Born in Buenos Aires, she studied singing at the Instituto Superior de Arte del Teatro Colón and privately with Inés Dupén and Horacio Amauri. At the same time, she studied orchestral conducting at the Universidad Católica Argentina.
She won the 2nd Prize at the International Singing Competition of Logroño 2009, 3rd Prize at the International Singing Competition of Zamora and was awarded with 2 scholarships offered by Maestro Dalton Baldwin at the Francisco Viñas Competition 2008.
For the last 10 years she has been developing her soloist career in Europe, where she has sung in France (Opéra de Lyon, Opera de Clermont Ferrand, Festival d'Aix en Provence, Opera de St. Etienne), Spain (Teatro Maestranza de Sevilla, Ópera de Las Palmas, Teatro Real, Festival de Ópera de La Coruña, Teatro Zarzuela, Teatros de Canal, Gran Teatre del Liceu), Germany (Gärtnerplatztheater, Munich, Staatsoper Hannover, Theater Osnabrück), Ireland (Wexford Festival Opera) and the United Kingdom (London Händel Festival). She has also sung in Uruguay (Teatro Solís), Argentina (Teatro Avenida), Brazil, Chile, Bolivia, Bahrain, etc., and has been conducted by maestros such as Nicola Luisotti, Pedro Halffter, Giacomo Sagripanti, Alan Curtis, Gunter Neuhold, Martin Brabbins, Leonardo García Alarcón and Patrick Fournillier, among others.
Between 2016 and 2023 she was a member of the ensemble of the Theater Kiel (Germany), where she sang Gilda (Rigoletto), Contessa di Folleville (Il viaggio a Reims), Zdenka (Arabella), Oscar (Un ballo in maschera), Woglinde (Das Rheingold and Götterdämmerung), Waldvogel (Siegfried), Francesca (Rachmaninov's Francesca da Rimini), and the ensemble of the Hannover Staatsoper, performing roles such as Gilda, Adina, Morgana, Malwina (Der Vampyr, H. Marschner), Madame Mao (Nixon in China) and Eudoxie (La Juive).
Her recent and upcoming engagements include the German premiere of the 5-act version of Bizet's Ivan IV, singing the role of Marie at the Staatstheater Meinigen; Princess Eudoxie from La Juive at the Grand Théâtre de Genève with Minkowsky; Fidelio (Marzelline) at the Concertgebouw in Amsterdam conducted by Jaap van Zweden; a solo concert dedicated to Offenbach's Operetta repertoire with the Brussels Philharmonic conducted by Valentina Peleggi as well as Alcina (Morgana), Dialogues des Carmélites (Suor Constance), Così fan tutte, Carmen, Rigoletto, Der Vampyr and a new production of Midsummer Night's Dream in Hannover.
Next season she sings Aureliano in Palmira with the Capella Cracoviensis, Orphée aux enfers at the Teatro Colón in Buenos Aires, Psyché at the Hungarian Philharmonic, Alcina in Darmstadt and Carmen in Maestranza.
Date of last modification: July 2024
It cannot be altered without permission. Please destroy any previous biographical material.
She won the 2nd Prize at the International Singing Competition of Logroño 2009, 3rd Prize at the International Singing Competition of Zamora and was awarded with 2 scholarships offered by Maestro Dalton Baldwin at the Francisco Viñas Competition 2008.
For the last 10 years she has been developing her soloist career in Europe, where she has sung in France (Opéra de Lyon, Opera de Clermont Ferrand, Festival d'Aix en Provence, Opera de St. Etienne), Spain (Teatro Maestranza de Sevilla, Ópera de Las Palmas, Teatro Real, Festival de Ópera de La Coruña, Teatro Zarzuela, Teatros de Canal, Gran Teatre del Liceu), Germany (Gärtnerplatztheater, Munich, Staatsoper Hannover, Theater Osnabrück), Ireland (Wexford Festival Opera) and the United Kingdom (London Händel Festival). She has also sung in Uruguay (Teatro Solís), Argentina (Teatro Avenida), Brazil, Chile, Bolivia, Bahrain, etc., and has been conducted by maestros such as Nicola Luisotti, Pedro Halffter, Giacomo Sagripanti, Alan Curtis, Gunter Neuhold, Martin Brabbins, Leonardo García Alarcón and Patrick Fournillier, among others.
Between 2016 and 2023 she was a member of the ensemble of the Theater Kiel (Germany), where she sang Gilda (Rigoletto), Contessa di Folleville (Il viaggio a Reims), Zdenka (Arabella), Oscar (Un ballo in maschera), Woglinde (Das Rheingold and Götterdämmerung), Waldvogel (Siegfried), Francesca (Rachmaninov's Francesca da Rimini), and the ensemble of the Hannover Staatsoper, performing roles such as Gilda, Adina, Morgana, Malwina (Der Vampyr, H. Marschner), Madame Mao (Nixon in China) and Eudoxie (La Juive).
Her recent and upcoming engagements include the German premiere of the 5-act version of Bizet's Ivan IV, singing the role of Marie at the Staatstheater Meinigen; Princess Eudoxie from La Juive at the Grand Théâtre de Genève with Minkowsky; Fidelio (Marzelline) at the Concertgebouw in Amsterdam conducted by Jaap van Zweden; a solo concert dedicated to Offenbach's Operetta repertoire with the Brussels Philharmonic conducted by Valentina Peleggi as well as Alcina (Morgana), Dialogues des Carmélites (Suor Constance), Così fan tutte, Carmen, Rigoletto, Der Vampyr and a new production of Midsummer Night's Dream in Hannover.
Next season she sings Aureliano in Palmira with the Capella Cracoviensis, Orphée aux enfers at the Teatro Colón in Buenos Aires, Psyché at the Hungarian Philharmonic, Alcina in Darmstadt and Carmen in Maestranza.
Date of last modification: July 2024
It cannot be altered without permission. Please destroy any previous biographical material.
2024-2025 Performances
CARMEN
13 of June of 2024 Teatro de la Maestranza (Sevilla)
15 of June of 2024 Teatro de la Maestranza (Sevilla)
17 of June of 2024 Teatro de la Maestranza (Sevilla)
18 of June of 2024 Teatro de la Maestranza (Sevilla)
20 of June of 2024 Teatro de la Maestranza (Sevilla)
AURELIANO IN PALMIRA
06 of September of 2024 Łaźnia Nowa Theater (Krakow)
09 of September of 2024 Łaźnia Nowa Theater (Krakow)
11 of September of 2024 Vzlet (Prague)
13 of September of 2024 Lukaskirche (Dresden)
13 of June of 2024 Teatro de la Maestranza (Sevilla)
15 of June of 2024 Teatro de la Maestranza (Sevilla)
17 of June of 2024 Teatro de la Maestranza (Sevilla)
18 of June of 2024 Teatro de la Maestranza (Sevilla)
20 of June of 2024 Teatro de la Maestranza (Sevilla)
AURELIANO IN PALMIRA
06 of September of 2024 Łaźnia Nowa Theater (Krakow)
09 of September of 2024 Łaźnia Nowa Theater (Krakow)
11 of September of 2024 Vzlet (Prague)
13 of September of 2024 Lukaskirche (Dresden)
Gallery
Multimedia
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Nixon in China
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Märchen im Grand Hotel
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Reviews
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)
"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)
"... 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)
Interviews
La Provincia - March 2015