Marianne Crebassa



Marianne Crebassa is confirming her place on the most prestigious world stages, across the opera, concert and recital repertoires.   

Highlights of next season see her Met debut as Cherubino, her return to Chicago as Rosina, her returns to Berlin and Vienna for new productions of Cosi fan Tutte as Dorabella. On the concert stage, she sings Mahler 3 in Paris conducted by Esa-Pekka Salonen and embarks on a European tour in the title role Ariodante.  Additionally she makes her Wigmore Hall recital debut.    

As an exclusive recording artist with Erato, her second disc, “Secrets”, an eclectically chosen programme recorded with Fazil Say, was released in 2017 and received a Gramophone Award.   The duo has recently given recitals together in La Scala, the Salzburg Festival, the Theatre des Champs Elysées, the Elbphilharmonie.

Marianne’s operatic season 2018/2019 was marked by the title role in Orphée et Eurydice at the Opera Comique and her debut as Angelina, La Cenerentola at the Opéra National de Paris and La Scala.  She also took on the roles of Rosina and Melisande at the Berlin Staatsoper.  In concert she returned to London to sing Berio’s Follksongs and makes this summer her first appearance at the famous Waldbuhne concert series with the Berlin Philharmoniker.

During the 17/18 season, Marianne was invited by Daniel Barenboim to celebrate the Debussy centenary with concerts with the Staatskapelle, a recital in the Pierre Boulez Saal and her debut in the role of Mélisande. 2018 also saw her return to La Scala as Irene, to Chicago as Dorabella and to Paris as Sesto.

The 2016/2017 season marked the global release of Marianne Crebassa’s critically acclaimed debut album ‘Oh, Boy!’, and saw her crowned “Artiste Lyrique” at the 2017 Victoires de la Musique. On stage she returned to La Scala and the Berlin Staatsoper for productions of Le Nozze di Figaro and made her debut at the Opéra Comique in Paris in the title role of Offenbach’s Fantasio.  The summer brought her worldwide attention with her unanimously acclaimed debut as Sesto (La Clemenza di Tito).

At just 21, while studying musicology, voice and piano in her home town Montpellier, Marianne Crebassa was engaged by the opera there as soloist in Schumann’s Manfred. Following her notable success at the Festival de Radio France as Isabella, Wuthering Heights, in 2010, Crebassa was engaged in the Paris Opera Young Artist Programme, appearing as Gluck’s Orphée and Ramiro, La Finta Giardiniera. The same summer she finished the Paris Opera programme and debuted at the Salzburg Festival alongside Placido Domingo as Irene (Tamerlano), returning the following season as Cecilio (Lucio Silla). In the 2014 festival she created the title role in Dalbavie’s Charlotte Salomon.

 Other stage credits include Cherubino (Le Nozze di Figaro) at la Scala, the Berliner Staatsoper, the Wiener Staatsoper and  Amsterdam, Cecilio at la Scala, Sesto (La Clemenza di Tito) at the Paris Opera and in Salzburg, Irene (Tamerlano) at la Scala, Stephano (Roméo et Juliette) and Dorabella in Chicago

Marianne’s extensive concert credits and projects include the Festival de Saint Denis, Salzburg’s Mozart Festwochen, The Gulbenkian Foundation, the Orchestre National de France, the Orchestre de Paris, the Wiener Sinfoniker, the Chicago Symphony Orchestra, the Staatskapelle Berlin. In 2016 she performed as a soloist at the opening night of the 50th Mostly Mozart Festival in New York and 2017 saw her debut at the BBC Proms with the Philharmonia Orchestra. 

2019/2020 Season

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Recent News


“She brought an extraordinary, and riveting, ability to communicate through her voice – to project drama in a very compelling way; audiences were fascinated by her artistry and virtuosity.”

“Crebassa was completely absorbing throughout the twenty minutes or so these eleven songs played for.”

“This wasn’t just a faultless performance by Crebassa – it was one which drew you in from the first note of the opening ‘Asie’ to the very closing bars of ‘L’Indifférent’.”

