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BIOGRAPHY |
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With her extraordinary lyric soprano voice and her strong stage personality, Maria Miró recently succeeded at the Teatro Real as ANA OZORES, title role of La Regenta by M. Machado. The press wrote:
Maria’s voice is regularly sought after at the Madrid Opera, as well as at the Gran Teatre del Liceu, Palau de les Arts de Valencia, La Maestranza, Opera de Tenerife, Opéra de Avignon or Oviedo, appearing with a wide repertoire ranging from Mozart’s CONTESSA ALMAVIVA, FIORDILIGI, DONNA ANNA to Puccini LIU, MIMI, Verdi’s NANETTA, Britten or Wagner roles.
She made her operatic debut as FIORDILIGI at Lyric Opera Studio of Weimar in 2011, and in 2012 she sang the FIRST DAME at the 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 her very successful debut at the Teatro Real Madrid as MARIANA in Wagner’s Liebesverbot. Whereupon the soprano was immediately re-engaged in Madrid as PENELOPE in Britten’s Gloriana, achieving an equal triumph.
The singer portrayed 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.
A celebrated Zarzuela singer, Maria made her debut at the Teatro de la Zarzuela as MARQUESITA in El barberillo de Lavapiés in 2019. She 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 is a sought-after singer for Spanish composers of our days. In 2021 she enjoyed huge success as CRUZ in Tránsito by Jesús Torres at the Palau de les Arts and at the Teatro Real, as LAURENCIA in Fuenteovejuna by Jorge Muñiz at the Opera de Oviedo (2018) and once again at the Opera de Tenerife (2022).
As a recitalist she has performed in many Festivals and Concert Halls throughout Spain and the United Kingdom, including the Auditorio of Barcelona, the Auditorio of Alicante, and the Gran Teatre del Liceu. Maria sang in Beethoven’s 9th Symphony with JOSBU, Egmont with the Oviedo Filarmonia, Rossini’s Petite Messe Solennelle, Vivaldi’s Gloria or Mendelssohn’s Elijah and Psalm 42.
Future engagements include MICAELA at La Maestranza in Sevilla, her return to the Teatro Real both with HERMANA in the new composition Tejas Verdes and as MÉLISANDE in Ariane et Barbe Bleu, CRUZ in the opera Transito at the Palau de les Artes of Valencia, a revival of La Regenta in Oviedo or NANETTA in Falstaff at the Gran Teatre del Liceu.
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| REVIEWS |
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| Teatro Real Madrid – La Regenta – ANA OZORES |
| ...and Echo, the well featured and experienced lyrical soprano María Miró. |
Scherzo
scherzo.es
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| 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
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| 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
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| 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
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| 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
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| 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
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| >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
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| 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
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| 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
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| (…) 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
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| 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
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