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Sophie MARILLEY, Mezzo-Soprano

 
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Sophie Marilley, born in Fribourg (Switzerland), studied singing at the Music Conservatory of her native city where she graduated in 1999 (class of Antoinette Faes). Subsequently she attended master classes with Irwin Cage, Brigitte Fassbaender, Anthony Rolfe-Johnson and others. And, eventually she completed her vocal eductation at the Flanders Opera Studio. She is price-winner of the 2002 International Belvedere Singing Competition in Vienna.

Sophie Marilley began her career at the Fribourg Opera where she sang La Périchole (title role) and L’Etoile (Lazuli). From 2001 through 2005, she was hired as a soloist at the Osnabrück Opera, performing Le Nozze di Figaro (Cherubino), Cosi fan tutte (Dorabella), La Cenerentola (title role), La Perichol, Die Fledermaus (Orlofsky), Der Rosenkavalier (Octavian), among others. Subsequently until 2011, she was a soloist in the ensemble of the Wiener Staatsoper, performing roles such as Cherubino (Le Nozze di Figaro), Stéphano (Roméo et Juliette) and Nicklausse (Les Contes d’Hoffmann).

Eventually she joined from 2011 till 2017, the ensemble of the Opera House of Stuttgart, performing roles such as Cherubino (Le Nozze di Figaro), Junon (Platée), Donna Elvira (Don Giovanni), Komponist (Ariadne auf Naxos), Octavian (Rosenkavalier), the title-role in Il Vologeso (N. Jommelli) and as Nicklausse in Contes d'Hoffmann (new production, 2016).

Recent engagements and News :

as a result of her successful debut at ONR Strasbourg (ONR) as Krista in The Makropulos Affair (Janacek), Sophie Marilley returned to Strasbourg to sing the Male Fox (role debut) in "The cunning little vixen" another of Janacek's emblematic operas directed by Robert Carsen. Furthermore she will embodied two of her iconic Mozart roles : Donna Elvira and Dorabella and appeared as Alise in the revival of "L'Ecume des jours", all three at the Opera House of Stuttgart.

During the 2017/2018 season, Sophie Marilley will return as a guest to Stuttgart to sing Siebel (Faust) and to create the role of Elvire in the world première of "Erdbeben. Träume" by the Japanese composer Toshio Hosokawa | Libretto by Marcel Beyer. More over she will make her debut at the Opera House of Montecarlo where she will take part in Les Contes d'Hoffman as Nicklausse (January, 2018).

Other career highlights :

Sophie Marilley has meanwhile repeatedly sung under the baton of renowned concuctors such as Bertrand de Billy, Adam Fischer, Marco Armiliato, Franz Welser-Möst, Ulf Schirmer, Christian Thielemann, Christophe Rousset, Hervé Niquet, Jérémie Rohrer, Sylvain Cambreling, Marc Soustrot, Michael Schonwandt, Antony Hermus, Alain Altinoglu, Marko Letonja and many others.

Guest engagements included repeated appearances at Flanders Opera (Clarisse in The Love for three oranges, Mercedes in Carmen), at the Wexford Festival Opera (Laura in Die drei Pintos, Hänsel in Hänsel und Gretel), at the St Gall Opera (title role in La Cenerentola), at the Graz Opera (Nicklausse in Les Contes d’Hoffmann), at the Opéra de Lausanne (Dorabella in Cosi fan tutte), at the Angers Nantes Opéra (Lazuli in Chabrier’s L’Etoile and Cherubino in Le Nozze di Figaro), at the Teatro Sao Carlo in Lisbon (Sesto in La Clemenza di Tito) and at the Royal Theatre La Monnaie (Cherubino in Le Nozze di Figaro and, more recently, the Prince in Cendrillon).

Press quotes :

  • Avant-Scène Opéra praises the "enviable vocal suppleness of Sophie Marille...

  • BRF.online affirms that "the young mezzo-soprano incarnates the Prince with a magnificent diction and absolute credibility".

  • Le Figaro is enchanted by the " moving Prince Charming of Sophie Marilley" and

  • Le Soir "admires the hear-warming fragility of the young swiss mezzo's Prince".

  • La Libre Belgique emphasises that "the mezzo Sophie Marilley - warm voice and superbe diction - embodies a very personal and credible Prince (Charming)".

  • The Luxemburger Wort adds that "with her appearance as young boy of the streets, Sophie Marilley plays her breeches part of Prince Charming with aplomb".

  • De Standaard De Standaard claims that Sophie Marilley simply "outplayed all her colleagues and was the one who completely chimed with her role musically."

 

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