MARIA SOULIS

BIOGRAPHY

Toronto‐born mezzo‐soprano Maria Soulis began her career as a principal artist with the Regensburg Opera in Germany, performing the roles of Carmen, Rosina, Nicklausse, Dido, and Adalgisa in theatres throughout Germany, France and the United Kingdom. In concert works from Bach to Mahler, her voice has been praised internationally by reviewers who have described it as “warm and powerful”, as well as “gorgeous, dusky‐toned” with a “ruby red timbre”.

 

Maria’s 2019-20 season included La Ciesca in Gianni Schicchi and the Monitor in Suor Angelica, in Pacific Opera Victoria’s Il Trittico. Maria debuted as Marcellina in Against the Grain Theatres updated Figaro’s Wedding, appeared as Flosshilde in Pacific Opera Victoria’s Das Rheingold, and sang Clara in the world premiere of Oksana G. with Tapestry Opera.

 

Maria is honoured to have song cycles written for her by Canadian composers William Beauvais (Rounding the Human Corners), Colin Eatock (Three Songs from "The Prophet"), James Moffett (Songs for a Summer's Night), and Constantine Caravassilis (Four Songs from the Age of Rembetiko).

 

Upcoming projects include a concert of chamber music for voice and string quartet, featuring Jake Heggie's arrangement of Debussy's Chansons de Bilitis, and Constantine Caravassilis' Four Songs from the Age of Rembetiko, which were commissioned by and dedicated to Maria.

 

A member of the Toronto Heliconian Club, Maria performs often on its concert series as a singer and as a pianist and composer, recently performing excerpts from her piano suite, “Memories, Greece”.

 

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

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