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Marie Angel


Marie Angel is one of today’s most thrilling dramatic sopranos. Born in Pinnaroo, South Australia, Marie trained at the Adelaide Conservatorium with Donald Munro. She is known for the versatility of her voice, her stage presence and her extraordinary ability to move audiences.

As a soprano, as well as having performed operas in the classical repertoire she is also known through contemporary classical composers including Mauricio Kagel, Bruno Maderna, Michael Tippett, Harrison Birtwistle, Philip Glass, Louis Andriessen, Michael Nyman, Bernd Alois Zimmermann, and John Cage.

She has appeared in films by Peter Greenaway and has participated in the recording of the opera Facing Goya, by Michael Nyman. She has also performed with the Michael Nyman Band as a vocalist at some of his concerts.

Marie's career highlights include revolutionary work as a founder member of the Opera Factory, in London and Zurich, singing the roles of Poppea (Monteverdi), Iphigenia (Gluck), Fiordiligi, Donna Anna, the Contessa Almaviva, and Pretty Polly (Birtwistle); the latter leading to her collaborating with Sir Kenneth MacMillan (Seven Deadly Sins). Seeking further challenges she created the roles of Morgan le Fay in Birtwistle’s Gawain (ROH), Esmeralda in Rosa (Greenaway and Andriessen, Netherlands Opera), Ingrid in Esmee (Lovendier, Holland Festival), Cixi in Hotel de Pekin (Jeffs, Nationale Reisoper) and Soprano 2 (Facing Goya, Nyman).

The enduring thread running through Marie’s career is collaboration. She has worked with many contemporary composers including Andriessen, Birtwistle and Nyman, and with leading directors such as Greenaway, Hosseinpour, Lowery and Wernicke. The latter collaboration lead to Marie completely reinterpreting the roles of: Dichterin (Aus Deutschland, Kagel); Fortunata (Satyricon, Maderna); Hanna (Lustige Witwe, Lehar) and Gräfin de la Roche (Zimmerman); and to a radical reimagining of Die Entführung aus dem Serail. With Nigel Lowery she sang Ottavia (Poppea, Basel), as Soprano in John Cage's Europeras 1-5 (Hannover) and the Voice in Nyman’s “Man with a Movie Camera”. As a result of these collaborations Marie was accorded the title Kammersängerin in addition to her earlier Gulbenkian and Countess of Muster prizes.