Marc Bridle

Opera Today

“Marianne Crebassa is splendidly charismatic as Cecilio.”

George Loomis

The New York Times

“In this context, Charlotte Salomon must count as a succès d’estime – thanks largely to a clairvoyant staging by Luc Bondy and the spell cast by Marianne Crebassa, a dazzling 27-year-old with doe-eyed looks, the seductive innocence of Debussy’s Mélisande and a luscious voice that seems destined for Massenet’s Charlotte (Werther).”

Andrew Clark

Financial Times

More Reviews

“Marianne Crebassa is splendidly charismatic as Cecilio. “

George Loomis, The New York Times 

“In this context, Charlotte Salomon must count as a succès d’estime – thanks largely to a clairvoyant staging by Luc Bondy and the spell cast by Marianne Crebassa, a dazzling 27-year-old with doe-eyed looks, the seductive innocence of Debussy’s Mélisande and a luscious voice that seems destined for Massenet’s Charlotte (Werther).”

Andrew Clark, Financial Times 

“Heldin des Abends: Marianne Crebassa mit schlankem, doch substanzreichem Klang [The heroine of the evening was Marianne Crebassa, who delivered the vocal line with clean directness whilst retaining a fullness of sound.”

Christoph Irrgeher, Wiener Zeitung 

“Die Mezzoentdeckung Marianne Crebassa begeistert als Cecilio mit ihrem ebenmäßig schimmernden Timbre.[Mezzo-soprano Marianne Crebassa is truly a revelation. She is exciting as Cecilio, with her harmonious and bright timbre.]”

Manuel Brug, Die Welt 

“In der Hosenrolle trifft die Mezzosopranistin Marianne Crebassa mit geschmeidigen Tiefen und lichter höherer Lage genau das rechte Gegengewicht.[In the role of the transvestite, mezzo-soprano Marianne Crebassa creates a perfect balance by alternating smooth low notes and bright high notes.]”

Reinhard Kriechbaum, Weiner Zeitung 

“Avec une assurance justifiée par son immense talent, elle déploie dans l’air de Dulcinée toute la splendeur de son timbre (quels graves !) et une diction parfaite.[In the Dulcinée aria, she showcases the full extent of the splendour of her timbre (what beautiful low notes!) and a perfect diction, with confidence that is justified by her immense talent.]”

Laurent Bury, Forum Opéra 

“Enfin, et c’était là la révélation de la soirée, il convient de louer la voix et le timbre magnifiques de la mezzo-soprano Marianne Crebassa, véritable Isabella Linton, parvenant même à faire oublier que l’on était ici en présence d’une version de concert sans mise en scène.[We must praise mezzo-soprano Marianne Crebassa’s beautiful voice and timbre, that night’s revelation. A fantastic Isabella Linton, she somehow made the audience forget that it was a concert version without a production.]”

Vincent Haegele, Classique Info 

“Dans le rôle d’Isabella, Marianne Crebassa constitue une véritable révélation. Cette jeune mezzo-soprano au physique avenant, fraîchement issue du CRR de Montpellier, possède une voix opulente et parfaitement projetée. De plus, elle s’offre le luxe de s’accompagner elle-même au piano dans son air du troisième acte. Une artiste dont on reparlera assurément. [Marianne Crebassa is an absolute revelation in the role of Isabella. The young, attractive mezzo-soprano, a recent graduate of the Montpellier Conservatory, has a perfectly projected opulent voice. Moreover, she treats herself to the luxury of accompanying herself on the piano in the third act aria. We will definitely talk about this artist again.”

Christian Peter, Forum Opéra 

New Album

New Album


French Songs with Fazil Say

2017,Warner Classics

‘the combination of intelligence, immediacy and subtlety is utterly compelling and marks ‘Secrets’ out as one of the finest French song recitals of recent years.’ Gramophone 2017

Listen to "Secrets" on Spotify