Born in Barcelona, Maria Miró studied singing at the prestigious Liceu Conservatoire of Barcelona and at the Royal Northern College of Music (RNCM) of Manchester, United Kingdom, where she completed an MMUS with Distinction. She studied transversal flute and piano as a child, and she is also graduated in Medicine by the University of Barcelona. She has received singing advice by Deborah Polaski, Mariella Devia, Joy Mammen, Carlos Aransay, Josep Bros, Jaume Aragall, Viorica Cortez, Nicola Beller Carbone, Elisabetta Fiorillo, among others.
She won First Prize at the 22nd Mirabent and Magrans Singing Competition 2014 and First Prize and Zarzuela Prize at the 3rd International Singing Competition City of Elda 2014, among other singing prizes in Spain; and during her stay in the UK, she was Finalist of the Clonter Opera Prize and The Elizabeth Harwood Memorial Prize 2011, and Highly Commended in the Cronshaw Song Cycle Prize 2010.
Two highlights of her singing career have been singing the role of Penelope (Britten’s Gloriana), conducted by Ivor Bolton and directed by David McVicar (2018) and Mariana (Wagner’s Das Liebesverbot), conducted by Ivor Bolton and directed by Kasper Holten (2016), both at Teatro Real of Madrid, with great success. PLATEA MAGAZINE wrote (Gloriana): “Maria Miró gave the best actuation of the night, with a rounded and powerful voice, homogeneous wonderful colour in the different registers, good high register and excellent dramatic use of the dynamics”. DAS OPERNGLAS wrote (Das liebesverbot): “scored Maria Miró, from Barcelona, in the role of Mariana, with clear and bell-ringing soprano voice that sounded precise and elegant, which completely convinced. A promising debut!”
She made her operatic debut as Fiordiligi at Lyric Opera Studio of Weimar in 2011, and in 2012 she sang First Lady at Wexford Opera Festival and Suor Genovieffa in Suor Angelica at Dorset Opera Festival, UK. In 2015, she sang Mimì at Celebrate Voice Festival of Salisbury, UK. Other international theatres include Teatro Massimo of Palermo (Norma with Mariella Devia in the title role, 2017) and Opera Grand Avignon (Countess in Le nozze di Figaro, 2018).ÔLYRIX said (Le nozze, 2018): Maria Miró is a Countess rich of commitment and sensitivity. With the expression of the affliction (“Porgi amor”) and the nostalgy (“Dove sono”), the Catalan soprano demonstrates a successful vocal technique, endowed with a beautiful legato that leads to a luminous and vibrant sound.”
Since 2013, she has been singing in the two biggest houses in Spain: Teatro Real of Madrid (cover of Donna Anna 2013, Alceste 2014, Norma 2016, Mariana in Wagner’s Das liebesverbot 2016, Penelope in Britten’s Gloriana 2018, Il pirata 2019, Wellgunde in Das Rheingold 2019 and in Götterdämmerung 2022) and Gran Teatre del Liceu of Barcelona (Falla’s L’Atlantida 2013, I due Foscari 2015, Il trovatore 2017). She sang Micaela with Orchestra Reino de Aragón in 2017, Musetta at Opera de Sabadell in 2019, and First Lady at Opera de Oviedo in 2021.
In the Zarzuela repertoire, Maria made her debut at Teatro de la Zarzuela in Madrid in 2019, with Marquesita in El barberillo de Lavapiés by Barbieri, production that has been on tour to Teatro Lírico Español of Oviedo (2020), Teatro de la Maestranza of Seville (2021), and Palau de les Arts of Valencia (2021) and it came back again at Teatro de la Zarzuela (2022). OPERA ACTUAL wrote (El barberillo de Lavapies, 2019): “Maria Miró was excellent, with an exquisite musicality and a solid technique that drew attention; a discovery singing Zarzuela.”
Maria Miró is also fond of contemporary music. She has participated in the world première of 4 Spanish new operas by living composers, with great success: the title role of LA REGENTA by Marisa Manchado at Teatro Real/Teatro Español (2023) and in Oviedo with Festival de Teatro Lírico Español (2025); the main role of Cruz in TRÁNSITO by Jesús Torres at Teatro Real/Teatro Español (2021) and at Palau de les Arts of Valencia in a new production (2024); the main role of Laurencia in FUENTEOVEJUNA by Jorge Muñiz at Opera de Oviedo (2018) and at Opera de Tenerife (2022) and the role of Hermana in Tejas Verdes by Jesús Torres at Teatro Real of Madrid (2025). OPERA ACTUAL wrote (Tránsito): “The soprano María Miró, who was able to show off timbral beauty, width of register and expressiveness like Cruz, the Spanish wife.” Backtrack wrote (Fuenteovejuna): “The solo singers were also very adequate, both vocally and dramatically, with Maria Miró‘s stellar performance as Laurencia standing out. A soprano of great dramatic vein, with power and vocal mastery, she managed to exemplarily reflect the vicissitudes of the character.” El Cultural wrote (La Regenta): “Maria Miró, spectacular in her enormous and difficult role”.
Maria Miró has worked with conductors such as Maurizio Benini, Pablo Heras-Casado, Ivor Bolton, Massimo Zanetti, Roberto Abbado, Daniele Callegari, Josep Pons, Jordi Francés, Andrew Davis, Jose Miguel Pérez-Sierra, and directors such as David Mc Vicar, Kasper Holten, Krzysztof Warlikowski, Robert Carsen, Justin Way, Dmitri Tcherniakov, Davide Livermore, Barbara Lluch, Carles Alfaro, Miguel del Arco, Emilio Sagi, Alfredo Sanzol or Joan Anton Rechi.
As a fine recitalist, she has performed in many Festivals and Concert Series throughout Spain and the United Kingdom, including Spanish venues such as L’Auditori of Barcelona, Auditorio of Alicante, and Gran Teatre del Liceu. Spanish Festivals include La Fundación Juan March de Madrid, XXVI Festival Internacional de Música Clàssica Sant Fruitós de Bages 2020 (with tenor Josep Bros), Xarxa de Músiques de Catalunya, Fundació Frederic Mompou, Nits de Clàssics at Teatre Principal de Valls, among many others. On the concert platform, she has performed as a soprano soloist in Beethoven’s 9th Symphony (with JOSBU, under Pedro Bartolomé, 2023) and Egmont (with Oviedo Filarmonia, under Lucas Macías, 2020), Rossini’s Petite Messe Solennelle, Vivaldi’s Gloria, Mendelssohn’s Elijah and Mendelssohn’s Psalm 42.
In the past season 24-25, she sang Micaela at Teatro de la Maestranza of Seville, Echo in Ariadne auf Naxos at Opera de Tenerife, Hermana in Tejas Verdes at Teatro Real, La Regenta at Teatro Campoamor in Oviedo, and she made her debut at Fundación Juan March of Madrid with a beautiful Recital of Latinamerican songs.
The season 25-26 has been very exciting. Maria sang the title role of Yerma by Villalobos at Opera de Tenerife, she made her debut at Eutiner Festspiele in Germany with an Opera Gala concert, she came back to Teatro Real of Madrid in the role of Melisande in Ariane et Barbe-bleue by Paul Dukas, and she came back to Gran Teatre del Liceu in Falstaff by Verdi, singing the role of Nannetta.