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Samuel Mariño
Ian Stones
Alice Jones
“Samuel Mariño’s expressive male soprano, an instrument of rare beauty applied with sensitivity and virtuosity.”
(Stephen Pettitt, The Sunday Times, March 2021)
Samuel Mariño’s unique vocal talent and glittering stage presence have already earned him a stellar reputation with audiences and allow him to explore a wide range of operatic roles in the baroque and classical repertoire.
Originally training as a ballet dancer at the Venezuelan National School of Dance, Samuel began his musical studies in piano and voice at the National Conservatory of Music. His first experiences performing operatic repertoire were with Camerata Barroca De Caracas where he worked with conductors including Gustavo Dudamel, Helmuth Rilling and Theodore Kuchar. It was these collaborations that ignited his passion for the baroque repertoire and inspired him to further his studies at the Conservatoire de Paris.
In the current season, Mariño takes on the role of Zambinella in the new Handel opera pastiche, Sarrasine (based on the Balzac novel of the same name) at the Handel Festival in Göttingen, while on the concert platform he reunites with long time collaborators L’Orchestre de l’Opéra Royal de Versailles, with Gabetta Consort at Opéra de Lausanne for a programme of Handel arias, and he makes his first appearances with Concerto di Cavalieri in Rome and on tour in Spain. He returns to the Gluck Festival and reunites with Recreation Orchestra in a programme of Mozart arias and Ah! Perfido, both under Michael Hofstetter; and performs as part of the benefit opera gala “Rebuild Ukraine” at Konzerthaus Berlin with Deutsches Symphonie — Orchester Berlin under Keri-Lynn Wilson. In a welcome return to the US after his debut last season, he performs a recital presented by Pro Arte Musical at the Pablo Casals Symphony Hall, Puerto Rico joined by pianist Jonathan Ware.
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Standout debuts dominated the 2022/23 season for Mariño including his UK opera debut as Iris in Glyndebourne Festival’s first ever production of Handel’s Semele with Orchestra of the Age of Enlightenment, conducted by Václav Luks. In concert, he made his first appearances in North America with Tafelmusik Baroque Orchestra in Toronto, and with Camerata Pacifica in LA and Santa Barbara; in Australia he joined Australian Brandenburg Orchestra conducted by Paul Dyer, and closer to home he presented a programme of Mozart, Gluck and, lesser known, Cimarosa and Bologne arias at Den Norske Opera, conducted by Michael Hofstetter.
Further concert performances have included Bach’s B Minor Mass with Hungarian National Philharmonic Orchestra and Choir conducted by Zsolt Hamar as well as gala concerts in Halle showcasing arias from Cherubino (Le nozze di Figaro), Fiorilla (Il turco in Italia) and Maria (West Side Story), and he appeared alongside Rolando Villazón on the stage of the Palais Garnier in the final concert of the Rolex Perptual Music series. A burgeoning discography includes his latest release and first album on the Decca label, Sopranista!(nominated in two Opus Klassik awards in 2023) alongside Pergolesi’s Stabat Mater with Orchestre de l’Opéra Royal released on the Versailles Spectacles label and his debut solo album Care pupille — a collection of rarities by Handel and Gluck with Handelfestspielorchester Halle – released on Orfeo.
Samuel Mariño was awarded the Interpretation Award at the 2017 Opéra de Marseille International Singing Competition and won the 2017 Neue Stimmen Audience prize. He is currently closely mentored by the renowned soprano Barbara Bonney and is the recipient of a scholarship from the Rotary Club of Salzburg. Following his passion for rediscovering music and innovating period performance practice, Samuel founded Ensemble Teseo in 2019, where he aims to bring forgotten Baroque works and techniques to mainstream opera and concert stages.
Gallery
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“Samuel Marino’s silvery colour perfectly characterised Postumio, the pure, uncorrupted hero.”
“Samuel Mariño shines as the youthful lover Postumio with almost angelic highs that have an incredible clarity, but also underline the impetuous character of the character.”
“he has a voice of great natural beauty and a phenomenal technique.
…that voice allows him to throw off the most demanding coloratura writing with ease, but equally to sing mezza voce cantabile not just in his comfort zone but also at the upper end of his range.”
“Mariño masters the glittering coloratura and intermittent leaps in Handel’s bravura arias with sovereignty and an audible pleasure in the presentation.”
“The combination of technical perfection with a stupendous breath control allows the Venezuelan to interpret himself passionately and uninhibitedly”
“Mariño sails through them with apparent ease, soaring to a melodious top C. His coloratura is precise and the trills, tight and attacked with immediacy.”