"Miriam Albano sings her broad arias with a voice of splendid colour, slightly dark but capable of soaring smoothly into the high register; the singer used her perfect technique no longer for purely virtuosic displays, but to bring out the contrasting passions that animate this magnificent character."
Thanks to her exceptional vocal range, which allows her to move freely between soprano and mezzo-soprano registers, Miriam Albano is at ease with a vast and eclectic repertoire spanning from Baroque to contemporary works.
Born in Venice, Miriam studied singing at the Benedetto Marcello Conservatory in her hometown before furthering her studies at the University of Music in Vienna. She refined her technique under the guidance of distinguished artists such as Brigitte Fassbaender.
Miriam’s voice has been recognised on the international stage, with notable successes at prestigious competitions, including Neue Stimmen in Germany (2015) and the Francisco Viñas Competition in Spain (2016). She also had the honour of representing Italy as a finalist at the Cardiff Singer of the World competition (2017). In addition to her vocal accomplishments, Miriam is also an accomplished violinist, adding further depth to her musical artistry.
From 2016 to 2019, Miriam was a soloist in the ensemble of the Vienna State Opera, where she made her debut in the roles of Cherubino in Le nozze di Figaro and Annio in La clemenza di Tito. At the Salzburg Festival, she brought to life the enchanting role of Puck in Purcell’s The Fairy Queen. At the Deutsche Oper am Rhein in Düsseldorf, she captivated audiences as Zerlina in Don Giovanni, Stéphano in Roméo et Juliette, and in the title role of Rossini’s La Cenerentola.
She continued to shine as Cherubino in Le nozze di Figaro and Rosina in Il barbiere di Siviglia at the Teatro dell’Opera di Roma, the Grand-Théâtre de Bordeaux, and the Teatro Regio di Torino. For the Maggio Musicale Fiorentino, she delivered memorable performances as both Cherubino and Melanto in Monteverdi’s Il ritorno di Ulisse in patria.
At the Teatro Nacional de São Carlos in Lisbon, Miriam performed the role of Annio in a concert version of La clemenza di Tito. She received widespread public and critical acclaim for her portrayal of Despina in Così fan tutte, with performances at the Gran Teatre del Liceu in Barcelona, the Teatro Alighieri in Ravenna, the Opéra Grand-Théâtre de Bordeaux, and the Théâtre Royal du Château de Versailles, confirming her as a versatile and compelling artist.
In the symphonic and chamber repertoire, Miriam has appeared at prestigious venues across Europe, including LAC Lugano, the Radiokulturhaus in Vienna, and the opening concert of the Rheingau Musikfestival with the Frankfurt Radio Symphony Orchestra. She has also performed at the Festival Internacional de Santander in Mozart’s Great Mass in C minor (K. 427) and at the Tonhalle Zürich with Spanish repertoire.
Her versatility is further reflected in her recital activity, including a solo programme at the Teatro La Fenice in Venice featuring works by Brahms, Schumann, Puccini, and Hahn. Accompanied by the Karajan Academy of the Berlin Philharmonic, she presented programmes dedicated to Schubert and Mendelssohn at both the Berliner Philharmonie and Schloss Esterházy in Eisenstadt.
Miriam has collaborated with numerous renowned conductors, among them Marc Minkowski, Ádám Fischer, Tomas Netopil, Antonino Fogliani, Stefano Montanari, Jean-Christophe Spinosi, Ottavio Dantone, Mikko Franck, Evelino Pidó, Frédéric Chaslin, Alondra de la Parra, Diego Fasolis, Alain Altinoglu, Valery Gergiev, and Semyon Bychkov. Her artistic profile has also been enriched through collaborations with distinguished directors including Lotte de Beer, Graham Vick, Laurent Pelly, and Robert Carsen.
Her most recent major roles include the title role in Gluck’s Iphigénie en Aulide at the Osterfestspiele Schloss Rheinsberg, Isabella in Rossini’s L’inganno felice at the Reate Festival under the direction of Alessandro De Marchi, Prinz Orlofsky in Die Fledermaus at the Teatro Comunale di Bologna, and Emilia in Vivaldi’s Catone in Utica at the Teatro Comunale di Ferrara under Federico Maria Sardelli. She also returned to the role of Despina in Così fan tutte at the Théâtre des Champs-Élysées in Paris with Marc Minkowski and Les Musiciens du Louvre, performed Aminta in Il re pastore at the Teatro dell’Opera di Roma, and sang Cherubino at the National Centre for the Performing Arts in Beijing, marking her Asian debut.
Alongside this established repertoire, Miriam Albano is currently undergoing a natural and increasingly defined artistic evolution towards the lyric coloratura soprano repertoire. Building on her secure technique, extended range, and notable vocal agility, she is progressively expanding her repertoire to embrace roles requiring greater brilliance in the upper register, flexibility, and virtuosic refinement, while retaining the stylistic awareness and expressive depth developed through her work in Mozart and Rossini.
This artistic transition is further underscored by her forthcoming debut as Adalgisa in Bellini’s Norma for State Opera South Australia, representing a significant step towards the full lyric bel canto repertoire.
Her artistic path thus reflects a coherent and organic evolution from the classical and Rossini repertoire towards the lyric coloratura soprano Fach, establishing her as a versatile and distinctive performer, capable of combining technical brilliance with expressive nuance and dramatic presence.