MEGAN MARINO mezzo-soprano www.meganmarino.com marino.meg@gm​ail.com ​•​ Photo by Dario Acosta GENERAL MANAGEMENT Sempre Artists Kristin Cowdin, President & Artist Manager ​•​ 4768 Broadway, #330, New York, NY 10034 tel: +1 212 653 8895 [email protected] www.sempreartists.com ​•​ ​•​ EUROPEAN MANAGEMENT Intermusica Isla Mundell-Perkins, Artist Manager, Vocal & Opera ​ ​•​ 9 Kingsway, London WC2B 6XF, United Kingdom tel: +44 20 7608 9915 [email protected] www.intermusica.co.uk ​•​ ​• ​ PUBLIC RELATIONS Blalock Branding Jonathan Blalock, Founder & CEO ​•​ tel: +1 336 512 6832 [email protected] www.blalockbranding.com ​•​ ​ ​ ​•​ MEGAN MARINO mezzo-soprano www.meganmarino.com marino.meg@​ gmail.com ​•​ BIOGRAPHY Megan Marino is praised by Opera News as “a gifted actress with a strong, appealing voice graced by a rich lower register.” In the 2019-20 season, she returns to the Metropolitan Opera as Flora in La traviata, Opéra national de Paris as Wellgunde in Das ​ ​ ​ Rheingold at the start of the company’s new Ring Cycle, and Opera Colorado for her beloved portrayal of Rosina in Il barbiere di Siviglia. She makes as debut and ​ ​ subsequent appearances with the Opéra national de Bordeaux’s Da Ponte Trilogy in ​ which she debuts the roles of Susanna in Le nozze di Figaro, Zerlina in Don Giovanni, ​ ​ ​ ​ and Dorabella in Così fan tutte with Mark Minkowski conducting; she will reprise Le ​ ​ nozze di Figaro with him and Les musiciens du Louvre on tour in Israel. Future seasons ​ see her debut at the Gran Teatre del Liceu and further returns to the Metropolitan Opera, Santa Fe Opera, Opéra national de Paris, and Dallas Opera. Last season she made company debuts with Dallas Opera as Meg Page in Falstaff, Atlanta Opera as Olga in ​ ​ Eugene Onegin, and Opera Idaho as Anita in West Side Story. She returned to the ​ ​ ​ Metropolitan Opera as Laura in Iolanta, the Nursing Sister in Suor Angelica as well as ​ ​ ​ Utah Opera as Stephano in Roméo et Juliette. photo by Dario Acosta ​ ​ Ms. Marino made her Metropolitan Opera debut as a Voice of an Unborn Child in Die Frau ohne Schatten and has since ​ returned as Myrtale in Thaïs, Second Wood Nymph in Rusalka, and for the company’s productions of Don Carlo, Rigoletto, ​ ​ ​ ​ ​ Roméo et Juliette, and Werther. She joined Lyric Opera of Chicago as Annina in Der Rosenkavalier; Santa Fe Opera as ​ ​ ​ ​ ​ Suzuki in Madama Butterfly; Opéra national de Paris as Zweite Knappe in Parsifal; Kentucky Opera, Florida Grand Opera, ​ ​ ​ ​ Fort Worth Opera, Opera Fort Collins, Virginia Opera, and Saint Petersburg Opera as Rosina in Il barbiere di Siviglia; Lyric ​ ​ Opera of Kansas City as Hänsel in Hänsel und Gretel and Olga in Eugene Onegin; Des Moines Metro Opera as Meg Page in ​ ​ ​ Falstaff; Spoleto Festival U.S.A. for Varvara in Káťa Kabanová; Opera Delaware, Opera Fort Collins, Green Mountain Opera, ​ ​ ​ and Baltimore Concert Opera for Angelina in La cenerentola; Central City Opera as Despina in Così fan tutte; Utah Opera as ​ ​ ​ ​ Jessie in Beck’s The Long Walk; and the Fire Island Opera Festival for the Third Schauspieler in Weill’s Der Protagonist. She ​ ​ ​ ​ also joined the rosters of Lyric Opera of Chicago for Anna Bolena and San Francisco Opera for Partenope and Orlando. ​ ​ ​ ​ ​ ​ She is a former Resident Artist of Santa Fe Opera, where she sang the Page in Salome and Claire in the world premiere of ​ ​ Jennifer Higdon’s Cold Mountain. As a former young artist of Palm Beach Opera, her performances with the company ​ ​ included Angelina in the family performance of La cenerentola and the Page in Salome. She spent the summer of 2012 at the ​ ​ Caramoor International Music Festival, where she made her debut as soloist in Mendelssohn's A Midsummer Night's Dream ​ with the Orchestra of St. Luke's and conductor Roberto Abbado. Capitalizing on her success in bel canto repertoire, she also covered contralto Ewa Podles in the title role of Rossini's Ciro in Babilonia at Caramoor and the Rossini Opera Festival in ​ Pesaro. Her concert performances include Handel’s Messiah with the Cincinnati Symphony Orchestra, Colorado Bach Ensemble, and ​ ​ Boulder Master Chorale; Mozart’s Requiem with the Boston Boys Choir; Bach’s St. John Passion at the American University ​ ​ ​ of Beirut, Lebanon; and Haydn’s Mass No. 6 at Carnegie Hall; and Brahms’ Zwei Gesänge with the Fine Tuned Society of ​ ​ Boulder, Colorado. She sang Miriam and Ruth in the American premiere of Weill’s The Road of Promise with MasterVoices ​ ​ at Carnegie Hall, a recording of which is available on the Navona label. Ms. Marino is a winner of The William Matheus Sullivan Musical Foundation Award as well as the Shaulis/Gasperec Emerging Singers Grant from Opera Index and the Norma Newton Award from the George London Foundation. She is also a 2015 recipient of the Anna Case MacKay Memorial Award from Santa Fe Opera; second prize