Marina De Liso

Mezzo-Soprano

Biography

Marina De Liso began studying singing very young and graduated from the Conservatory of Rovigo, later she attended the School of Music in Milan, where she did a two years master in Renaissance and Baroque singing with Claudine Ansermet. In 2001 she won the "Toti Dal Monte" competition and in 2002 the As.Li.Co. Competition in Milan, two of the most important singing competitions in Italy.
Recent engagements include: Adalgisa/Norma in Bellini theater of Catania at Teatro Massimo di Palermo under the direction of Maestro Gabriele Ferro and in Tel Aviv w. Daniel Oren and in Rovigo, Isabella/Italiana in Algeri in Vichy, at the Teatro Regio in Turin and at the Verona Philharmonic (Pier Luigi Pizzi production); Giovanna Seymour/Anna Bolena at the Teatro Bellini in Catania and Orfeo in the Orfeo ed Euridice by Gluck at the Teatro San Carlo in Naples, Angelina/Cenerentola and Adalgisa/Norma at the Teatro Sociale di Rovigo, as well as in the role of Dorabella/Cosi fan tutte at the Teatro dell'Opera Giocosa in Savona and Bolzano; a recording of Camille Saint Saens under the direction of Hervé Niquet; Giustina in Flaminio by Pergolesi Pergolesi Festival of Jesi; Tamiri Farnace in Vivaldi's European tour (Bilbao, Ambronay, Bremen ..) with Diego Fasolis; the title role in Vivaldi's Giustino in Vienna Teather an der Wien ; Recitals and concerts of the European tour with Handel and Vivaldi with both Fabio Bonizzoni Ensembla La Risonanza and with Fabio Biondi (Europa Galante); Dorilla in Tempe by Vivaldi (recording and concerts) with Diego Fasolis in Lausanne; Le Comte Ory by Rossini at Teatro alla Scala in Milan, conducted by Donato Renzetti and directed by Laurent Pelly.
Future highlights in 2018 embrace Rosina/Barbiere di Siviglia at Teatro Regio di Torino and Adele/Il Pirata by Bellini at Teatro alla Scala di Milano.
She made her debut as a very young Quickly in Falstaff in theaters of Trento, Rovigo and Bolzano, and later in The Dido and Aeneas by Purcell at the Teatro Olimpico in Vicenza. Then She is Alcina in the Orlando Furioso by Vivaldi; Isabella in Italiana in Algeri in various Italian theaters, including the Teatro Alla Scala alongside the tenor Juan Diego Florez; the Marchesa Melibea in Il Viaggio a Reims by Rossini conducted by Alberto Zedda; Cherubino in Le nozze di Figaro at the Teatro Carlo Felice in Genoa; Flaminia in “L’Innocenza giustificata” by Gluck (Harmonia Mundi) recording; Ragonde in Le Comte Ory at the Rossini Opera Festival in Pesaro; Orfeo in Gluck's Orfeo ed Euridice at the Teatro Lirico di Cagliari; Rosina in The Barber of Seville directed by C. Spinosi at the Capitole of Toulouse and Brest; Tauride in Arianna by Handel at the Barbican in London directed by Christopher Hogwood; Euriclea in the Didone by Cavalli at the Teatro alla Scala in Milan with Fabio Biondi.
Next to the classical repertoire is particularly intense on business in the baroque field. Among the Haendel’s roles of recent times still stand out: Arsaces in Neapolitan in Ferrara and Modena with the Accademia Bizantina and Ottavio Dantone; Rosimonda in Faramondo on tour in various European capitals; Cornelia in Giulio Cesare at the Teatro Carlo Felice in Genoa, directed by Diego Fasolis and direct Bremen by Ottavio Dantone; Andronico in Tamerlano under the direction of Emmanuelle Haïm at the Théâtre des Champs Elysées in Paris; Claudio in Silla at the Accademia Santa Cecilia under the direction of Fabio Biondi; Fileno in Chloris, Tirsi and Fileno in Hanover Andreas Spering; Speranza in Monteverdi's Orfeo with Emmanuelle Haïm at the Théâtre du Châtelet in Paris and Strasbourg, Asteria in Vivaldi's Bajazet in Japan, at Teatro La Fenice in Venice and in tour in various European cities; The Senna Festeggiante directed by Jordi Savall In Palau des Art; Mercurio in Venice and Turin with La Didone di Cavalli, Carlo re d'Alemagna by Scarlatti in Stavanger in concert and recording with Europa Galante; Cleofe in Handel's Resurrection in the Misteria Paschalia Festival in Krakow with the Giardino Armonico.

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Reviews

Il Barbiere di Siviglia at Teatro sociale di Rovigo, Bellini News, 11 Nov 2017
“Marina De Liso, salvo errori di nascita rodigina, affronta il ruolo di Rosina con sicurezza e disinvoltura molto pertinente, ed è maliziosa nella caratterizzazione del personaggio. La cantante è dotata di voce mezzosopranile chiara che ben si adatta alla partitura rossiniana, ben realizzata la coloratura e encomiabile la spavalderia nella varietà degli accenti.”

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