Media & Discography

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Media

I invite you to explore a selection of opera and recital performances captured in video/audio. These recordings celebrate some of the roles, arias, and musical works that have been meaningful parts of my artistic journey. From the drama and passion of opera to the intimacy of recital repertoire, I hope these performances offer a window into the stories and emotions behind the music. To view additional opera and recital performances, please visit my YouTube channel: Mariateresa Magisano and consider subscribing. Thank you.

Opera

Giacomo Puccini (1858–1924)
La bohème (1896)

This performance features Mimì’s famous Act I aria, “Sì, mi chiamano Mimì” (“Yes, they call me Mimì”), from Puccini’s La bohème. After meeting Rodolfo on a cold winter evening in Paris, Mimì gently introduces herself and shares a little about her life, her work as a seamstress, her love of flowers, and the simple pleasures that fill her days.

Through this beautiful aria, we discover Mimì’s quiet charm, warmth, and sincerity. With its flowing melody and heartfelt simplicity, Sì, mi chiamano Mimì is one of opera’s most beloved moments and a touching introduction to one of Puccini’s most unforgettable characters.
This performance is shared with the kind permission of Nickel City Opera. My sincere thanks for making this recording available.
Reproduction or re-uploading of this video without permission is prohibited.

Performed by Mariateresa Magisano as Beth in the Canadian premiere of Mark Adamo’s Little Women.

Little Women (1998)
Music and libretto by Mark Adamo (b. 1962)
World premiere: Houston Grand Opera, Houston, Texas, March 13, 1998
Canadian premiere: Calgary Opera, Calgary, Alberta, January 30, 2010

Beth’s final aria, “Have Peace, Jo,” is the emotional heart of Mark Adamo’s Little Women. As Beth nears the end of her life, she gently comforts Jo, encouraging her to let go of her fear of change and embrace the future with peace and hope. Rather than focusing on loss, the aria is filled with warmth, acceptance, and quiet strength, reminding us that love endures even as life moves forward. With its lyrical beauty and emotional honesty, it is one of the opera’s most unforgettable moments. Reproduction or re-uploading of this video without permission is prohibited.

Performed by Mariateresa Magisano as Ida McKinley in the premiere of Persis Vehar’s opera Shot!

SHOT! (2016) Music by Persis Vehar (b. 1949) Libretto by Gabrielle Vehar World premiere: Nickel City Opera, Buffalo, NY — June 10, 2016

In the Act 1 aria “Oh My, Oh My,” Ida experiences one of the most vulnerable moments in her life. The aria takes place after Ida learns of the terrible event involving her devoted husband. As she grapples with fear, uncertainty, and her own fragile health, the music reveals her deep reliance on William’s constant care and the comfort he has always provided. I had the honor of singing Ida McKinley in the premiere of SHOT!, and this deeply personal scene continues to resonate as a portrait of love, devotion, and human vulnerability. Reproduction or re-uploading of this video without permission is prohibited.

In the Act 2, Scene 2 aria, Ida is present at her husband’s bedside, highlighting her intense love and devotion during his final hours. This emotional aria serves as a somber contrast to her earlier reaction in the Act 1 aria “Oh my, how could that man shoot my husband”

Wolfgang Amadeus Mozart (1756–1791)
Le Nozze di Figaro (The Marriage of Figaro), K. 492 (1786)

This performance features the Countess’s Act III aria, “Dove sono i bei momenti” (“Where Are the Beautiful Moments”). Reflecting on the love she and the Count once shared before his infidelity changed their marriage, the Countess looks back with sadness but also with hope that their relationship can still be restored.
One of Mozart’s most beloved arias, Dove sono is filled with warmth, grace, and quiet emotion, revealing the Countess’s dignity, vulnerability, and enduring hope.

This performance is shared with the kind permission of Nickel City Opera. My sincere thanks for making this recording available.
Reproduction or re-uploading of this video without permission is prohibited.

Georges Bizet (1838–1875)
Carmen (1875)

Micaëla’s aria, “Je dis que rien ne m’épouvante,” takes place in Act III, when she goes into the mountains to find Don José, despite her fear. Micaëla is innocent, sincere, and emotionally brave. Like a prayer, the gentle, lyrical music expresses her courage, determination, genuine love for Don José, and her inner strength.

This performance is shared by The Green Mountain Opera Festival. My sincere thanks for making this recording available. Reproduction or re-uploading of this video without permission is prohibited.

Recitals and Concerts

Performed by Mariateresa Magisano (voice) & Eoin Clark (piano)

0:00 Introduction

1:00 Die Lorelei – Franz Liszt (1811–1886) Text by Heinrich Heine (1797–1856) Die Lorelei tells the story of the Lorelei, a legendary maiden who sits atop a rock overlooking the Rhine River. Her extraordinary beauty and irresistible song captivate a boatman so completely that he forgets to watch the dangerous river ahead, and he is lost. The poem combines romantic longing, mystery, and the irresistible power of beauty and music.

