Megan Marino, Golde

American mezzo-soprano Megan Marino has been praised by Opera News as “a gifted actress with a strong, appealing voice, graced by a rich lower register,” who appears both “authoritative and carefree.” Megan ’s 2025–26 season included workshops of a new crossover work with Opera Montana as Heidi in A River Runs Through It, Orsini in Lucrezia Borgia with Opera Baltimore, and a tour of The Dialogue of Memories with Music of Remembrance, with performances in Seattle, San Francisco, and Chicago. Upcoming engagements include Annina in Der Rosenkavalier with Houston Grand Opera, Golde in Fiddler on the Roof with Detroit Opera, and Meg Page in Falstaff with Garsington Opera.

Megan has been a regular performer with the Metropolitan Opera since her 2013 debut as the Voice of an Unborn Child in Die Frau ohne Schatten, singing Flora in La traviata, Second Lady in The Magic Flute, Second Wood Sprite in Rusalka, Laura in Iolanta, Myrtale in Thaïs, Nursing Sister in Suor Angelica, and Feodor in Boris Godunov. She is also a frequent performer at the Atlanta and Santa Fe Opera s.

Although her early career was built on spirited roles such as Rosina in Il barbiere di Siviglia, Angelina in La Cenerentola, Meg Page, Hänsel in Hänsel und Gretel, and Annina, Megan ’s versatility and varied creative interests lend themselves particularly well to new works as well. In spring 2024, she was honored to create three of the four roles in the world premiere of the opera Before It All Goes Dark by Jake Heggie and Gene Scheer.

Megan can be heard on several commercial recordings, including Weill’s The Road of Promise with MasterVoices at Carnegie Hall and Higdon’s Cold Mountain with Santa Fe Opera. With her longtime recital partner, pianist John Arida, she recorded It’s You I Like, an album of classically anchored music for children, and The Travelled Road: The Music of Evan Mack. Her concert credits include Handel’s Messiah with Cincinnati Symphony Orchestra, Mozart’s Requiem with Boston Boy Choir, Mendelssohn’s A Midsummer Night’s Dream with Orchestra of St. Luke’s at the Caramoor International Music Festival, and Haydn’s Mass No. 6 at Carnegie Hall.

Megan received training as a Santa Fe Opera Apprentice Singer and recipient of an Aspen Opera Theater f ellowship. Numerous awards and honors helped bridge the gap between training and her professional career. Today, Megan pays that support forward as a member of the vocal faculty of the Taos Opera Institute. She was also an active board member of the A merican G uild of M usical A rtists from 2019 to 20 22 and serves as co-founding Executive Director of the Creede Musical Arts Collective.