Mariana Fernandes is an emerging Portuguese soprano based in London, whose captivating voice and commanding stage presence are gaining increasing international attention. In 2025, she joined Glyndebourne Opera as a Jerwood Young Artist, and her artistry has been recognised with the 2024 Susan Longfield Award and a finalist place in the 69th Kathleen Ferrier Awards at Wigmore Hall.
Her repertoire spans lyric and lyric-spinto roles from Mozart to Puccini, including Mimì, Micaëla, Donna Anna, Rosalinde, and Contessa Almaviva. Praised for her vocal power, emotional depth, and nuanced characterisation, Mariana brings a versatile and expressive voice capable of moving seamlessly between refined lyricism and dramatic intensity. Her affinity for contemporary repertoire—most notably in Jeremy Fisher—further demonstrates her artistic curiosity and vocal flexibility.
News
Die Fledermaus
“Mariana Fernandes reveals an extremely well developed and nuanced soprano as Rosalinde. ”
“Mariana Fernandes as Rosalinde was capable of stunning power.”
“In her early appearances Mrs Eisenstein might be thought to be wearing the trousers in that particular household: in this role Mariana Fernandes projected her powerful soprano voice well (…) her admirably inflected csárdás, “Klänge der Heimat”, revealed a multi-faceted quality of characterisation.”
Jerwood Young Artist
Glyndebourne has announced the names of five singers who will take part in its Jerwood Young Artist programme this year.
The Jerwood Foundation-supported programme, which started in 2010, offers aspiring soloists from the Glyndebourne Chorus career-changing support and professional development over a full Glyndebourne Festival season. The singers will work with leading conductors, directors, choreographers, theatre specialists and vocal coaches to enhance their skills and experience.
https://operawire.com/glyndebourne-announces-2025-jerwood-young-artists/
Parsifal
The Times: **** "The chorus singing is thrilling"
The Observer: "Cast, chorus and resident London Philharmonic Orchestra, glowing and nuanced, performed with engrossing authority."
Bachtrack: **** "The Glyndebourne Chorus sounded glorious."
Artsdesk: "...unison splendour from the magnificent men of the Glyndebourne Chorus."
MusicOMH: **** "The augmented Glyndebourne Chorus rises to the occasion, their singing sonorous and refined, particularly in the Act I and III Grail scenes."
The Article: "Ticciati gave us the music as it should be, marshalling the London Philharmonic’s orchestral forces, along with the singers and terrific chorus, to marvellous effect."
The Stage: "The Glyndebourne Chorus and the London Philharmonic Orchestra are superb."
Plays to See: "This [John Relyea} is the stand-out performance of the evening, alongside the immaculate work of the Glyndebourne Chorus, as resonant on stage as they are ethereal up in the Gods."
Classical Source: "The Glyndebourne Chorus offer fine and conspicuous contrast in the robustness of their contributions, as the Grail hall servants and Klingsor’s flower maidens."
Opera-online.com: "The first act develops in a very extended and sustained manner, with the appearance of the well-prepared and penetrating Glyndebourne Chorus a powerful sound world blossoms and the arc of suspense is well maintained until the end of the act."
Operatoday.com: "The chorus excel as Grail Hall servants and flower maidens"
The Telegraph ****
The Guardian ****
Financial Times ****
The Standard ****
