Megan Marino is praised by Opera News as “a gifted actress with a strong, appealing voice graced by a rich lower register.” In the 2017-18 season, she makes her debut with the Opéra national de Paris as Zweite Knappe in Parsifal. She returns to the Metropolitan Opera as Myrtale in Thais as well as for its production of Le nozze di Figaro, Santa Fe Opera for her first performances of Suzuki in Madama Butterfly, and Lyric Opera of Kansas City for her role debut as Olga in Eugene Onegin. Never straying too far from bel canto repertoire, Ms. Marino also reprises Rosina in Il barbiere di Siviglia with Kentucky Opera. Future seasons include her debuts with Dallas Opera, Atlanta Opera, and Opéra national de Bordeaux as well as returns to the Metropolitan Opera, Opéra national de Paris, and Utah Opera. Last season she made debuts with the Lyric Opera of Kansas City as Hänsel in Hänsel und Gretel, Opera Delaware as Angelina in La cenerentola, Utah Opera as Jessie in Beck’s The Long Walk, Central City Opera as Despina in Così fan tutte and returned to Virginia Opera as Rosina in Il barbiere di Siviglia. She also returned to the Metropolitan Opera as the Second Wood Nymph in the company’s new production of Rusalka as well as for Roméo et Juliette. On the concert stage, she joined the Fine Tuned Society of Boulder, Colorado for Brahms’ Zwei Gesänge.
Ms. Marino made her Metropolitan Opera debut as a Voice of an Unborn Child in Die Frau ohne Schatten and has also joined the company for Don Carlo, Rigoletto, and Werther. She joined Lyric Opera of Chicago as Annina in Der Rosekavalier; Florida Grand Opera, Fort Worth Opera, Opera Fort Collins, and Saint Petersburg Opera as Rosina in Il barbiere di Siviglia; Des Moines Metro Opera as Meg Page in Falstaff; Spoleto Festival U.S.A. for Varvara in Káťa Kabanová; Opera Fort Collins, Green Mountain Opera, and Baltimore Concert Opera for Angelina in La cenerentola; Opera Iowa for Hänsel in Hänsel und Gretel; and the Fire Island Opera Festival for the Third Schauspieler in Weill’s Der Protagonist. She sang Miriam and Ruth in the American premiere of Weill’s The Road of Promise with the Collegiate Chorale at Carnegie Hall, and joined the Lyric Opera of Chicago for Anna Bolena and San Francisco Opera for Partenope.
She is a former Resident Artist of Santa Fe Opera, where she most recently sang the Page in Salome and Claire in the world premiere of Jennifer Higdon’s Cold Mountain. Also as a former young artist of Palm Beach Opera, her performances with the company included Angelina in family performances of La cenerentola as well as the Page in Salome, and Mrs. Grose in The Turn of Screw. She spent the summer of 2012 at the Caramoor International Music Festival, where she made her debut as mezzo 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 subsequently, the Rossini Opera Festival in Pesaro. The mezzo-soprano’s other recent operatic engagements include Prince Orlofsky in Die Fledermaus with the New Rochelle Opera, Pitti-Sing in The Mikado with Virginia Opera, Mercédès in Carmen with Opera Coeur d'Alene, Phoebe in The Yeomen of the Guard with Bostonian Concert and Opera Ensemble, and Anita in West Side Story with the Aspen Music Festival. She joined Opera Colorado for both the Third Wood Nymph in Rusalka and Tisbe in La cenerentola.
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. She sang previous performances Bach’s St. Matthew Passion with the University of Colorado Symphony, where she received her Master of Music Degree and also sang the title role of The Rape of Lucretia. She holds a Bachelor of Music degree from the University of Southern Maine.
“With an ample mezzo voice that easily fills the house, she fires off gleaming coloratura...”
— The Miami Herald