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Be it on stage, screen, under a big tent, standard fare repertoire, forgotten gem, or work in progress, mezzo-soprano Megan Marino is genre-adventurous and driven by a deep-rooted need to communicate, mixed with pure moxie. She’s a true believer that a good song is a good song, regardless of its genre or origin. Established as a stylish musician, agile fioriturist, and a fearless stage animal, she’s been praised by Opera News as “authoritative and carefree,” “a gifted actress with a strong, appealing voice, graced by a rich lower register,” and for singing trouser roles with “swagger” and “vocal audacity.”  

In the 2023-2024 season, Meg made important returns to several companies: to Santa Fe Opera in one of her favorite roles, Annina in Der Rosenkavalier; Houston Grand Opera to début as Elsa Schraeder in The Sound of Music; The Atlanta Opera to début her “bucket-list role” Puck in Britten’s A Midsummer Night’s Dream; and to Opera Delaware and Opera Baltimore to début Maddalena in their co-production of Rigoletto. She also débuted with Music of Remembrance in the world premiere of a new one-act opera by Jake Heggie and Gene Scheer, Before It All Goes Dark. She also continued her work as a teaching artist, returning to her alma mater, the University of Southern Maine Osher School of Music, as Distinguished Alumna-in-Residence. This season will include Meg’s return to Utah Opera as the Beggar Woman in Sweeney Todd and her house début with Seiji Ozawa Music Academy in Japan as Flora in La Traviata. She’ll also join Pensacola Opera for performances as Marcellina in Le nozze di Figaro and a concert with her band Midnight Cricket Club.



“... Marino’s dynamic portrayal…” – Opera News

Falstaff – “Meg Page is a character who can get lost in the ensemble, but Megan Marino’s dynamic portrayal made her a comic force of her own."


"... shone brightly…” – Opera News

Giulio Cesare – “Her duets with Sesto, sung by Megan Marino, were stunning, the pulsations of their vibrato synchronized. Marino, one of the more seasoned members of the cast, shone brightly demonstrating consummate understanding of Baroque style.”


"... swagger and playfulness..." – OperaWire

Boris Godunov – “Megan Marino sang the role of Feodor with swagger and playfulness. She gave the character a bright mezzo voice at the beginning but as her father’s tragedy grew, the voice obtained a darker timbre and her movements became more restrained and hesitant."


"... simply delightful..." – Dallas Morning News

Le nozze di Figaro – “The main reasons to see Santa Fe’s Marriage of Figaro, a timeless comedy of errors, are soprano Ying Fang as Susanna, the faithful servant, and mezzo Megan Marino as Cherubino, the infatuated pageboy... With her attractively flexible timbre, and rich chest voice, Marino expresses Cherubino’s ardor. Her “Voi che sapete” is simply delightful.”


"... Marino was perfect..." – BachTrack

Carmen – “the lovely, seductive, cynical chanteuse Carmen, portrayed by Megan Marino... Marino was perfect for her role as Carmen. She could be emotionally cold, yet sensual at the same time. Her crystalline mezzo was powerful, even while masked. She embodied Carmen.”


Vanessa Uzan

Founder & President

Adrienne Boris

Agent | Classical & Concert

Elliot Brown

Agent | Classical & Artist Promotion

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