Maria's Personal Journey
Born in Pittsburgh, Pennsylvania to Mediterranean parents, Maria Alsatti, the youngest of three children, says that music was always a foregone conclusion of her life.
In the household - while everyone enjoyed music - only Maria was touched by the Muses. Trained early in dance and possessing a natural inclination for the piano, Maria and her sister JoAnn sang and played duets at the keyboard. Her brother Joseph spent his days being a boy, eventually obtaining a degree in criminal law.
Her father Joseph enjoyed playing an active role in Maria's early childhood performances. Maria's father staged every annual church Christmas show so that Maria sang with abandon from the tender age of 8 and thereafter! It was her mother Anne however, herself a dynamic and strong woman, who instilled in all three other children a tremendous discipline, a fierce work ethic as well as a firm respect for education, thought and responsibility. She was the driving force…always.
Maria' s first significant contact with music was realized quite early when she responded to the exquisitely different sounds and harmonies of a recording of Puccini's "Madame Butterfly"- a birthday gift from best friend and fan… her sister. She would later come to be known as the quintessential Puccini soprano. And as a result of this new awakening the young girl who loved swimming, ice-skating, dancing, acting (oh how she could act!), and most of all singing her little heart out, yearned to perform. Her dreams came true while attending Seton-LaSalle High School where she was cast in its production of "The King and I".
Commented the director Ted White: "I remember so well when this high school kid auditioned for me. She bounced in with an unusual confidence and sense of herself. Physically, she was very attractive and had quite a bubbly personality. I kept thinking, 'my God, she is perfect for the role. I only hope she can sing!' Well, she opened up her mouth and out poured this large, beautiful warm sound. Her voice literally bounced off the auditorium walls! It was everywhere. I was hooked. I had never heard anyone quite so young with such vocal talent. She was magic... I had found my Lead!"
Enjoying a resounding success and now having had the taste of theater in her heart and soul she needed to explore there was no stopping her. What next??
The Pittsburgh Playhouse was having an open call for its professional production of "West Side Story". At just 17 years she decided that nothing would have kept her from singing in that show! In fact, she blissfully lied about her age to avoid the under 18 working permit laws! Maria competed with over 520 other singers and dancers. They came from New York and just about everywhere west of Pennsylvania. Without skipping a beat, she auditioned by both singing and dancing and was cast. Thrilled by it all, she studied during the day at Seton-LaSalle and performed 11 months at the Pittsburgh Playhouse by night.
Star of the high school musical Glee Club, she was also quite active in journalism, languages and the forensic league, not to mention anything at all connected to the theater. She also found time among her diversified activities to represent the Catholic Diocese of Pittsburgh and the late Reverend Bishop John J. Wright, by performing as the soprano soloist for the 500 female member diocesan choir. Her determination, energy and drive unrivaled she could be found day and night absorbing music in every available form. Be it piano, lieder, concert, symphonic, musical theater, or opera her appetite for music was insatiable!
By 19, she had learned every 'spaghetti soprano' role written in opera/musical theater for the soprano voice. The only logical direction from here was formal study. Lucky for Maria that she just happened to live in Pittsburgh, the home of two very formidable Music schools, Carnegie-Mellon University and the Curtis Institute of Music.
Having dual degrees under her arm, a B.F.A. Carnegie Mellon University, Curtis Institute (Private Studies), a M.F.A. from the New England Conservatory of Music, and induction into Sigma Alpha Iota, she was moving closer toward her goals. Guided by opera director, Ian Strasvogel, she won a scholarship to the prestigious Tanglewood Music Festival where she starred in Kurt Weill's "Mahaghonny Songspiel", the late Bruno Madeira conducting. Heady stuff indeed!
The interim summers, she spent coaching extensively with American soprano Eleanor Stebor and the late Kammersänger, George London. Ms. Stebor dubbed Maria the "singer's singer" when she first heard Maria in her now legendary Master Classes. That compliment would follow Maria throughout her career. Maria had a long and artistically rewarding association with Mr. London. Mr. London also fostered her introduction to respected Viennese impresario Dr. Rudolph Rabb - by whom she was guided for years thereafter.
Maria instinctively felt that she needed to grasp the truth in singing. No longer satisfied to rely on her natural vocal ability to carry her through performances, she desperately sought to find a teacher who could train her more "completely". It was a fateful day then in New York, when at the New York City Opera, Maria had a fortuitous meeting with the late Swedish soprano, Esther Andreas, a dramatic soprano of distinction and a voice teacher of undeniable genius. Having studied with the venerable Nadia Boulanger in Paris, Madame Eugenia Forrestier and the great Paula Novikova, Miss Andreas was for Maria... Godlike. Maria courageously asked for an audition to which Miss Andreas agreed. Afterwards, Esther commented: "You should study singing intensively my dear... you are an exceptionally gifted young artist however, you need to learn the technique in singing if you want to sustain a career. When you want to explore this further, please contact me." Weeks later Maria did just that!
