Meechot Marrero

Soprano

Biography

Puerto Rican soprano Meechot Marrero, whom El Nuevo Día called, “a revelation…a young Puerto Rican star with a great career ahead” is a member of the Deutsche Oper Berlin ensemble. Ms. Marrero’s 2020-2021 season includes several role debuts as Nannetta in Falstaff, Biancofiore in a new production of Francesca da Rimini by Christof Loy, Musetta in La Bohème, Tebaldo in Don Carlo, and Cherubino in Le nozze di Figaro, as well as a return to Papagena in Die Zauberflöte, Frasquita in Carmen, Bianca in La Rondine, and Liù in Turandot.

In the 2019-2020 season, Ms. Marrero appeared at the Deutsche Oper Berlin, performing Liù in Turandot, Oscar in Un ballo in maschera, a role debut, Micäela in Carmen, Adele in Die Fledermaus, Papagena in Die Zauberflöte and Jano in Jenufa. Outside of the Deutsche Oper, Ms. Marrero reprised Cunegonde in Candide at the Komische Oper Berlin, Heitor Villa-Lobos’ Bachianas Brasileiras No. 5 with the San Antonio Symphony, and Carmina Burana with Donald Runnicles and the Atlanta Symphony and Grand Tetons Music Festival.

In the 2018/19 season, Ms. Marrero made her role and house debut as Cunegonde at the Komische Oper Berlin in Barrie Kosky’s new production, as well as at the Hessisches Staatstheater Wiesbaden. She also appeared as Maria in West Side Story — first the entirety of the score with Donald Runnicles and the Grand Teton Music Festival, followed by the Puerto Rico Symphony, performing Bernstein’s West Side Story Suite No. 1. At the Deutsche Oper, Ms. Marrero reprised the roles of Adele, Bianca in La Rondine, and debut the roles of Liù, the Vixen in The Cunning Little Vixen, Micäela, and Kseniya in Boris Godunov, among others.

In previous seasons at the Deutsche Oper, Ms. Marrero has performed Adele, Frasquita in Carmen, Woglinde in Das Rheingold, Giannetta in L’Elisir d’Amore, Papagena, Princess Nicoletta in The Love for Three Oranges, the Page in Rigoletto, Barbarina in Le nozze di Figaro, Modestina in Il viaggio a Reims, First Witch in Purcell’s Dido and Aeneas and Bianca and Gabriela in La Rondine. She is also a frequent guest at the Savannah Voice Festival as Juliette in Roméo et Juliette and Lucy England in Menotti’s The Telephone.

In past seasons, Meechot Marrero has performed extensively in Puerto Rico, performing with the Festival Casals as Trujamán in de Falla’s El retablo del Maese Pedro, Despina in Così fan tutte with the Teatro de la Opera, Fiordiligi in Così fan tutte and Concepción in Ravel’s L’heure espagnole at the Conservatorio de Música de Puerto Rico, and Rafaela in Vásquez’ La Mina de Oro with the Teatro Repertorio, UPRRP. Concert engagements have included soprano soloist with the Festival Casals in Menotti’s Muero porque no muero, de Falla’s Siete Canciones Populares Españolas, Villa-Lobos’ Bachianas Brasileiras No. 5 and Mendelssohn’s A Midsummer Night’s Dream with the Orquesta Sinfónica de Puerto Rico, Pergolesi’s Stabat Mater with the Coro de Niños de San Juan and Haydn’s Creation with the Orquesta Sinfónica de Bayamón.

Professionally and during her education at Yale School of Music, Meechot Marrero has performed Tytania in Britten’s A Midsummer Night’s Dream, Lauretta in Gianni Schicchi and Susanna in Le nozze di Figaro with Yale Opera, Despina in Così fan tutte and Zerlina in Don Giovanni with the Savannah Voice Festival, Norina in Don Pasquale at Opera in Williamsburg in Virginia, and Mimì in La bohème in concert with the Savannah Philharmonic. Concert appearances included Mendelssohn’s Elijah and Handel’s Messiah with the Hartford Chorale in Connecticut.

 

A native of Corozal, Puerto Rico, Meechot Marrero is the recipient of the Career Bridges grant from the Schuyler Foundation, and the Phyllis Curtin Career Entry Prize from the Yale School of Music. Ms. Marrero began her musical studies with the San Juan Children’s Choir, and, after completing a Bachelor of Science in molecular biology at the University of Puerto Rico, received further training from the Puerto Rico Music Conservatory and Yale Opera at the Yale School of Music. In addition to her vocal training, Ms. Marrero has trained in ballet for 10 years, jazz dance for 13 years and Latin dance since birth.

 

 

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Reviews

“Meechot Marrero was a loving Maria with a sweet, delicate soprano voice that told onlookers she was a great deal more than a gangster’s girlfriend. A petite girl who was an excellent dancer, Maria belonged to another world and Tony wanted to join her in it.”

 

Maria Nockin

Broadway World

“Soprano Meechot Marrero was a revelation…a young Puerto Rican star with a great career ahead.”

Luis Hernández Mergal

Periódico El Nuevo Día

“Tis the season for performances of Handel’s ‘Messiah’…The soloists… all impressed by filling the hall with sound. Their musical fluency and vocal presence was uplifting in itself… But the crowd favorite was Marrero. She sang elegant lines in warm colors and always seemed to edge the right words at the right time. Her coloratura was clean and pitched in the center of each note. She was always convincing. Be on the lookout for opportunities to hear her sing.”

Jeffrey Johnson

Sonic Labyrinth

More Reviews

“The young soprano Meechot Marrero sang the cantata for Saint Teresa, ‘Muero porque no muero,’ that earned her a standing ovation.”

Diálogo, Ricardo Alcaraz 

“Marrero as Susanna steals the show. She has the most to sing, and I found it hard to wrap my head around the fact that so powerful a voice could emanate from so petite a person.”

Yale News 

“Young Puerto Rican soprano Meechot Marrero interpreted Manuel de Falla’s Siete canciones populares españolas. The beautiful timbre of her voice dark tones combined well with the interpretation of Bender and OSPR. Marrero has plenty of elegance and stage presence, and a natural musicality that served to shape the phrases in the song cycle. Her delicate interpretation of the lullaby was exemplary. The public did not relent until receiving an encore of El paño moruno”

Periódico El Nuevo Día, Luis Hernández Mergal

“Alberto Guidobaldi’s Gloria is distinguished by its simplicity and harmonic and rhythmic elegance, very appropriate for the occasion…The sweet vocal timbre of soprano Meechot Marrero with her sublime musical expressivity was key to the success of the work.”

Periódico El Nuevo Día, Luis Hernández Mergal

“The sensational discovery of the evening: the petite Puerto Rican Meechot Marrero, proves as an enchanting “innocence from the country” not only her acting talent, but also her singing talent.” 

Berliner Morgenpost, Volker Blech

 

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