Lina Mendes won the Young Talent prize awarded by the magazine Revista Concierto in 2014. Born in Niterói, Rio de Janeiro (Brazil), while very young she was a soloist in the Theatro Municipal do Rio de Janeiro, in the operas Tosca (Puccini), Rigoletto (Verdi) and Die Zauberflöte (Mozart). In 2009 she sang the roles of Nedda in the opera I Pagliacci (Leoncavallo), Maroquinhas in Maroquinhas Fru-Fru (Ernst Mahle), Don Ettore in La Canterina (Haydn), Rosina in Un Mari a la Porte (Offenbach) and Euridice in Orfeo ed Euridice (Gluck). In 2010, she was invited to participate in Germany's Schleswig Holstein Musik Festival, performing in works conducted by Rolf Beck, Christopher Hogwood and Christoph Eschenbach.
She has taken part in the Accademia Teatro alla Scala in Milan and has attended master classes with Mirella Freni, Renato Bruson, Luciana Serra, Vincenzo Manno and Vincenzo Scalera. In Parma she sang Falstaff, giving life to Nannetta, and in Athens she was Musetta in La Bohème.
In 2011 she made a very successful debut as Gilda in Rigoletto (Verdi) in the centennial celebration of the Theatro Municipal do São Paulo and she also sang the role of Ninette in the opera L’amour des trois oranges (Prokofiev), at the Theatro Municipal do Rio de Janeiro.
In 2013 she interpreted the role of Libertad in the opera Ça Ira (Roger Waters), Blonde in Die Entführung aus dem Serrail (Mozart), Marzeline in Fidelio (Beethoven), Oscar in Un Ballo in Maschera (Verdi) and Cunegunde in Candide (Bernstein). She was also a soloist in the cantata Carmina Burana (Orff) and in the oratorio Die Schöpfung (Haydn). She worked with the maestros Abel Rocha, Marcelo Ramos, Alejo Pérez, Isaac Karabtchevsky, Jamil Maluf, Luciano Camargo, Ricardo Bologna, John Neschling, Carlos Spierer, Silvio Viegas, Marin Alsop, Alain Guingal, Manuel Coves, Rick Wentworth and under the stage direction of Fernando Bicudo, Andre Heller-López, Jorge Takla, Stefano Poda, Davide Livermore, and others. In 2014, Lina was received to great acclaim as Nannetta in the opera Falstaff, staged at the Theatro Municipal do São Paulo and directed by Davide Livermore. She gave life to Cunegunde with OSESP and to Gilda at the Palacio das Artes in Belo Horizonte, earning excellent reviews for her performances.
She has also participated in the Centre de Perfeccionament Plácido Domingo in Valencia: she was Abra in the oratorio Judita Triumphans (Vivaldi) and Cefalo in the opera Narciso (Scarlatti), under the musical direction of Federico Maria Sardelli.
She made her debut in Spain with her interpretation of Musetta in La Bohème (Puccini), at the Palau de les Arts of Valencia. In Brazil, she has debuted in the role of Micaela in Carmen (Bizet), conducted by Ricardo Bologna at the Sala São Paulo, and in Rio de Janeiro she made her debut in Messiah (Haendel) under the musical direction of Silvio Viegas.
Her recent and upcoming engagements include Ein Deutsches Requiem (Brahms) at Theatro Municipal de São Paulo with John Neschling; her acclaimed debut as Ilia in Idomeneo (Mozart) at Palau de les Arts de Valencia with Fabio Biondi; Orfeu ed Euridice (Gluck) and Un ballo in maschera at Theatro Municipal de Rio Janeiro; the opera Fosca (Gomes), Elektra and Die lustige witwe in São Paulo y Tres minutos al sol at the Festival Amazonas de Manaos.
Among her engadements this season we highlight Florencia en el Amazonas at la Ópera de Tenerife.
Date last modified: October 2021
Not to be altered without permission. Please delete any previous biographic material.
She has taken part in the Accademia Teatro alla Scala in Milan and has attended master classes with Mirella Freni, Renato Bruson, Luciana Serra, Vincenzo Manno and Vincenzo Scalera. In Parma she sang Falstaff, giving life to Nannetta, and in Athens she was Musetta in La Bohème.
