Marie Lys - Soprano

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Winner of the Concours International de Belcanto Vincenzo Bellini 2017, soprano Marie Lys has sung across Europe for conductors such as Michel Corboz, Laurence Cummings, Daniel Reuss, Sigiswald Kuijken and Guillaume Tourniaire.   She has also recently won 1st Prize in the prestigious 2018 Cesti-Wettbewerb baroque competition in Innsbruck.

Alongside her appearances at Festivals in Ambronay, La Roque d’Anthéron, La Folle Journée and Verbier, she has performed at the Wigmore Hall, Buckingham Palace and Kings Place (London), Opéra de Lausanne, Opéra de Vichy, Opéra d’Avignon, Duomo di Pisa, Centro Cultural de Belém (Lisbon), the Tokyo International Forum and Yomiuri Otemachi Hall.

On the operatic stage she performed the roles of Adelaide Lotario Göttingen International Handel Festival, Dalinda Ariodante London Handel Festival, Asteria Tamerlano Buxton Festival, Adele Die Fledermaus, Königin der Nacht Die Zauberflöte and Clara La Vie Parisienne at the RCM International Opera School, Eurilla Orlando Paladino Opéra de Fribourg, Galatea Acis and Galatea Opéra Louise, Nanetta Falstaff Woodhouse Opera, and Lauretta Gianni Schicchi at Les Azuriales Festival. In 2011 she premiered the role of Mina in Thierry Besancon’s Dracula ou la Symphonie Inachevée in Switzerland.

In 2016 she was awarded the Michael Normington Prize in the Handel Singing Competition, First Prize in the Lies Askonas Competition, Second Prize in the Joan Chissell Schumann prize for voice and piano, and in 2015 she won the First Prize in the Göttinger Reihe Historischer Musik Competition with Abchordis Ensemble, that she co-founded in 2011. Their first recording, Stabat Mater, was published in 2016 by Sony DHM.

She works regularly with her pianist partner João Araújo, with whom she founded Duo Dalma.

A Samling Artist and a Migros cultural Percentage Soloist, she has been supported by the Leenaards, Dénéréaz, Colette Mosetti and Friedl Wald Foundations and by the Drake Calleja Trust and the Josephine Baker Trust.

After a Bachelor in Music at the Haute Ecole de Musique de Lausanne with a Prize for the best recital, Marie studied at the Royal College of Music where she graduated with First Class Honours in 2014, before joining their International Opera School under Amanda Roocroft, graduating in 2016 with an Artist Diploma in Opera. She studies with Rachel Bersier in Neyruz.

Recent appearances include Lisa La Sonnambula at the Opéra de Lausanne, Cleopatra Giulio Cesare at Bury Court Opera (UK), her debut at the Casa da Música (Porto) with Orquestra Barocca Casa da Música, conducted by Laurence Cummings. with whom she also sang the Bach St Matthew Passion at the London Handel Festival, and the Mozart Requiem with Michael Corboz.

Future plans include Adele Die Fledermaus in Lausanne and Adelaide Lotario in Bern.



For Lotario (Adelaide) in Göttingen: 

‘Lys was a revelation, a soprano who gives beyond the call of duty but knows how to focus her resources.’

The Arts Desk, 3 June 2017

‘Vocal honours were easily taken by Swiss soprano Marie Lys as Adelaide, with a clear, penetrating voice and excellent technique. Her singing was an almost textbook display of Baroque vocalism, with mostly straight tone but judicious use of vibrato for colouration; pretty trills for emphasis, well articulated accurate coloratura and some lovely cadenzas. She also brought dramatic skills to bear, standing up to the nasty bullying Berengarios with furious defiance. “Scherza in mar la navicella” was a particular tour de force.’

Bachtrack, 22 May 2017

‘Marie Lys als Adelaide verströmt seelentiefe wie koloraturkokette Sopranlyrik.’

Die Welt, 23 May 2017


 For Die Fledermaus (Adele) at Royal College of Music:

‘The other knockout performance came from Marie Lys, fizzing, feline and incisive as the maid Adele.’

The Guardian, 29 November 2015

‘As Adele, Marie Lys […] had the full measure of her role […]. Her tone was buoyant and ringing, not chirrupy, and her coloratura was seductive, right to the top.’

Opera, February 2016

‘Providing some of the most effervescent moments in the performance was Marie Lys, singing Adele. […] her high notes were of professional standard, hit without difficulty and well sustained. […] she demonstrated a consummate acting ability throughout the performance, hammy at moments, but appropriately so. I have rarely seen flouncing done with such flair.’

Bachtrack, 24 November 2015