Name: Maria de Luna
Play by: Ana Karla Suarez
She is an average 5’6” with ample womanly accoutrements, both aft and fore. In classic Spaniard tradition she has dark espresso eyes and long dark hair. Unlike the olive complexion of true Spaniards Maria has the light pale skin of her Basque heritage.
'Rita' as her friends may call her is a resolute and astute individual with a spirited engagement with close allies. To stay in favor of the many composers and patrons that support her lifestyle she has had to be skillful in observations and presentation. However at her core she has a formidable principle and a multi-layered honor.
To retain a wealthy patrons’ everlasting affections. To make other songbirds pale in compare.
Born Maria Valdés y Navarre, her birth name reveals her family's Basque origins. The daughter of the actor Pedro de Zárate Valdés, director of a company; composed of himself, his wife, Maria, her brother (a castrato)
and eight musicians that have had some fame and success in France and Northern Spain.
The life of a Musician is one much like the gypsies. From town to town, patron to patron and to stay only as long as the Production is making a good turn of it. And the role of an Actor and Actress is one of ever changing parts
, both in production and in life. Patrons are the bread and butter and each have their own favors to win. Maria was schooled from birth to observe and how to interpret human actions. How to present herself in each faucet of individuality that her admires deigned. One would say much like a courtesan, and one might be correct in the foundation of the term. However, not in the same exact
venue of service.
Her family and troupe were long in Aragon where her Father had secured the patronage of Ermengarde of Anjou in 1787. The duchess’ interest never lingered in Maria’s attentions, no it were solely for her brother. Who would sing endless aria’s each night for the Monarch. Maria was only 17 at the time and soon married, unhappily to Philip de Luna y Turin a steward in the royal house. And they stayed employed with the royal house until her passing due to consumption in 1790.
The family was now in Madrid. Maria is, thankfully, widowed as her spouse fell to the same bout of Tuberculosis that killed their Patron. With the lingering popularity of the troupe many doors were opening for Maria as her brother had renowned success. Luckily, not all patrons enjoyed the exotic male physique and she were a stunning female mirror of the famed castrati. Her voice may not reach the heights her brother were capable but she were not lacking in the same acoustics. After all they were the very same blood and trained by the very same hand.
Soon Maria was engaged as a primera dama
(female lead) at the Coliseo de la Cruz theater in Madrid during the season of 1792. She is a rapidly growing and easily recognized actress in Madrid. Rumors abound about her Social acquaintances and she has a growing Salon attracting greater patrons and admirers. One of which soon calls her to the ciudad de las máscaras
(city of Masks).