Mauricio Virgens

Mauricio Virgens

Lyric Baritone

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Bio


The German-Brazilian high baritone Mauricio Virgens began his singing studies in Salvador da Bahia, Brazil. Since 2000 he has been based in Cologne, Germany. The high Baritone has in his Repertoire Papageno (Die kleine Zauberflöte), Pluto (Orpheus in der Unterwelt), Schaunard (La Bohème), Morales (Carmen), Fritz (Die tote Stadt), Pelléas (Pelléas et Mélisande), Monsieur Vogelsang (Der Schauspieldirektor), Figaro (Der Barbier von Sevilla) etc. 

His oratorio repertoire comprises works from J.S. Bach, G.F. Handel, J. Haydn, C. Orff, F. Mendelssohn among others.In Cologne he often works with the Scottish conductor Paul MacAlindin on opera and Lieder recitals and also contemporary music such as by Sir Peter Maxwell Davies, whose song cycle Tondo di Michelangelo he premiered in 2007 in Manchester and 2008 at the Weil Recital Hall in New York. 

He has won prizes at the following competitions; 2003, the Schloss Rheinsberg International Singing Competition; 2006, the Center for Contemporary Opera international Singing Competition in New York.  




Staged roles  

Porgy and Bess (G. And I. Gershwin) Jake;

Die Zauberflöte (W. A. Mozart) Papageno; 

Orpheus in der Unterwelt (J. Offenbach) Pluto

Carmen (G. Bizet) Escamillo 

La Bohème (G. Puccini) Schaunard 

Der Schauspieldirektor (W. A. Mozart) Monsieur Vogelsang 

Prima la Musica (A. Salieri) Poeta 

The Barber of Sevilla (G. Rossini) Figaro 




Studied Roles

Guglielmo (Così fan tutte)

Morales (Carmen)

Marcello (La Bohème) 

Billy Budd (Billy Budd)





Strenghts 

Excellent stage presence and charisma. Rich bright-toned baritone high voice. Musical intelligence. Easygoing and low maintenance teamwork.  

Press

The German-Brazilian Mauricio Virgens, in the title role, was a highly virtuosic musical comedy talent, who with joy and superb stage presence delivers a great character with excellent pronunciation; no mean feat in such rapid pieces. Gelnhäuser Tageblatt 2011 (The Barber of Sevilla - in German – Bad Orb Opernakademie)

Mauricio Virgens sings and acts brilliantly (...) his soft and voluminous baritone with dark-colored vowels (...) This highly talented performer delivers a natural and irresistible cheerfulness and develops in the famous opening aria from flowing Parlando into a virtuoso Prestissimo. Fuldaer Zeitung 2011 (Idem)

That the Operafestival Kichstetten would be a pleasure could the amazing singers guarantee (...) Mauricio Virgens as the Poet also proved to be a real comedian. NÖN 2010 (Der Schauspieldirektor and Prima la Musica – Opernfestival Kirchstetten)

The big-voiced singer Bunoaica conquered the scenario with her first aria (…) only Jennifer Yoon as Musette and Maurício Virgens as Schaunard could top her vocally. FREIZEITleben 2009 (La Bohème – Summer Opera Bamberg)

Schaunard (Maurício Virgens) and (...) demonstrated not only vocal but also dramatic aplomb. Der Neue Merker 2009 (Idem)… the great sensible richness that Mauricio Virgens can achieve with his voice, was evident for the audience when he sang Lieben, Hassen, Hoffen, Zagen, from the Strauss’s opera Ariadne auf Naxos, after that even the singer found himself very touched. Kölnische Rundschau 2007 (Erftstadt Master Recitals – Schloss Gracht, Erftstadt)

The charismatic singer (...) speaks excellent German (…) makes a slim, almost athletic impression – his voice is exactly the same. Virgens sings without vocal stress (…) his enormous stage presence captivates as well as his talent on musically interpretation of Lieder and arias. Kölner Stadt-Anzeiger 2007 (Erftstadt Meisterkonzert – Schloss Gracht – Erftstadt )

The Tuscan poetry of Michelangelo provided the text for Maxwell Davies's work, which managed to mirror the darkly tangled sentiments of the words. In a song cycle comprising eight separate poems, we were exposed to the traumatic and painful aspects of love with music that was solemn and restrained, moody and unforgiving. This was, perhaps, the only piece that artfully tested the extremes of Virgens's range, and (...) it was at these extremes that the baritone fared best. The Herald 2007 (RSAMD – Glasgow)
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