María Julia García

She studied music at the Conservatorio «Amadeo Roldán», where she had Zoila Gálvez as her voice teacher.

She perfected her vocal technique in Bulgaria with Jristo Brámbarov (1970-73).

She joined the chorus of the Instituto Cubano de Radiodifusión (1964) and entered the chorus of the Teatro Lírico Nacional de Cuba (1967).

She made her debut as a soprano soloist in a lyric concert (1968). La del soto del parral (Aurora, ¿1969?), La traviata (Flora, 1970) and Il trovatore (Leonora, 1973).

Around 1978 she moved to the mezzo-soprano voice type: Il trovatore, this time as Azucena (1979); Madama Butterfly (Suzuki, 1980), Il tabarro (Frugola, 1981), El barbero de Sevilla (Berta, 1982), Cavalleria rusticana (Santuzza, 1986 and Mamma Lucia, 1996), Faust (Marthe, 1987), La médium (Baba, 1988), Rigoletto (Magdalena, 1988) and Aida (Amneris, 1988).

She participated in the premieres of the Cuban works Ecue Yamba O (1986), El sueño de los Carballo (1993) and La taza de café (1994).

In 1984 she performed with the Teatro Lírico Nacional de Cuba at the XII International Cervantino Festival, Guanajuato, Mexico.

She also performed in some countries of Central Europe. She premiered with the Orquesta Sinfónica Nacional the Triptych of José Martí, by Harold Gramatges and
She participated in the recordings made by EGREM of the opera Manita en el suelo, by García Caturla and Cecilia Valdés, by G. Roig.

She died in Ciudad de La Habana.