Born in Buenos Aires, Argentina, she studied at Instituto superior de arte del Teatro Colón and privately with Inés Dupen and Horacio Amauri. She also studied Orchestra Conducting at the Universidad Católica Argentina.
For 10 years she has been developing her career in Europe singing in France (Opéra de Lyon, Opéra de Clermont Ferrand, Festival d’Aix-en-Provence), Spain (Teatro Maestranza in Seville, Ópera de Las Palmas, Teatro Real, Festival de Ópera de La Coruña, Teatro de la Zarzuela, Teatros del Canal, etc.), Germany (Gärtnerplatztheater, Múnich, Staatsoper Hannover, Theater Osnabrück), Ireland (Wexford Opera Festival) and United Kingdom (London Händel Festival), and also in Uruguay (Teatro Solís), Argentina (Teatro Avenida), Brazil, Chile, Bolivia, Bahrein, etc. where she has been singing under de baton of conductors such as Nicola Luisotti, Pedro Halffter, Giacomo Sagripanti, Alan Curtis, Gunter Neuhold, Martin Brabbins, Leonardo García Alarcón, Patrick Fournillier, etc.
In the 16/17 and 17/18 seasons she has been a member of the Theater Kiel ensemble (Germany) where she sang roles as Gilda (Rigoletto), Contessa di Folleville (Il viaggio a Reims), Zdenka (Arabella), Oscar (Un Ballo in maschera), Woglinde (Rheingold and Götterdämmerung), Waldvogel (Siegfried) and Francesca (Francesca da Rimini-Rachmaninov).
Since the 19/20 season, she is member of the Staatsoper Hannover ensemble, and will sing roles as Eudoxie in La juive, Morgana in Alcina, Madame Mao in Nixon in China and Isabella in Märchen im Grand Hotel (Paul Abraham).
Her engagements this season include Così fan tutte, Carmen, Rigoletto, Der Vampyr and a new production of Midsummer Night's Dream in Hannover.
She has been awarded 2nd Prize at the International Singing Competition in Logroño (Spain), 3rd prize at the International Singing Competition in Zamora (Spain) and she has also been a finalist at the Luis Marino Singing Contest in 2007 and the Concours de chant de Marmande 2008 (France). She got two scholarships offered by Maestro Dalton Baldwin at the Francisco Viñas’ Competition 2008.
Date of last modification: October 2021 It cannot be altered without permission. Please destroy any previous biographical material
COSÌ FAN TUTTE 30 September 2021 19:30 Staatsoper Hannover 06 October 2021 19:30 Staatsoper Hannover 08 October 2021 19:30 Staatsoper Hannover 14 October 2021 19:30 Staatsoper Hannover 17 October 2021 18:30 Staatsoper Hannover 22 October 2021 19:30 Staatsoper Hannover 31 October 2021 16:00 Staatsoper Hannover CARMEN 11 December 2021 19:30 Staatsoper Hannover
RIGOLETTO 27 February 2022 18:30 Staatsoper Hannover
DER VAMPYR 25 March 2022 19:30 Staatsoper Hannover
A MIDSUMMER NIGHT'S DREAM 17 May 2022 19:30 Staatsoper Hannover
Nixon in China
Märchen im Grand Hotel
FIDELIO. Teatro de la Maestranza 2017
"Exceptional Mercedes Arcuri, Marzelline, a soprano who rarely fails to please. She faced complex ensemble numbers in which she ended up imposing herself with delicate phrasing and a resoundingly beautiful timbre". Ismael G. Cabral (El Correo)
"Likewise, Mercedes Arcuri's voice, with its attractive timbre and sensual lyricism, fitted like a glove to the needs of her 'Marzelline'. José Amador Morales (Codalario)
"The voices brought us more joy (...) and above all that of Mercedes Arcuri. She was here Valkyrie, Voglinde in "El ocaso" and Clorinda in "La cenerentola", she is a coloratura soprano, and nevertheless she captivated us with a beautiful lyric tone, which grew with her volume, and ended up tasting a bit too little". Carlos Tarín (ABC)
"She was equally successful in the quartets she performed with the other soloists in the cast, among whom the soprano Mercedes Arcuri as Marzelline and the bass Wilhelm Schwinghammer as Rocco stood out. The former, despite not having so much weight in the plot, acquitted herself very well in her roles, perfectly incarnating the jailer's infatuated daughter". Gonzalo Roldán Herencia (Opera World)
"Mercedes Arcuri put lyrical charm in an aria crushed by a plain accompaniment and resisted with aplomb and good projection her difficult ensemble numbers". Pablo J. Vayón (Diario de Sevilla)
"The tragicomic pair of lovers, Marzelline and Jaquino, worked with solvency, especially the Argentinian soprano Mercedes Arcuri, knowing how to elevate the dramatic weakness of her character with a stimulating assumption of the beauty of the composer's postulates which, from Jean Nicolas Bouilly's story in praise of conjugal love, the substantial theme of Fidelio, achieves the prodigy of making ideas such as dignity, freedom, responsibility and respect sound as substantial elements of the new man who became, among others, the enlightened aesthetic-philosophical principle of Sturm und Drang (storm and impetus) which had such transcendence in romanticism. José Antonio Cantón (El Mundo)
FARINELLI, EL CASTRATO DEL REY FELIPE. Teatros del Canal de Madrid 2016
"... and with the excellent soprano Mercedes Arcuri, who showed agile singing and fullness of faculties". Isabel Imaz (Revista Ópera Actual)
"... and in their vocal performances three singers take turns, the countertenors Filippo Mineccia and Konstatin Derri and the soprano Mercedes Arcuri, each one more successful in their interventions. José Catalán Deus (Periodista Digital)
"... with the soprano Mercedes Arcuri in a display of astonishing resources and beautiful timbre with a surprising coloratura". Francisco García-Rosado (Opera World)