That Miss Andreas accepted Maria as her student changed Maria's life forever. Ultimately, she focused her instincts on learning all that there was to grasp. The impact that this great lady had on Maria was overwhelming. Says Maria, "Esther's familiarity, her points of reference, her devotion, her interest and passion were completely connected to the artistic truth. She had a discipline of thought and an inexhaustible dedication to vocal knowledge. When she died in 1987, a light went off in my life I have yet to meet any teacher who could approach her spirituality and genius.
There was a day in her studio I will never forget. I was preparing "La Boheme" when Esther stopped my lesson and said: 'You will teach one day Maria. ' I looked at her as if she was hallucinating - as teaching was a pathway which I never considered especially since I was new to learning about the art of singing myself! She said that she had never trained a young singer who assimilated the information as quickly or correctly as did I. There was no escaping it... I would teach too!"
It was only eleven months and countless lessons later with Miss Andreas that Maria was vocally poised to audition for the Vienna State Opera. It was to be the turning point of her career.
"I will never forget that June day in Vienna. After having auditioned for three months and called back each time, I made it to the final round. Only 13 singers from 630 were asked to perform on the stage of the VSO and I was included. I simply planted my feet on that stage and began to sing the 3 arias from "Boheme", "Traviata" and "Pagliacci" from my heart and soul. Everything that Esther had taught me was with me on that day... every thing.
I was the only singer asked to remain. I was told to go upstairs to the administrative offices. Of course this was all said to me in German and I hadn't a clue as to what I was being told. I only knew that I had not been given the proverbial 'thank you.. don't call us we will call you' routine! I was nothing short of delirious! When I left the theater, contract in hand, the sun was shining so very brightly. All my American friends were waiting for me at the stage door cheering. It was a wonderful afternoon. But, before we could celebrate, I had to first call 3 people in my life who had helped place me there.. center stage... Mom, JoAnn and Esther."
Now represented by revered Viennese agent, Dr. Rudolph Rabb and with 3 important premieres, "Carmen", "Gianni Schicchi", and "Der Junge Lord" at the Vienna State Opera to add to her ever increasing resume, Maria' s European career advanced.
She guested often and gained in experience and visibility. Wherever she sang, she was warmly received by both audiences and critics alike. She was now on her way! After several seasons at the VSO, and eager to explore the US market, she returned to the US in hopes of broadening her career. She sang for Columbia Artist Music Management consultant, Matthew Epstein and shortly thereafter joined the CAMI roster, David Foster Division where she was guided by Gerry Bollfrass. Further artistic direction was sought when she met and sang for SAFIMM agent, Ludwig Brunner. Theirs has been a warm and continuing association.
Born in Pittsburgh, Pennsylvania to Mediterranean parents, Maria Alsatti, the youngest of three children, says that music was always a foregone conclusion of her life.
In the household - while everyone enjoyed music - only Maria was touched by the Muses. Trained early in dance and possessing a natural inclination for the piano, Maria and her sister JoAnn sang and played duets at the keyboard. Her brother Joseph spent his days being a boy, eventually obtaining a degree in criminal law.
Her father Joseph enjoyed playing an active role in Maria's early childhood performances. Maria's father staged every annual church Christmas show so that Maria sang with abandon from the tender age of 8 and thereafter! It was her mother Anne however, herself a dynamic and strong woman, who instilled in all three other children a tremendous discipline, a fierce work ethic as well as a firm respect for education, thought and responsibility. She was the driving force…always.
Maria' s first significant contact with music was realized quite early when she responded to the exquisitely different sounds and harmonies of a recording of Puccini's "Madame Butterfly"- a birthday gift from best friend and fan… her sister. She would later come to be known as the quintessential Puccini soprano. And as a result of this new awakening the young girl who loved swimming, ice-skating, dancing, acting (oh how she could act!), and most of all singing her little heart out, yearned to perform. Her dreams came true while attending Seton-LaSalle High School where she was cast in its production of "The King and I".
Commented the director Ted White: "I remember so well when this high school kid auditioned for me. She bounced in with an unusual confidence and sense of herself. Physically, she was very attractive and had quite a bubbly personality. I kept thinking, 'my God, she is perfect for the role. I only hope she can sing!' Well, she opened up her mouth and out poured this large, beautiful warm sound. Her voice literally bounced off the auditorium walls! It was everywhere. I was hooked. I had never heard anyone quite so young with such vocal talent. She was magic... I had found my Lead!"
Enjoying a resounding success and now having had the taste of theater in her heart and soul she needed to explore there was no stopping her. What next??
The Pittsburgh Playhouse was having an open call for its professional production of "West Side Story". At just 17 years she decided that nothing would have kept her from singing in that show! In fact, she blissfully lied about her age to avoid the under 18 working permit laws! Maria competed with over 520 other singers and dancers. They came from New York and just about everywhere west of Pennsylvania. Without skipping a beat, she auditioned by both singing and dancing and was cast. Thrilled by it all, she studied during the day at Seton-LaSalle and performed 11 months at the Pittsburgh Playhouse by night.
