SINGING EXPERIENCE OPERATIC PERFORMANCE Governess Turn of the Screw
Opera Ensemble of New York (World Premiere)
Little Lyric Opera Theatre of Philadelphia
Little Lyric Opera Theatre of Philadelphia
IN PREPARATION Suor Angelica Fiordiligi Donna Elvira
Musetta Liù Manon (Massenet) Rusalka Hanna Glawari
ORCHESTRAL PERFORMANCE Beethoven Mass in C Der Freischütz (concert version) RECORDINGS Classical Praise: A collection of Sacred arias recorded with the Kyiv Symphony Orchestra and Chorus (Ukraine), June 2006
Bachelor of Arts Degree in Music: Hollins University, Roanoke, VA
Dramatic Coaches: Janet Bookspan, Kay Walker
1988: Finalist, Luciano Pavarotti/Opera Company of Philadelphia Competition REVIEWS “Andrea Broido… a strong, gleaming lyric soprano, capable of genuine glow sound when riding over the orchestra and at the same time able to provide a good deal of dynamic shading.” (CD: Classical Praise) Fanfare Magazine (Sept/Oct 2007 issue)
"(An) attractive high soprano voice."
New York Times
"Andrea Broido and. were perfect as the couple. (Her) naturalness and easy voice sustained the light mood of the sketch. Broido. with pure and simple strokes, created characters and moods for each of the songs."
New York Daily News "The centerpieces of this Concerto Soloist's Concert were three scenes from Handel's Acis and Galatea.The young soprano is started on a promising approach to this music. Her voice is appealing and strong, her trill became increasingly effective and she sang these recitatives and arias with regard for clear texts." Philadelphia Inquirer “Andrea Broido handled the punishing role of the governess – she remains onstage through most of the opera – with strength and a voice tinged with fear.” Newport News Daily Press
“Andrea Broido (the Governess) possesses a lyrical soprano well suited for the Britten score and its demands… Broido was firmly in control.”
The Virginia Gazette, Williamsburg
“Andrea Broido was totally convincing both dramatically and musically in her role as the Governess; her voice was luminous and strong throughout a wide range.”
Port Folio Magazine "Andrea Broido, happily, was a memorable Violetta, who not only looked and acted the part, but had one of the best voices I have ever heard on the Rajah stage. Using her brilliant top range, she infused ‘Sempre Libera' with feverish gaiety; with her full, expressive lower range she portrayed every emotion, evolving from the coquette to the mature, noble woman of Act Two to the exhausted wraith of Act Three.BGO's La Traviata was one that no one in the audience is likely to forget soon, especially the last, painful glimpse of Violetta's face just before her death, crying 'gioia!' It was a sharp image." Reading Eagle "In this performance of Verdi's Requiem. Soprano Andrea Broido, whose performance of Violetta in Berks Grand Opera's La Traviata lives on in the memory of all who saw it, gave celestial readings throughout. Most striking was the moment during the ‘Offertorio' when her ‘Sed' (but) shone through the choral darkness like a warm and transparent beam of light announcing the angel Michael." Reading Eagle "Broido is a voluptuous operatic heroine. Her precise eurythmic vibrato punctuated each lyric as she soared in true coloratura-soprano sytle. Her arias- especially ‘Caro Nome'- seemed to cause the very roof of the venerable theatre to resonate. Andrea Broido brings true stellar quality to our region's trove of vocal treasures." Reading Eagle
"The exceptional solo work by soprano Andrea Broido.set a high standard for the entire performance. The (soloists') voices were well blended during their ensemble work, and their individual solo work left little doubt they all had a feeling for the piece. Broido was perfectly on top of the soprano's higher notes, many which leave her totally exposed coming out of heavier choral passages." (Verdi Requiem)
Terre Haute Tribune Star
"In Handel's chamber opera Acis and Galatea.most successful was Andrea Broido as Galatea. Broido's greatest strength was the warmth of her voice as she sang of her ‘fierce desire'.she sustained its (the aria's) dramatic and musical force with ardor."
"Andrea Broido, as Pamina, is the perfect example of an advanced vocal technique.In spite of her svelt frame, she projected the most powerful, luscious Pamina."
"Solos were rendered magnificently. In Handel's Ode to St. Cecelia, Andrea Broido sang beautifully. Her performance displayed technical proficiency even in the most diffiucult of passages.she sang with lovely tones that were both clear and full-bodied."
Main Line Times
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