winner in both the Gerda Lissner International Vocal Competition and the Opera Birmingham Vocal Competition, at which she also won the audience favorite award; as well as an encouragement award recipient from the George London Foundation competition. In 2014, she won first place winner of both the Marcello Giordani Foundation International Vocal Competition and Oratorio Society of New York’s Lyndon Woodside Oratorio Solo Competition. Following the summer of 2013 spent at Santa Fe Opera, Ms. Marino received The Katharine M. Mayer Award from the company. She is a previous second place winner of the Fort Worth Opera McCammon Competition and third place winner of the Lotte Lenya Competition and the Shreveport Opera Singer of the Year Competition. She is also the recipient of a career grant from Allied Arts. Meg grew up in Paoli, Pennsylvania, attended Conestoga High School and is the daughter of a salesman and a scientist. Her very first music teachers were Jane Heintzelman and Suzanne Dickinger. She is an active board member of her union, practices Ashtanga yoga, enjoys cooking, baking bread and crocheting, and is an animal lover. She holds a Masters in Voice from the University of Colorado and a Bachelors in Voice from the University of Southern Maine. Meg is a dual American and Italian citizen, and she and her husband make their home in Lyons, Colorado. [Updated February 2020] MEGAN MARINO mezzo-soprano www.meganmarino.com marino.meg@​ gmail.com ​•​ ACCLAIM IL BARBIERE DI SIVIGLIA “Only the radiant Megan Marino retained a sense of depth and humanity as Rosina… anticipation was high when Marino settled onto a couch and began “Una voce poca fa.” She did not disappoint. With remarkable, effortless control of those florid coloratura lines, impeccable phrasing and a comfortably displayed lower range, the mezzo established herself as the evening's one-and-only star. She also showed fine comedic touches, prancing about, nimbly hopping onto a baby grand to join her lover in duet and establishing Rosina as a force to be reckoned with.” Opera News on Opera Colorado’s production of Il barbiere di siviglia; ​ ​ ​ 11.2.19 “Mezzo-soprano Marino, proves her vocal prowess in that first aria. But she also sustains power throughout the production all the while nimbly singing Rossini’s swift and acrobatic music... Marino’s Rosina is particularly funny in how she holds a cigarette in a devil-may-care manner while harboring a steely resolve when other men come to try to possess her." 89.3 WFPL on the Kentucky Opera’s new production of Il barbiere di ​ ​ Siviglia; 2.17.18 ​ “The evening’s real strengths proved to be Megan Marino as Rosina — singing cleanly and warmly and un-self-consciously, not afraid to use her chest voice" The Washington Post on Virginia Opera’s production of Il barbiere di ​ ​ Siviglia; 12.4.16 ​ Photo by Nine Photography “Rosina, the doctor’s ward, is sung by mezzo Megan Marino with vocal and physical agility, not to mention huge power. She gave the warhorse aria “Una voce poco fa” (“A little voice I hear”) a fresh and masterful performance." The Virginian-Pilot on Virginia Opera’s production of Il barbiere di Siviglia; 11.12.16 ​ ​ ​ “Attractive mezzo-soprano Megan Marino (Rosina), whose lush sounding voice throughout her extensive range was exceptional" The Virginia Gazette on Virginia Opera’s production of Il barbiere di Siviglia; 11.23.16 ​ ​ ​ “Megan Marino as Rosina shines. Her upper register is her sweet spot, but her acting may exceed her vocals, which takes nothing away from her vocals. She is tempestuous, flirtatious and saucy in her barely contained desire and love for the student Lindoro (Count Almaviva in disguise). In the second scene, set innovatively in the doctor’s office, she is a veritable chameleon." Richmond Times-Dispatch on Virginia Opera’s production of Il barbiere di Siviglia; ​ ​ 11.19.16 “She [Marino] easily tosses off Rossini’s florid music with both clarity and velocity.” Theater Jones on Fort Worth Opera’s production of Il barbiere di Siviglia; 5.7.16 ​ ​ ​ “…Megan Marino, whose rich mezzo-soprano voice was a decided plus throughout the evening" The Star Telegraph on Fort Worth Opera’s production of Il barbiere di Siviglia; 5.1.16 ​ ​ ​ “Rosina, Megan Marino supplies an aptly tangy mezzo and, again, impressive vocal fireworks." The Dallas Morning News on Fort Worth Opera’s production of Il barbiere di Siviglia; ​ ​ 5.8.16 Photo by Matthew Staver MEGAN MARINO mezzo-soprano www.meganmarino.com marino.meg@​ gmail.com ​•​ ACCLAIM continued ​ ​ IL BARBIERE DI SIVIGLIA (continued) ​ ​ “Megan Marino is a spitfire of a Rosina, a strong-willed actress who stands up to her scheming boss, his guards and co-conspirators…she plays a star besieged by autograph seekers. With an ample mezzo voice that easily fills the house, she fires off gleaming coloratura, adding some of her own ornaments along the way.