In 2011 she made a very successful debut as Gilda in Rigoletto (Verdi) in the centennial celebration of the Theatro Municipal do São Paulo and she also sang the role of Ninette in the opera L’amour des trois oranges (Prokofiev), at the Theatro Municipal do Rio de Janeiro.
In 2013 she interpreted the role of Libertad in the opera Ça Ira (Roger Waters), Blonde in Die Entführung aus dem Serrail (Mozart), Marzeline in Fidelio (Beethoven), Oscar in Un Ballo in Maschera (Verdi) and Cunegunde in Candide (Bernstein). She was also a soloist in the cantata Carmina Burana (Orff) and in the oratorio Die Schöpfung (Haydn). She worked with the maestros Abel Rocha, Marcelo Ramos, Alejo Pérez, Isaac Karabtchevsky, Jamil Maluf, Luciano Camargo, Ricardo Bologna, John Neschling, Carlos Spierer, Silvio Viegas, Marin Alsop, Alain Guingal, Manuel Coves, Rick Wentworth and under the stage direction of Fernando Bicudo, Andre Heller-López, Jorge Takla, Stefano Poda, Davide Livermore, and others. In 2014, Lina was received to great acclaim as Nannetta in the opera Falstaff, staged at the Theatro Municipal do São Paulo and directed by Davide Livermore. She gave life to Cunegunde with OSESP and to Gilda at the Palacio das Artes in Belo Horizonte, earning excellent reviews for her performances.
She has also participated in the Centre de Perfeccionament Plácido Domingo in Valencia: she was Abra in the oratorio Judita Triumphans (Vivaldi) and Cefalo in the opera Narciso (Scarlatti), under the musical direction of Federico Maria Sardelli.
She made her debut in Spain with her interpretation of Musetta in La Bohème (Puccini), at the Palau de les Arts of Valencia. In Brazil, she has debuted in the role of Micaela in Carmen (Bizet), conducted by Ricardo Bologna at the Sala São Paulo, and in Rio de Janeiro she made her debut in Messiah (Haendel) under the musical direction of Silvio Viegas.
Her recent and upcoming engagements include Ein Deutsches Requiem (Brahms) at Theatro Municipal de São Paulo with John Neschling; her acclaimed debut as Ilia in Idomeneo (Mozart) at Palau de les Arts de Valencia with Fabio Biondi; Orfeu ed Euridice (Gluck) and Un ballo in maschera at Theatro Municipal de Rio Janeiro; the opera Fosca (Gomes), Elektra and Die lustige witwe in São Paulo y Tres minutos al sol at the Festival Amazonas de Manaos.
Among her engadements this season we highlight Florencia en el Amazonas at la Ópera de Tenerife.
Date last modified: October 2021
Not to be altered without permission. Please delete any previous biographic material.
