MY STORY
"Don't try to sing beautifully - try to function"
Such words from an opera singer? It sounds contradictory to claim that a confident and healthy sound only arises when it functions properly in the body and is not influenced by the desire to sing beautifully. Singing begins with the inhalation. I don't work on the sound, but where it arises. Sound should not be a coincidence, not an emotion - it should arise from a safe source in order to become emotional. This is a reliable tool that brings security and peace of mind. The motivation and love for teaching comes from the need to question my singing technique in the course of my career as an opera singer in order to use it safely, reliably and consistently in front of an audience. Singing was very easy for me, especially at the beginning of my work as a soloist. The technology went along with it. I didn't know how to explain what I was actually doing. And in my case that didn't make sense in the long term. By breaking down the parameters that are responsible for singing, I got to know and use my instrument step by step. In order to deepen my pedagogical skills, I completed the singing pedagogical certificate (GPZ) from the Federal Association of German Singing Pedagogues (BDG). For me, conveying my music is just as important as conveying a healthy and, above all, accessible singing technique. When I sing myself, I am responsible for myself. When I teach, I take responsibility for my students.
The way to the opera
The Argentinian native of Buenos Aires grew up in Germany. After graduating from high school, she studied singing at the Cologne University of Music with Prof. KS Edda Moser.
​While she was still a student, she began her career as a soloist at the Wuppertal theaters, the Tiroler Landestheater Innsbruck, the Lehar Festival in Ischl and the Tyrolean Festival in Erl.
She also held guest engagements at venues such as the Staatstheater Kassel, the Opèra - Thèatre de Metz and the Mecklenburgisches Staatstheater Schwerin.
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In her hometown of Buenos Aires, she made her debut at the Teatro Colón as Hanna Glawari in "The Merry Widow" and was a welcome guest at the Teatro el Circulo in Rosario. In La Bohème she sang the role of Mimi alongside tenor Marcelo Puente, and they performed the concert series "Opera del Corazón" together.
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In 2014 she made her debut as Marschallin in Rosenkavalier at the Mittelsächsisches Theater in Freiberg, and became a member of the ensemble, where she played leading roles Arabella (from the opera of the same name), Lisa (Piqué Dame), Giorgetta (Il Tabarro), Contessa (Le nozze di Figaro) or Fiordiligi (Cosà fan Tutte) debuted.
Leonora del Rio was a scholarship holder of the Horst - and Gretl - Will - Foundation in Cologne, and completed master classes and singing lessons with Mirella Frei, Edith Wiens, Brigitte Fass bands, Edda Moser, Alexandra von der Weth and Prof. KS Elisabeth Wilke.