Marie Lys    Soprano



 J. Strauss - Die Fledermaus (Adele)

Opéra de Lausanne

Cond. Frank Beermann, dir. Adriano Sinivia



'Marie Lys campe avec espièglerie la femme de chambre de Rosalinde: sa voix gracieuse et cristalline, très équilibrée sur l’ensemble de la tessiture, est idéale pour portraiturer Adèle.'

Le Temps, 27 December 2018 (full review here)



'La jeune soprano suisse Marie Lys - Lauréate du prestigieux Concours International de Belcanto Vincenzo Bellini en 2017 - campe une impeccable Adèle, parfaitement à l’aise dans toutes les situations. Il est vrai que c’est à ce personnage que Johann Straussoffre et demande le plus : deux airs, dont le premier, « Mein Herr Marquis », est ici varié avec beaucoup de fantaisie, d’une strophe à l’autre.'

Opera Online, December 2018 (full review here)


G.F. Handel - Alcina (Alcina)

Bern Konzert Theater

Die Freitagsakademie & Bernvocal, dir. Nikolaus Habjan



'Überdies erweist sich Marie Lys mit glasklarem, dynamischem Soprano und expressiver Mimik als grandiose Besetzung, mittels derer Alcinas Entwicklung von der Herrscherin zur gebrochenen Alten emotional erlebbar wird.'

Der Bund, 17 September 2018


G.F. Handel - Giulio Cesare (Cleopatra)

Bury Court Opera

Cond. Dane Lam, dir. Greg Eldridge



'Marie Lys, as Cleopatra, is a shining light. In act 2, Cleopatra, singing, and resplendent in gold, with extravagant pheasant-feather head-dress, walks down the steps, almost brushing the audience with her feather-dressed arms. It is a thrilling moment, the more so as Lys has already won us over with the beauty of her voice. Musically, her most powerful moment is when, at her lowest point, in Tolomeo's prison, she sings the famous aria Piangerò.'

The Herald, 15 March 2018


'Marie Lys is an excellent Cleopatra with the sweetness, strength and flexibility of sound to tackle the part’s disparate demands, and a performance of ‘Se pietà di me non senti’, sung here in Act III, that is an undoubted highlight of the evening. When she is informed of Pompeo’s death she reveals her own calculating nature as she shows some distaste for Tolomeo’s act, but more bemusement as to why he should have thought it was a good idea, and then quickly moves on to think how she can exploit the turn of events. Nevertheless, Lys also shows how Cleopatra is genuinely disarmed by her love for Cesare, making her performance immensely sensitive and emotional as well.'

MusicOMH, 12 March 2018 (full review here)


'Soprano Marie Lys [...] was dazzling as Cleopatra, she brought out the fun, sexy side of the character (Winton Dean once memorably described it as one of Handel's 'sex-kitten' roles), but did not neglect the tragic. We believed in the character's journey so that the tragic arias, 'Se pieta, and 'Piangero' really counted and did not come out of nowhere. It helped that Lys has a sparkling technique so that the series of challenging arias were not just well sung but full of character too.'

Planet Hugill, 13 March 2018 (full review here)


'Marie Lys shimmered in the role, not just in her resplendent costumes but also through her vocal dexterity and care for characterisation. Her account of "Se pietà" ('If you do not feel pity'), deep into a long and taxing evening, had all the delicacy and aching beauty of Dido's Lament.'

WhatsOnStage, 10 March 2018 (full review here)


'Marie Lys almost stole the show as Cleopatra. She has a rich and stylish soprano voice and she can act too – her seduction of Caesar in disguise as the slave girl Lidia was sexy and funny at the same time.'

Plays to see, 9 March 2018 (full review here)


G.F. Handel - Lotario (Adelaide)

Internationale Händel-Festspiele Göttingen

Cond. Laurence Cummings, dir. Carlos Wagner


'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 (full review here)


'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 (full review here)


'The renowned Anna Strada, in her first appearance on the London stage, was a great success as Handel’s first Adelaide. So too in Göttingen was Swiss soprano Marie Lys [...]. Right from her forceful opening monologue she impressed with firm, penetrating voice and impeccable technique. Bound as a prisoner in her final aria of the act, she exhibited defiance and determination while the infamous Berengario couple stretched her arms apart with rope. [...] Equally effective was the intense emotional expression Ms. Lys brought to her prison scene in the second act with the b flat minor prayer “Menti eterne,” as alone and despondent she painstakingly lit candles on the low platform that once held the funeral bier.'

Opera con Brio, May 2017 (full review here)


'Marie Lys als Adelaide verströmt seelentiefe wie koloraturkokette Sopranlyrik.'

Die Welt, 23 May 2017 (full review here)


'Da ist zunächst Adelaide zu nennen, die von Marie Lys mit kräftigem und in den Koloraturen absolut beweglichem Sopran interpretiert wird. Mit stupenden Höhen und atemberaubenden Läufen wird die junge Sopranistin, die mit ihrem Ensemble Abchordis den ersten Preis in der Göttinger Reihe Historischer Musik gewonnen hat, dem kämpferischen Geist der jungen Königin mehr als gerecht. Ihre große Gleichnisarie am Ende des ersten Aktes, "Scherza in mar la navicella", in der sie wie ein Schiff auf stürmischer See den Feinden trotzen will, erntet für die halsbrecherischen Koloraturen zu Recht frenetischen Jubel. [...] Das bewegende Schlussduett zwischen Lys und Rennert am Ende der Oper geht unter die Haut.'

