, Donna Anna in Don Giovanni, Nedda in I Pagliacci, Leonora in Il Trovatore, Madame Ledoine in Les Dialogues des Carmelites, Desdemona in Otello, Amelia in Un Ballo in Maschera, and Leonora in Verdi’s Oberto to name a select few.

Of the many opera companies with which Fabiana Bravo has worked, the following represent her finest and most significant roles:  New York City Opera (Giorgietta in Il Tabarro) the Metropolitan Opera (Mimi in La Boheme and Aida) San Francisco Opera, Dallas Opera and Los Angeles Opera (Madama Butterfly) New Orleans Opera and Wichita Opera (Donna Anna in Don Giovanni) Michigan Opera Theater and Opera Santa Barbara (Amelia in Un Ballo in Maschera) Opera de Puerto Rico and Virginia Opera (Norma), Shanghai Opera, ( where she sang the First Tosca ever in China) Toledo Opera ,Phoenix Opera, Macedonian Opera and Virginia Opera (Tosca) San Diego Opera, Palm Beach Opera, Tulsa Opera, Central City Opera and Teatro Felice in Genova (Mimi in La Boheme) , (Queen Elisabeth I in Maria Stuarda ) Baltimore Opera, (Elisabetta di Valois in Don Carlos)  Hawaii Opera.
Fabiana Bravo made her Carnegie Hall debut as Fiora in L'Amore dei Tre Re by Montemezzi with Samuel Ramey and Maestra Eve Queler with Opera Orchestra of New York.

She is well known on the European stages having performed in Italy appearing in Rome, Parma and Voghera including  singing at Castel Gandolfo for Pope John Paul II. In Prague she appeared with Sergei Leiferkus and the Prague Symphony in an all Verdi Gala, Telecast in Eurovision. In Oviedo, Spain, she performed the Gala Verdi, In Denmark a Verdi, Puccini concert at korngold Castle ,and in Germany a concert for Operalia as an Operalia Finalist with Placido Domingo.

In Canada she was the soloist soprano for a tour of seven performances of Verdi's Requiem with L'Orchestre Métropolitain of Montreal . In the USA she performed the Mozart Requiem at the Kennedy Center in Washington DC, and with the Palm Beach Opera she sang with Bryn Terfel in their annual Gala Concert. For outstanding contribution to the arts as a young artist, the Congress of Argentina named Fabiana Bravo 1999 Argentine Woman of the Year.
Fabiana has coached students at Catholic University, co-directed the School of Music's production of La Boheme, was a vocal instructor and coach for the Bel Cantanti Opera Summer Opera Festival and continues teaching a number of professional students independently.
She is the winner of a number of competitions such as the Metropolitan Opera Young Artist Competition and Opera Index.
Critics have commented on Fabiana's performances as:
 
"She had the audience laughing when she told her lover, the artist Cavaradossi, to change the color of a saint's eyes. She melted hearts with 'Vissi d'arte' but stirred a muted horror only moments later with her muttered 'Die! Damn you, die! Die!' She earned a long standing ovation at the final curtain call. Sometimes you leave a 'Tosca' performance feeling it should have been named 'Cavaradossi' or 'Scarpia.' Those roles were well filled in this production, but it was unquestionably a 'Tosca.'" 
Joseph Mclellan, Washington Post
 
"Bravo is the fourth Norma I have heard onstage, and in the end, she bested all of them. For command of phrasing and pitch, she easily surpassed Christine Goerke (Seattle Opera, February 2003); she offered more sheer vocal excitement than Hasmik Papian (Washington National Opera, October 2003); and for dramatic involvement, she proved much more satisfying than Jane Eaglen (Opera Orchestra of New York, December 1995 and the Met, October 2001). Bravo’s top never failed in its power, and dropped easily into chest...It was  a solid achievement. If the role fatigued Bravo, she didn’t show it; one had the feeling, that by the end of Act IV she could have started again from the beginning with no difficulty."
Brian Kellow, Opera News
 
"...Soaring above everyone else was the Elisabetta of Fabiana Bravo, a true Verdi soprano with technique and taste. Her last-act aria was splendid." 
Jim Becker, Opera Magazine  

Fabiana has studied with Sharon Christman, Renata Scotto, and Luciano Pavarotti.