MARIA SOULIS

Mezzo-Soprano

BIOGRAPHY

Toronto-born mezzo-soprano Maria Soulis enjoys an exciting career in both Canada and Europe. She began her European career as a principal artist with the Regensburg Opera in Germany, performing the roles of Carmen, Adalgisa, Rosina, Nicklausse, Dido, and La Périchole, in theatres throughout Germany, France, and the United Kingdom.

 

A familiar artist on many European stages, Ms. Soulis enjoyed the opportunity to celebrate her Greek heritage when she appeared as soloist in Theodorakis's ballet Zorba in Metz, Toulon and Nice. Her voice has been praised internationally by reviewers who have described it as “warm and powerful” and “gorgeous, dusky-toned” as well as “full of warmth and drama” with “a ruby red timbre”.

 

This season, Maria joins the cast of Pacific Opera Victoria’s Jenufa as the Mayor’s Wife, directed by Atom Egoyan. Recent highlights for Maria include Elgar’s Sea Pictures with Orchestra Toronto, a concert of Brahms, Heggie and Theodorakis songs with Canadian Sinfonietta, and the role of Clara in the world premiere of Oksana G with Tapestry Opera in 2017.

 

As a concert singer in Europe, Ms. Soulis has interpreted many of Gustav Mahler's great orchestral song cycles: Rückert Lieder, Das Lied von der Erde, and Symphony No. 8 with the Philharmonisches Orchester Regensburg, as well as Kindertotenlieder with the Mährische Philharmonie.

 

In Canada, Maria has appeared as a soloist in Bach's Christmas Oratorio, (Kingston Symphony and Windsor Symphony), Dvorak's Requiem (Kitchener-Waterloo Symphony), Bruckner’s Te Deum (Chorus Niagara) and portrayed Cornelia in Handel’s Giulio Cesare in Egitto with Ottawa’s Thirteen Strings. Maria debuted with Pacific Opera Victoria as Flosshilde in Wagner’s Das Rheingold.

 

An avid recitalist, Ms. Soulis has an extensive song repertoire that spans the English, French, Spanish and German languages, creating the Maria Soulis Trio with guitarist William Beauvais and violinist Tanya Charles, performing “From Greece to Granada – Pathways in Song” in Toronto.

 

Maria Soulis can be heard on the Juno-nominated Naxos CD “Vivaldi – Sacred Music” with Kevin Mallon and Aradia Ensemble.

As Cornelia in Handel's Giulio Cesare with Thirteen Strings –

"One of the pleasures of this production was high quality of the singing all around. Even at that, there were some outstanding voices. Maria Soulis portrayed Cornelia, the wife of Pompey with elegance and tragic grace, and possibly the evening's finest singing."

Richard Todd, Ottawa Citizen

SELECTED ROLES

Cornelia | Giulio Cesare

Adalgisa | Norma

Olga | Eugene Onegin

SELECTED REPERTOIRE

Bach | Weihnachts Oratorium

Dvorak | Requiem

Honegger | King David

Maria Soulis, Mezzo-Soprano

PRESS KIT

HEADSHOTS

DOCUMENTS

Updated Sep 2017

 

 

AUDIO

Bach

Nun wird mein Liebster Bräutigam... Bereite dich, Zion

Weihnachts Oratorium

 

Bizet

Habanera

Carmen

 

Mon Coeur S'ouvre a ta Voix

Carmen

 

Handel

Behold, a virgin shall conceive... O thou that tellest good tidings

Messiah

 

Mahler

Oft denk' ich, sie sind nur ausgegangen

Kindertotenlieder

 

Mendelssohn

Woe unto them who forsake him

Elijah

 

Rossini

Cruda Sorte

L'Italiana in Algeri

 

Vivaldi

Invicti bellate, RV 628

Sacred Music

 

Recit – Fortes estote in bello

Sacred Music

 

Aria – Dux, aeterne, Jesu care

Sacred Music

 

Alleluia

Sacred Music

ARTIST CONNECTIONS

RESUME

Opera

Sally

Adalgisa

Isoletta

Dinah

Mrs. Grose

Carmen

3ème Narrateur / Teura

Néris

Pierotto

Naemi

Bradamante

Hänsel

Musette

Madame de la Haltière

Charlotte

Dorabella

Marcellina

Dritte Dame

 

La Mère d'Antonia

Nicklausse

Dido

Rosina

Argene

Prinz Orlofsky

Dryade

Olga

Alto Soloist

 

 

Maddalena

Puck

A Hand of Bridge

Norma

La Straniera

Trouble in Tahiti

The Turn of the Screw

Carmen

Bonjour, M. Gauguin

Medée

Linda di Chamounix

Joseph Süss

Alcina

Hänsel und Gretel

La Bohème

Cendrillon

Werther

Così fan'tutte

La Nozze di Figaro

Die Zauberflöte

 