Online Musik Magazin, 21 May 2017 (full review here)


'L'Adelaide de Marie Lys est à la hauteur de son brillant soupirant. La voix cristalline de la soprano suisse possède des attaques tranchantes, comme pour mieux éloigner les machinations de Matilde. A la fin du premier acte elle s’acquitte avec brio de son air de bravoure Scherza in mar la navicella, attachée aux balustrades de la galerie centrale et bravant l'encerclement de Matilde et Clodomiro. Ce final bien enlevé par l’orchestre attirera à juste titre un tonnerre d'applaudissements. Soulignons encore son bel abattage dans les ornements du Menti eterne, les plaintes étirées du D'una torbida sorgente (au second acte), et son panache dans l'affrontement avec Matilde et Berengario au troisième acte (Non sempre invendicata).'

Baroquiades, 27 May 2017 (full review here)


'Le jeune soprano suisse Marie Lys, dont la carrière se construit dans la sphère baroque, rend fascinant le rôle d’Adelaide, par un colorature qui fait son effet, surtout dans l’art de l’ornement dont elle a fait siens tous les secrets. Cette virtuosité véhicule le courage de la reine.'

Anaclase, 28 May 2017 (full review here)



Eurilla (Haydn's Orlando Paladino)

Opéra de Fribourg

Orchestre de Chambre de Fribourg, conducted by Laurent Gendre


'Mais c’est sans doute le couple buffo qui fait le plus d’effet : la soprano Marie Lys, au grand charme vocal et physique, campe une Eurilla toute de vivacité et de rouerie [...].

Opéra Magazine, mars 2017, p.45


'Fraîche, pimpante, dotée d’un timbre fruité, la soprano lausannoise Marie Lys campe très bien la jeune bergère.'

Le Temps, Julian Sykes, 8 January 2017 (full review here)


'L’aria est enlevé par une Marie Lys (Eurilla) pétillante à souhaits et vocalement bien assurée. D’emblée on est conquis par cette fougue, cette assise vocale, cette fraîcheur interprétative.'

ResMusica, 31 December 2016 (full review here)


'[...] la soprano lausannoise Marie Lys, magnifique de précision mutine en Eurilla.'

La Liberté, 31 December 2016


'Concernant les voix, on soulignera notamment celle de la servante Eurilla, jouée par Marie Lys.'

La Gruyère, 31 December 2016




Asteria (Handel's Tamerlano)

Buxton Festival

The English Concert, conducted by Laurence Cummings


'[...] Marie Lys, who tellingly reflected Asteria's vacillating emotions with lovely line in her arias, ornamenting idiomatically.'

Opera Magazine, September 2016


'All the singing was excellent, but soprano Marie Lys as Asteria and countertenor Owen Willets as Andronico were oustanding as the two lovers.'

Opera Now, September 2016


'Particularly impressive were Marie Lys and Owen Willetts singing Asteria and Andronico respectively. Lys sang with great versatility, showing a silvery crystalline soprano in glorious trills that bounced round the higher register like a kangaroo on speed. Impeccable diction and a captivating stage presence that veered from imperious to ferocious with alarming rapidity brought the character to life. [...] The duet in Act III between these two splendid singers was the highlight of the evening.'

Bachtrack, 11 July 2016 (full review here)


'Marie Lys brought great charm to the role of Asteria. Whilst she had that combination of lightness of touch and killer technique needed by any Handel heroine, Lys also brought out the character's great strength. There was a toughness to her performance which showed that she clearly was her father's daughter. She and Willetts were wonderfully tender in their duet, rightly one of the loveliest things in the opera, yet you never doubted for one moment that Lys's Asteria had the strength of character to kill Tamerlano on their marriage bed, and her strong sense of moral uprightness came out both in her demeanour and in her musical performance.'

Planet Hugill, 11 July 2016 (full review here)


'Marie Lys proved herself a singer of impressive range and real passion from the start, and found the dimension of feistiness in her role as noble daughter – the father-daughter relationship is one that’s rarely explored with such truthfulness and emotional power in opera of this period, and she and Nilon caught it well.'

Manchester Classical Music, 15 July 2016 (full review here)



Dalinda (Handel's Ariodante)

Britten Theatre

London Handel Festival

Conducted by Laurence Cummings


'Lys conveyed a vibrant sense of Dalinda's youth. Her feel for Handel's music was strong with some finely accurate fioriture, culminating in a stunning show-stopping account of Dalinda's final aria, which showed that Lys can't just sing pinpoint coloratura but can really perform it.'

Planet Hugill, 11 March 2016 (full review here)



Adele (J. Strauss' Die Fledermaus)

Britten Theatre, Royal College of Music

Directed by John Copley, conducted by Michael Rosewell




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

The Guardian, 29 November 2015 (full review here)


'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, p.218-219


'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 (full review here)




Concert with Abchordis Ensemble

Händel arias

Göttinger Reihe Historischer Musik


'Die junge Schweizer Sopranistin überstrahlte auf jeden Fall alle und alles in der Aula der Universität. Welch eine famose Stimme, welch eine gestalterische Vielfalt, welch eine Ausdruckskraft – das Publikum wollte sie gar nicht mehr ziehen lassen.'

Kulturbüro Göttingen, January 2015 (full review here)

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