A delightful, agile and expressive soprano voice with an impressive range and brilliance.

Sarah Walker CBE


What a wonderful first class soft coloured voice! First Class!

Stefan Bevier, Conductor


Very finished and accomplished with clean coloratura, a charming artist!

Alexandra Mercer, APA Artists’ Management


Iria has been a regular at the ZêzereArts Festival in Portugal over the past eight years and it has been a pleasure to watch her progress from a well-prepared, eager and talented student to a fully fledged professional contributor. Her time with us culminated in a wonderfully dynamic and vocally beautiful performance of Susanna in our 2018 production of the Marriage of Figaro. I am delighted to recommend her and we look forward to the next opportunity to invite her to sing for us!

Brian Mackay, Artistic Director, ZêzereArts Festival


Iria is on track to become a real ambassador for Portuguese Music and Culture. In performances, Iria has shown her ever-increasing communicative abilities, her enthusiasm for new directions in music and her willingness to engage with complex and unusual repertoire.

Armin Zanner, Head of Vocal Studies at Guildhall School of Music & Drama


Iria is a highly promising young soprano with an exquisite high soprano voice. Her timbre is warm yet clear at the same time. She excels in the baroque repertoire and has already acquired firm reputation as a reliable and talented soloist with number of baroque and early music ensembles. Iria’s voice holds future promise for roles in Mozart, Rossini, Bellini and Donizetti operas, and her sparkling personality and vivacious warm character make her a perfect cast for most of the roles suited for young soprano of her kind. Her voice is ideally suited for oratorio repertoire and sacred music, as well as concert repertoire. Iria is also a very intelligent young artist of great musicality and she has a great artistic and personal charm.

Lada Valesova, vocal coach at Royal Opera House


Tengo el gusto de presentar a la soprano Iria Perestrelo que, a mi juicio y después de mi experiencia trabajando con ella, es una de las voces más interesantes que he encontrado. Iria, el poeta Albert Pellicer y yo, participabamos juntos en un proyecto de la Guildhall School of Music junto con la Universidad de Birkbeck en Londres. Mi trabajo consistía en escribir una pieza para ella y un pequeño ensemble. Desde el principio me sentí muy cómodo trabajando con ella, ya que todas las dudas técnicas que le planteaba me las aceptaba sin problemas, me gustó su confianza. El resultado fue una pieza extremadamente compleja desde el punto de vista tanto técnico como de interprétación. Había escrito una pieza sabiendo que muy pocas sopranos podrían llevarla a cabo, pero Iria hizo un trabajo estupendo y el estreno en el Wigmore Hall de Londres fue todo un éxito! Quedé realemente sorprendido por la belleza y potencia de su voz, además de su versatilidad. Me consta que no dejó a nadie indiferente entre las personas que ese dia presenciaron el concierto, ya que Iria consiguió provocar las mentes de los presentes cantando de una manera fácil un papel que exigía un registro de voz realmente amplio y colorista. Iria fue sin ninguna duda la protagonista esa noche en el Wigmore.

Francisco Coll García, composer Faber Music


I heard Iria Perestrelo in a concert performance of the Messiah. Her light soprano voice is well focused, and she has a secure technique. She showed clean coloratura and I enjoyed the very pleasing quality of her voice which carried well in the church.

Iris Dell’Acqua, Singing teacher


I was very pleased that Iria came to sing the soprano solos in our recent performance of Purcell’s Come ye Sons of Art and Schubert’s Mass in G in Rochester Cathedral. She had learnt the music thoroughly and was professional in her conduct and in her approach to the whole performance. In particular, I was impressed by the flexibilty of her voice and the poise she demonstrated in Bid the virtues. She had an instinctive feel for the inegal rhythms and the plaintive feel which that piece requires. Her voice was light enough to cope with these delicate moments but also had enough weight to balance with our rather vigorous young bass in the duet See nature rejoicing. She seemed to really enjoy performing and this was evident in the Schubert Mass. She seemed to relish singing with the larger orchestra and projected well into the nave. My overall impression is that she coped with this repertoire with considerable ease and style and I would very much like to hear her sing more substantial works from the Baroque and Classical eras. She communicates well with other musicians and her audience, and her voice and persona suggest that she has a wide dramatic range. I think to hear her sing Monteverdi or Mozart operatic roles would be a real treat!

Douglas McIlwraith, Director of Music at King’s Rochester



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