Contes d'Hoffmann

Contes d'Hoffmann

Dido and Aeneas

Il Barbiere di Siviglia

Ciro in Babilonia

Die Fledermaus

Ariadne auf Naxos

Eugene Onegin

Zorbas (Ballet)

 

 

Rigoletto

Oberon

Barber

Bellini

Bellini

Bernstein

Britten

Bizet

Carlone, Fabrizio

Cherubini

Donizetti

Glanert, Detlev

Handel

Humperdinck

Leoncavallo

Massenet

Massenet

Mozart

Mozart

Mozart

 

Offenbach

Offenbach

Purcell

Rossini

Rossini

Strauss, J.

Strauss, R.

Tchaikowsky

Theodorakis

 

 

Verdi

Weber

City of London Sinfonia, England

Angers Nantes Opéra

Theater Regensburg, Germany

City of London Sinfonia, England

Angers Nantes Opera, France

Longborough Opera Festival, England

Teatro Fondamenta Nuove, Venezia

Opéra Metz, France

Opera in Concert, Toronto

Theater Regensburg

Theater Regensburg

Theater Regensburg

Opera York, Toronto

Opera Zuid, Holland

Theater Regensburg

Theater Regensburg

Aldeburgh Festival, England

Théatre du Châtelet, Paris

Théatre de Montpellier, France

Angers-Nantes Opéra

Opéra de Metz

Parnassus Baroque Orchestra, London

Wexford Festival Opera, Ireland

Rossini in Wildbad Festival

Theater Regensburg

Opera de Monte Carlo

Gulbenkian Orchestra, Lisbon

Opéra de Metz, France

Opéra de Nice, France

Opéra de Toulon, France

Theater Regensburg

Theater Regensburg

VIDEO

Manuel de Falla

Jota

Haliconian Hall, Toronto

Frederico Garcia Lorca

Zorongo

Haliconian Hall, Toronto

Oratorio

Markus-Passion

Weihnachts-Oratorium

Magnificat

Johannes-Passion (staged)

Mass in C major, Op.86

Symphony No. 9

 

 

Cantate funèbre sur la mort de l’empereur Joseph II WoO 87

Requiem

Belshazzar

Messiah

 

Solomon

König David

Elijah

Requiem

Petite Messe Solennelle

Bach,C.P.E.

Bach

Bach

Bach

Beethoven

Beethoven

 

 

Beethoven

Dvorak

Handel

Handel

 

Handel

Honegger

Mendelssohn

Mozart

Rossini

EuropaChorAkademie/Mendelssohn Symphonia, Germany

Kingston Symphony Orchestra, Canada

Wexford Festival Orchestra, Ireland

Theater Regensburg

Regensburger Kantorei

AIMS Festival Orchestra, Graz

Ontario Philharmonic

North Bay Symphony Orchestra

Orchestre National de Montpellier LR, France

Kitchener-Waterloo Symphony, Canada

Laurentian University Choir

Etobicoke Philharmonic, Canada

Pax Christi Chorale

Hamilton Philharmonic, Canada

Regensburger Kantorei, Mährische Philharmonie Olmütz

Chorus Niagara

Prague Radio Symphony Orchestra, Consort Caritatis

Cellar Singers, Orillia

Concerts

Muspilli (world premiere)

Fünf Rückert-Lieder  & Das Lied von der Erde

8. Sinfonie Es-Dur "Sinfonie der Tausend"

Kindertotenlieder

Joshua (Alto Soloist)

Gala Concert

Gala Opera Concert

Leopold Hurt

Mahler

Mahler

Mahler

Mussorgsky

Rodgers & Hammerstein

Various

Philharmonisches Orchester Regensburg

Philharmonisches Orchester Regensburg

Philharmonisches Orchester Regensburg

Regensburger Kantorei, Mährische Philharmonie Olmütz

Orchestra e Coro dell'Arena di Verona,

Kitchener-Waterloo Symphony, Canada

Elora Festival Orchestra and Chorus, Canada

REVIEWS


On Vivaldi’s Sacred Music 4 Recording with Aradia Ensemble –

"In... the very operatic motet Invice, bellate, mezzo Maria Soulis is alternately reflective and valiant, with marvelous tonal quality."

Dianne Wells, The WholeNote

 

As Cornelia in Handel's Giulio Cesare with Thirteen Strings –

"One of the pleasures of this production was high quality of the singing all around. Even at that, there were some outstanding voices. Maria Soulis portrayed Cornelia, the wife of Pompey with elegance and tragic grace, and possibly the evening's finest singing."

Richard Todd, Ottawa Citizen

 

As Carmen

“Maria Soulis as Carmen was sensuous and mocking, totally in control, her voice full of warmth and drama, with a thrilling freedom of phrasing and excellent diction. Poor Don Jose never stood a chance.”