7:47 Chanson Perpétuelle Op. 37 – Ernest Chausson (1855–1899) Poem by Charles Cros (1842–1888) Chanson Perpétuelle is an intensely poetic work that explores the pain of lost love and the haunting memories that remain after separation. The voice expresses the sorrow of a woman abandoned by her beloved, whose presence continues to live in her thoughts and emotions. Chausson’s music creates a dreamlike atmosphere of tenderness and melancholy, blending passionate expression with delicate colors and a sense of timeless longing. The recurring beauty of the melody reflects the enduring nature of memory, love, and grief.

14:58 Il tramonto – Ottorino Respighi (1879–1936) Text based on the poem “The Sunset” by Percy Bysshe Shelley (1792–1822) Il Tramonto is a deeply expressive work that portrays the beauty of love, memory, and the passage of time. Through Shelley’s poetic imagery, the music tells of two lovers whose devotion endures beyond the passing years, even as youth and earthly life fade away. Respighi’s rich and intimate writing captures the changing colors of twilight, the tenderness of human affection, and the quiet melancholy of farewell. The work reflects both the mystery of nature and the enduring power of love.

30:22 La Maja y el Ruiseñor (The Girl and the Nightingale) – Enrique Granados (1867–1916) From the opera Goyescas (1916) El Ruiseñor evokes the beauty, tenderness, and expressive freedom of the nightingale, a symbol of love, longing, and the voice of nature. Through delicate melodies and rich Spanish colors, Granados creates a poetic atmosphere filled with nostalgia, passion, and emotional depth. Inspired by the world of Francisco Goya’s paintings, Goyescas reflects the elegance, drama, and vibrant spirit of 18th-century Spanish life. This aria captures Granados’ gift for blending lyrical vocal writing with the expressive character of Spanish music.

36:32 Lilacs – George Walker (1922–2018) Text by Walt Whitman (1819–1892) Four Verses from the Poem: When Lilacs Last in the Dooryard Bloom’d (1865) Movement I – When Lilacs Last in the Dooryard Bloom’d The opening movement introduces Whitman’s elegy for President Abraham Lincoln. The blooming lilac, the evening star, and the return of spring become symbols of loss, remembrance, and the enduring cycle of life. Movement II – O Powerful Western Fallen Star Whitman mourns the death of Lincoln through the image of the setting evening star. The movement expresses grief, disbelief, and the deep sense of loss felt after the death of a beloved leader. Movement III – In the Dooryard Fronting an Old Farmhouse Whitman reflects on a quiet rural scene where the blooming lilac evokes memories of the one who has died. The movement suggests that familiar places and the natural world help preserve memory and offer comfort. Movement IV – Sing, Sing On, You Grey-Brown Bird The song of the hermit thrush becomes a source of comfort and healing. As Whitman listens, he gradually accepts death as part of life’s natural cycle, bringing the work to a peaceful and hopeful conclusion. Reproduction or re-uploading of this video without permission is prohibited.

Performed by Mariateresa Magisano (voice) & Andrew Welch (piano) I canti della sera (Songs of the Evening)
Music and text by Francesco Santoliquido (1883–1971)

Composed in 1907, I canti della sera is a cycle of four songs that explores love, memory, and nature at twilight. The poems combine vivid images of moonlight, birdsong, and the evening landscape with moments of longing, reflection, and quiet intimacy. Santoliquido’s richly expressive music blends Italian lyricism with impressionistic colors, creating an atmosphere of warmth, mystery, and poetic beauty.

No. 1 L’Assiolo Canta (The Scops Owl Sings)
On a warm summer evening, the poet invites a loved one to walk through the moonlit woods. Accompanied by the call of the scops owl, he hopes to share feelings and memories that have long remained unspoken.
No. 2 – Alba di Luna sul Bosco(Moonrise over the Forest)
As the moon rises above the forest, its changing light transforms the landscape into a scene of quiet wonder. The poem reflects on the beauty and stillness of nature under the evening sky.

No. 3 – Tristezza Crepuscolare (Twilight Sadness)
Twilight brings a mood of quiet melancholy. As daylight fades, the poet reflects on loneliness, passing time, and the gentle sadness that often accompanies the close of day.

No. 4 – L’Incontro (The Meeting)
Two lovers remember their first meeting by the sea, recalling the distant sounds of bells and grazing flocks that surrounded them. Their shared memories deepen into a renewed expression of love, suggesting that affection grows stronger through the passage of time. Reproduction or re-uploading of this video without permission is prohibited.

Discography

Recording music, particularly new works that I have had the opportunity to premiere, has been one of the most rewarding aspects of my artistic journey. Bringing new music from its first performance into a lasting recording is a uniquely meaningful experience, allowing these works to reach audiences well beyond their premiere.