Maria MIRÓ  Soprano
 
  BIOGRAPHY  

 

Born in Barcelona, Maria Miró is one of the most famous Spanish sopranos of the moment, appearing regularly at the Teatro Real, Gran Teatre del Liceu or the Palau de les Arts de Valencia.

After completing her singing studies at the renowned Liceu Conservatoire of Barcelona, she completed her studies with a Master in Music with Distinction at the Royal Northern College of Music of Manchester. Before, she studied transversal flute and piano and graduated in Medicine at the University of Barcelona.

She made her operatic debut as FIORDILIGI at Lyric Opera Studio of Weimar in 2011, and in 2012 she sang FIRST LADY at Wexford Opera Festival and SUOR GENOVIEVA in Suor Angelica at the Dorset Opera Festival. Immediately after her first performance at the Gran Teatre del Liceu in Falla’s L’Atlantida, she was re-engaged to sing in I due Foscari and Il trovatore here the two following seasons. Maria sang MIMI at the Festival of Salisbury and portrayed NORMA at the Teatro Massimo of Palermo. In 2013 she made hervery successful debut at the Teatro Real Madrid as MARIANA in Wagner’s Liebesverbot. Whereupon the soprano was immediately reengaged in Madrid as PENELOPE in Britten’s Gloriana, where she achieved an equal triumph:
“Maria Miró gave the best actuation of the night, with a rounded and powerful voice, homogeneous wonderful colour in the different registers, good high register and excellent dramatic use of the dynamics”.Platea Magazine

The singer portrayed the CONTESSA ALMAVIVA. at the Opera Grand Avignon. Other highlights are her WELLGUNDE in Teatro Real’s Ring, her appearances as MICAELA with the Orchestra Reino de Aragón, MUSETTA at the Opera de Sabadell or the FIRST DAME in The Magic Flute at the Opera de Oviedo in 2021.
As very much sought-after Zarzuela singer, Maria made her debut at the Teatro de la Zarzuela as MARQUESITA in El barberillo de Lavapiés, 2019, and performed in Oviedo (2020), at the Teatro de la Maestranza (2021),the Palau de les Arts and once again at the Teatro de la Zarzuela (2022.

Fond of contemporary music, the soprano has sung the world première of two Spanish new Spanish operas by composers of our days. In 2021 she enjoyed huge success as CRUZ in Tránsito by Jesús Torres in at the Palau de les Arts and at the Teatro Real and LAURENCIA en Fuenteovejuna by Jorge Muñiz at the Opera de Oviedo (2018) and once again at the Opera de Tenerife (2022).

The excellent recitalist has performed in many Festivals and Concert Halls throughout Spain and the United Kingdom, including the Auditori of Barcelona, the Auditorio of Alicante, and the Gran Teatre del Liceu. As a soprano soloist she sang in Beethoven’s 9th Symphony with JOSBU, and Egmont with the Oviedo Filarmonia, Rossini’s Petite Messe Solennelle, Vivaldi’s Gloria or Mendelssohn’s Elijah and Psalm 42.

Future engagements include the title role in the world premiere of Marisa Manchado’s LA REGENTA at the Teatro Real Madrid. Besides, she is once again CRUZ in the opera Transito at the Palau de les Artes od Valencia. In Oviedo she sings ANNA BOLENA ant at the Liceu she portrays NANETTA in Falstaff.

 

 
 
 
REVIEWS
 
Teatro Real Madrid – La Regenta – ANA OZORES
Maria Miró in the title role, vocally fresh with secure coloraturas…
OPERNWELT , 12/2023 Götz Thieme
Ana Ozores, brilliantly played by María Miró, is alone on stage, the place belongs to her and she entirely fills it with her voice…
But with her wonderful voice, Maria Miro succeeds in bringing this compkex woman, which she emulates, to life. (...)the Spanish soprano’s performance in brilliant.
Le Salon Musical
lesalonmusical.it
Opera de Tenerife – Fuenteovejuna - LAURENCIA
The solo singers were also very adequate, both vocally and dramatically, with Maria Miró‘s stellar performance as Laurencia standing out. A soprano of great dramatic vein, with power and vocal mastery, she managed to exemplarily reflect the vicissitudes of the character.
bachtrack
mariamiro.com
The soprano María Miró offered an excellent performance of Laurencia, a character who, bloodied and inflamed by anger at being raped, confronts her countrymen, reproaches them and demands revenge. This is the core of the work: without this convincing scene, the story would not make sense.
Ópera Actual
mariamiro.com
Teatro Real Madrid Götterdämmerung – WELLGUNDE
The last act was the best and as for Heras-Casado’s direction, with a scene of the Rheinmaidens (magnificent the three singers) of appropiate and accomplished lyrism (…) A wonderful trio of Rheinmaidens stood out, formed by Elisabeth Bailey, María Miró and Marina Pinchuk, who showed an spotless blend, correct emission and good singing concept, as well as an impeccable stage performance.
Codalario
codalario.com
Teatro Real/ Teatro Espanol – Transíto – CRUZ
Starting with the Cruz of María Miró, mater dolorosa, strong in appearance, even harsh, but who carries within her the suffering of the abandoned, while being the one who must, moreover, watch over her son. The powerful voice with full-bodied timbre perfectly embraces the whole range of feelings, while the actress is impressively accurate.
Toute la culture (09.06.21), Paul Fourier
>María Miró, unpolluted in black in her eternal widowhood, has to endow her character with pain and dignity and it seemed to me the most appropriate voice of the night: strong, without fuss, endowing the role with the necessary dignity. Very well.
Platea Magazine (01.06.21), Enrique Bert
María Miró supported by her creamy and attractive soprano timbre – the highest quality voice of the five singers (…) – composed a suffering Cross, which is torn between suffering, jealousy and reproaches towards a husband, who still loves...
Cadalario (01-06.21), Raúl Chamorro
María Miró shows the highest dramatic side of the action with excellent vocal resources and a very measured histrionic dimension.
Scherzo (31.05.21), Santiago Martín Bermúdez
(…) As for the soprano María Miró, in the role of Cruz, she creates a splendid vocal figure from a backpack of pain and endurance.
El País (30.05.21), Jorge Fernández Guerra
The cast is homogeneous and convincing in its two facets, vocal and acting, and in both we believe that the Cruz of María Miró stands out.
Periodista digital (30.05.21), José Catalán Deus
 
 
 
ON STAGE
Teatro Real de Madrid – La Regenta – REGENTA
 
Teatro Real de Madrid – La Regenta – REGENTA
 
Opera de Tenerife – Fuenteovejuna – LAURENCIA
© Miguel Barreto
 
Teatro Real de Madrtid – Götterdämmerung – Wellgunde
© Javier de Real
 
Teatro Real und Teatro Espanol – Transito – CRUZ
 
Teatro Real Madrid – Il Pirata – ADELE
 
Teatre de la Faràndula de Sabadell - La Bohème - MUSETTA
© A. Bofill
 
 
 
INTERVIEWS - PORTRAITS
Scherzo Magazine - Maria Miró "Alternar repertorios favorece la elasticidad de la voz”