Birmingham Post, England

 

“As Carmen, Maria Soulis gives the star performance of the evening. She well understands that everything  from delivery of her arias to her body language  must radiate fatal sexual attraction. She is really scary as she reads her fortune by turning up cards.”

Oxford Times, England

 

“Maria Soulis in the title role has looks which beguile and a temperament that spells danger.”

Gloucestershire Echo, England

 

As Rosina

“The Canadian mezzo soprano Maria Soulis plays Rosina as a determined, larger-than-life sexy bit of fluff. She is a natural comedian and shows a feel for theatre.”

The Irish Times

 

As Dorabella

“Deliciously feminine and very funny: Maria Soulis as Dorabella sang superbly, with no hint of the enormous technical difficulties the music presents.”

Eastern Daily Press, England

 

In Britten's Turn of the Screw

“La voix chaude et puissante de Maria Soulis séduit particulièrement.”

L'Atelier du Chanteur

 

In Bernstein's Trouble in Tahiti

"...the warmly expressive Canadian mezzo Maria Soulis…"

Financial Times London

 

As Bradamante in Handel's Alcina

“Dem Bradamante kann Maria Soulis mit ebenfalls beeindruckender Bühnenpersönlichkeit, virtuoser Flexibilität und der gewohnten Souveränität singschauspielerischer Qualität voll gerecht werden.”

Opernspiegel

 

In Donizetti's Linda di Chamounix

“…Maria Soulis, a beautiful, deep mezzo soprano, almost a contralto, absolutely stole the show. Beautiful presence, fabulous voice, you're going to hear a lot about her.”

from an on air review by Paula Citron on CFMX Radio, Toronto

 

In Bach's Johannes-Passion

“Überzeugender Maria Soulis mit resonanzreicher, aber nie diffuser Altstimme...”

Donaukurier Ingolstadt

 

Oratorio & Concerts –

“Maria Soulis als Bradamante zeigte auch an diesem Abend eine rundum gelungene sängerische und darstellerische Leistung…”

Der Neue Merker

 

“…sehr musikalisch und von hoher Gesangskultur Maria Soulis als Bradamante.”

Regensburger Bistumsblatt

 

“Maria Soulis nutzte mit ihrem warm timbrierten, durchaus auch zu dramatischem Impetus steigerungsfähigen Mezzo den Vorteil, den ihr zwei kompakte, im Character prägnant umrissene Soloauftritte (Dorabella) bieten: Die Erregung der 'Smanie implacabili' und das heitere Sich-Abfinden des 'È amore un ladroncello' servierte sie gleichermaßen überzeugend.”

Mittelbayerische Zeitung

 

“Die Mezzosopranistin Maria Soulis bot eine überragende Leistung bei der Gestaltung von Mahlers Miniaturen (Fünf Rückert-Lieder), entfaltete grossen lzrischen Atem, zeigte Fülle auch in tiefen Lagen, und hatte sogar noch die Kraft, bei der Schlusssteigerung des "Um Mitternacht" das Orchester zu überstrahlen...”

Mittelbayerische Zeitung

 

 

“Als Mezzosopran vorgestellt, hat sie die Qualitäten eines echten Alts...ein rubinrotes Timbre...üppige Vokalfarben...”

Münsterische Zeitung

 

“Maria Soulis has a gorgeous, dusky-toned voice. She makes a deceptively tricky number like 'I have dreamed'  (The King and I) sound perfectly natural.”

The Record, Kitchener, ON

 

“Vokal überragend hoben sich…Maurice Ravels 'Cinq mélodies grecques'. Maria Soulis, durch die griechische Sprache animiert, erinnerte an Agnes Baltsa in ihren besten Tagen: Die emotionale Identifikation mit den vorgeführten Charakteren der Braut oder des stolzen Galans war perfekt, die Technik der klug gesponnenen Legatobögen ebenfalls.”

Münsterische Zeitung

 

“Maria Soulis, a rich velvet-toned mezzo soprano...has an indisputable star quality voice…her beautifully molded singing in the Bach cantata aria 'Ach, bleiben doch'. The voice spoke feelingly and a Handel aria from Xerxes was full of warmth.”

Carmel Pine Cone, U.S.A.

 

“…der Schmerz der 'Kindertotenlieder'. Dort, wo Leidensausbrüche sich andeuteten, nahm Maria Soulis die Aufschwünge überraschend ins Piano zurück, bewahrte bei aller Trauerarbeit Haltung und Würde.”

Mittelbayerische Zeitung

 

“In allen...Stücken beeindruckte der farbenreiche Mezzo von Maria Soulis durch Präzision und dynamischer Nuancierung.”

Mittelbayerische Zeitung