Star of the high school musical Glee Club, she was also quite active in journalism, languages and the forensic league, not to mention anything at all connected to the theater. She also found time among her diversified activities to represent the Catholic Diocese of Pittsburgh and the late Reverend Bishop John J. Wright, by performing as the soprano soloist for the 500 female member diocesan choir. Her determination, energy and drive unrivaled she could be found day and night absorbing music in every available form. Be it piano, lieder, concert, symphonic, musical theater, or opera her appetite for music was insatiable!
By 19, she had learned every 'spaghetti soprano' role written in opera/musical theater for the soprano voice. The only logical direction from here was formal study. Lucky for Maria that she just happened to live in Pittsburgh, the home of two very formidable Music schools, Carnegie-Mellon University and the Curtis Institute of Music.
Having dual degrees under her arm, a B.F.A. Carnegie Mellon University, Curtis Institute (Private Studies), a M.F.A. from the New England Conservatory of Music, and induction into Sigma Alpha Iota, she was moving closer toward her goals. Guided by opera director, Ian Strasvogel, she won a scholarship to the prestigious Tanglewood Music Festival where she starred in Kurt Weill's "Mahaghonny Songspiel", the late Bruno Madeira conducting. Heady stuff indeed!
The interim summers, she spent coaching extensively with American soprano Eleanor Stebor and the late Kammersänger, George London. Ms. Stebor dubbed Maria the "singer's singer" when she first heard Maria in her now legendary Master Classes. That compliment would follow Maria throughout her career. Maria had a long and artistically rewarding association with Mr. London. Mr. London also fostered her introduction to respected Viennese impresario Dr. Rudolph Rabb - by whom she was guided for years thereafter.
Maria instinctively felt that she needed to grasp the truth in singing. No longer satisfied to rely on her natural vocal ability to carry her through performances, she desperately sought to find a teacher who could train her more "completely". It was a fateful day then in New York, when at the New York City Opera, Maria had a fortuitous meeting with the late Swedish soprano, Esther Andreas, a dramatic soprano of distinction and a voice teacher of undeniable genius. Having studied with the venerable Nadia Boulanger in Paris, Madame Eugenia Forrestier and the great Paula Novikova, Miss Andreas was for Maria... Godlike. Maria courageously asked for an audition to which Miss Andreas agreed. Afterwards, Esther commented: "You should study singing intensively my dear... you are an exceptionally gifted young artist however, you need to learn the technique in singing if you want to sustain a career. When you want to explore this further, please contact me." Weeks later Maria did just that!
That Miss Andreas accepted Maria as her student changed Maria's life forever. Ultimately, she focused her instincts on learning all that there was to grasp. The impact that this great lady had on Maria was overwhelming. Says Maria, "Esther's familiarity, her points of reference, her devotion, her interest and passion were completely connected to the artistic truth. She had a discipline of thought and an inexhaustible dedication to vocal knowledge. When she died in 1987, a light went off in my life I have yet to meet any teacher who could approach her spirituality and genius.
There was a day in her studio I will never forget. I was preparing "La Boheme" when Esther stopped my lesson and said: 'You will teach one day Maria. ' I looked at her as if she was hallucinating - as teaching was a pathway which I never considered especially since I was new to learning about the art of singing myself! She said that she had never trained a young singer who assimilated the information as quickly or correctly as did I. There was no escaping it... I would teach too!"
It was only eleven months and countless lessons later with Miss Andreas that Maria was vocally poised to audition for the Vienna State Opera. It was to be the turning point of her career.
"I will never forget that June day in Vienna. After having auditioned for three months and called back each time, I made it to the final round. Only 13 singers from 630 were asked to perform on the stage of the VSO and I was included. I simply planted my feet on that stage and began to sing the 3 arias from "Boheme", "Traviata" and "Pagliacci" from my heart and soul. Everything that Esther had taught me was with me on that day... every thing.
I was the only singer asked to remain. I was told to go upstairs to the administrative offices. Of course this was all said to me in German and I hadn't a clue as to what I was being told. I only knew that I had not been given the proverbial 'thank you.. don't call us we will call you' routine! I was nothing short of delirious! When I left the theater, contract in hand, the sun was shining so very brightly. All my American friends were waiting for me at the stage door cheering. It was a wonderful afternoon. But, before we could celebrate, I had to first call 3 people in my life who had helped place me there.. center stage... Mom, JoAnn and Esther."
Now represented by revered Viennese agent, Dr. Rudolph Rabb and with 3 important premieres, "Carmen", "Gianni Schicchi", and "Der Junge Lord" at the Vienna State Opera to add to her ever increasing resume, Maria' s European career advanced.
She guested often and gained in experience and visibility. Wherever she sang, she was warmly received by both audiences and critics alike. She was now on her way! After several seasons at the VSO, and eager to explore the US market, she returned to the US in hopes of broadening her career. She sang for Columbia Artist Music Management consultant, Matthew Epstein and shortly thereafter joined the CAMI roster, David Foster Division where she was guided by Gerry Bollfrass. Further artistic direction was sought when she met and sang for SAFIMM agent, Ludwig Brunner. Theirs has been a warm and continuing association.