AT A GLANCE
A stylish musician, agile fioriturist, and fearless stage animal, mezzo-soprano Megan Marino has been praised by Opera News as “a gifted actress with a strong, appealing voice, graced by a rich lower register,” who appears both “authoritative and carefree.” Her ability to disappear into a character grounds emotionally incisive performances across genres and eras, and her open-hearted collaborative approach has made her a favorite colleague of creatives and performers across the industry.
Marino is a regular performer with the Metropolitan Opera since her 2013 debut as the Voice of an Unborn Child in Die Frau ohne Schatten, she has joined the company singing Flora in La traviata, Second Lady in The Magic Flute, Second Wood Sprite in Rusalka, Laura in Iolanta, Myrtale in Thais, and Feodor in Boris Godunov. She is also a frequent performer at Atlanta Opera, where she has appeared as Puck in A Midsummer Night’s Dream, Sesto Pompeo in Giulio Cesare, Olga in Eugene Onegin, a gender-bent Beppe in Pagliacci, and the title role in the world premiere of The Threepenny Carmen, and at Santa Fe Opera, where her roles include Cherubino in Le nozze di Figaro, Meg Page in Falstaff, and Suzuki in Madame Butterfly. When she returned to Santa Fe as Annina in Der Rosenkavalier, Opera Today called her “an animated, laser-voiced delight,” noting that “Marino may cut a petite figure, but don’t underestimate her firepower. Her potent mezzo-soprano was well-rounded, cheekily hurled into the house, and even throughout the range.”
Appearances in the 2024/25 season include Marino’s role debut as The Beggar Woman in Sweeney Todd with Utah Opera and Marcellina in Le nozze di Figaro in her company debut with Pensacola Opera. She will also premiere new works by Evan Mack at Skidmore College and travel to Kyoto, Japan, to sing Flora in Seiji Ozawa Music Academy’s La traviata. Marino has recently debuted as Elsa Schraeder in The Sound of Music at Houston Grand Opera and as Maddalena in Rigoletto with Opera Delaware. In spring 2024, she was honored to create three of the four roles in world premiere opera Before It All Goes Dark by Jake Heggie and Gene Scheer. Opera Magazine noted the “great emotional responsibility,” praising Marino’s “admirable work finding distinct timbres for each role” in “an eloquently poignant performance.” Her early career was built on spirited roles like Rosina in Il barbiere di Siviglia (Florida Grand Opera, Fort Worth Opera, Kentucky Opera, Virginia Opera), Angelina in La Cenerentola (Palm Beach Opera, Sarasota Opera, Opera Delaware), Hansel in Hansel & Gretel (Lyric Opera of Kansas City, Opera Iowa), Meg Page in Falstaff (Dallas Opera, Des MoinesMetro Opera), and Annina in Der Rosenkavalier (Lyric Opera of Chicago).
A dual American and Italian citizen, Marino balances long stretches on the road with time at home in Creede, Colorado, where she enjoys outdoorsy adventures with her husband, baritone Michael Mayes, and their dog Peak. Meg also serves as co-founding Executive Director of the Creede Musical Arts Collective, which brings all genres of musical artists to the San Luis Valley.