2021-2022 Performances
FLORENCIA EN EL AMAZONAS
22 March 2022 19:30 Auditorio de Tenerife
24 March 2022 19:30 Auditorio de Tenerife
26 March 2022 19:30 Auditorio de Tenerife
22 March 2022 19:30 Auditorio de Tenerife
24 March 2022 19:30 Auditorio de Tenerife
26 March 2022 19:30 Auditorio de Tenerife
Gallery
Multimedia
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New Mexico Philharmonic
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Les nuits d'ete de Berlioz
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Reviews
IDOMENEO. Palau de les Arts. 2016
"The cast is quite remarkable in the main quartet. Gregory shines in Idomeneo, but perhaps more surprising is Lina Mendes' clean and confident performance". Jorge Fernández Guerra (El País)
"(...) Lina Mendes' Ilia is a soprano with a ringing voice, generous volume, a facility for coloratura and a perfect stage presence. Perhaps the best role-singer combination in the cast". Robert Benito (Opera World)
"Lina Mendes, forged at the Centre de Perfeccionamento Plácido Domingo, offers an Ilia of clean, fluid and easy singing, of an accurate lyricism and with undoubted potential." Alejandro Martinez (Platea Magazine)
"(...), and following the refined Ilia interpreted by Lina Mendes, with intense and emotional arias." Joger Alier (La Vanguardia)
"(...), and the charming Ilia, which Lina Mendes embodies in all her simplicity and sweetness." Álvaro Del Amo (El Mundo)
"Stupendous the three feminine voices, with the revalation of Lina Mendes, (...)" Alonso Gonzalo (La Razón/Beckmesser)
"The heir to the throne is in love with the Trojan princess and slave Ilia (stupendous Lina Mendes of crystalline timbre)." César López Rosell (El Periodico)
"Lina Mendes is another of the winners of the night. (...) she demonstrated a gift for first-rate Mozartian singing, full of taste and naturalness, without silliness". Joaquín Guzmán (ABC Comunidad Valenciana)
"(...) her pleasant timbre, together with a good projection and excellent command of the agilities; and this was evident in each of her lyrical interventions: at the very beginning of the opera, when she interpreted with expressiveness and delicate accents Padre,germani,addio. She shows an excellent singing line in her Act 2 aria, Se il padre perdei. Her best moment comes when facing the beautiful and delicate aria Zeffiretti lusinghieri, from Act 3." Diego Garcia Perez-Espejo (Brio Clasica)
"Lina Mendes was a fresh-voiced and generous Ilia with which she offered an extroverted interpretation." César Rus (Las Provincias)
"Among them the Brazilian Lina Mendes, a sensitive Ilia with a beautiful singing line." Renato Verga (L'opera in casa)
"(...) Lina Mendes' Ilia is a soprano with a ringing voice, generous volume, a facility for coloratura and a perfect stage presence. Perhaps the best role-singer combination in the cast". Robert Benito (Opera World)
"Lina Mendes, forged at the Centre de Perfeccionamento Plácido Domingo, offers an Ilia of clean, fluid and easy singing, of an accurate lyricism and with undoubted potential." Alejandro Martinez (Platea Magazine)
"(...), and following the refined Ilia interpreted by Lina Mendes, with intense and emotional arias." Joger Alier (La Vanguardia)
"(...), and the charming Ilia, which Lina Mendes embodies in all her simplicity and sweetness." Álvaro Del Amo (El Mundo)
"Stupendous the three feminine voices, with the revalation of Lina Mendes, (...)" Alonso Gonzalo (La Razón/Beckmesser)
"The heir to the throne is in love with the Trojan princess and slave Ilia (stupendous Lina Mendes of crystalline timbre)." César López Rosell (El Periodico)
"Lina Mendes is another of the winners of the night. (...) she demonstrated a gift for first-rate Mozartian singing, full of taste and naturalness, without silliness". Joaquín Guzmán (ABC Comunidad Valenciana)
"(...) her pleasant timbre, together with a good projection and excellent command of the agilities; and this was evident in each of her lyrical interventions: at the very beginning of the opera, when she interpreted with expressiveness and delicate accents Padre,germani,addio. She shows an excellent singing line in her Act 2 aria, Se il padre perdei. Her best moment comes when facing the beautiful and delicate aria Zeffiretti lusinghieri, from Act 3." Diego Garcia Perez-Espejo (Brio Clasica)
"Lina Mendes was a fresh-voiced and generous Ilia with which she offered an extroverted interpretation." César Rus (Las Provincias)
"Among them the Brazilian Lina Mendes, a sensitive Ilia with a beautiful singing line." Renato Verga (L'opera in casa)
LA BOHÈME. Palau de les Arts. 2015
"The couple of the painter Marcelo and his coquette Musetta were very well interpreted by Germán Olvera and Lina Mendes. (...) Soprano Lina Mendes knew how to infuse her Musette with flirtatiousness and tenderness in appropriate doses, making her presentation waltz a delightful aria". Robert Benito (Opera World)
"Also outstanding was the interpretation of Lina Mendes, in a lighthearted and wild Musetta, (...)." Joan Castelló (EFE)
"Also outstanding was the interpretation of Lina Mendes, in a lighthearted and wild Musetta, (...)." Joan Castelló (EFE)
Interviews
TVBR -