Yo-Yo Ma, the famous cellist, posted a video message: "Music has the power to heal and connect us all. This young woman's story reminds us why we must never give up on art, even in our darkest moments. I would be honored to perform with her someday."
Music schools around the world were offering scholarships: Juilliard, Curtis Institute, Royal Academy of Music in London. They all wanted Maria to study with them. Teachers were volunteering to work with her for free.
But there was also controversy in the music world. Some people questioned whether it was right to make such a big deal about one homeless person just because she could play piano.
"There are thousands of homeless youth who need help," wrote one music blogger. "Why should she get special treatment just because she has this talent? What about all the other kids on the streets?"
Others worried about putting too much pressure on Maria too quickly. Dr. Sarah Mitchell, who studied child prodigies, warned on television, "We have seen many young talents destroyed by fame and pressure. This girl needs therapy and stability before she needs concert halls."
Meanwhile, private investigators hired by record companies were trying to find Maria's mother, Elena. They searched hospitals, shelters, and immigration records. Some thought they had found leads, but nothing was confirmed.
The story had spread beyond just music news. It was being discussed on talk shows, in newspapers, and on social media around the world. Everyone had an opinion about what should happen to Maria.
Some celebrities offered to adopt her. A billionaire businessman said he would pay for her education. A famous actress wanted to make a movie about her story. Hollywood agents were already discussing film rights.
But in all the excitement, people seemed to forget that Maria was still just a frightened teenager who had been living on the streets. She did not understand contracts or fame or the music business. She just wanted to feel safe and maybe find her mother.
Jonathan's phone rang again. This time it was Gustavo Dudamel, the conductor of the Los Angeles Philharmonic. "Jonathan," he said, "I must meet this young woman. Her playing reminds me why I became a musician in the first place."
The Vienna State Opera called to offer Maria a chance to perform there. The Berlin Philharmonic wanted to feature her in their next season. Concert halls in Paris, London, and Tokyo were all competing to book her.