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The young Dutch mezzo-soprano Maria Fiselier is gaining international recognition for her “exceptionally warm, opulent voice, used with sensitivity” and charismatic stage presence.

Recent highlights include house debuts at the Grand Théâtre de Genève as Oreste in Offenbach’s La belle Hélène and at Komische Oper Berlin as Emmy in Marschner’s Vampyr, reprised at the Grand Théâtre de Genève, her role debut as Dorabella in Cosi fan tutte at the Staatstheater am Gärtnerplatz in Munich, Masha in Queen of Spades at De Nationale Opera Amsterdam, conducted by Mariss Jansons, and Mademoiselle Dangeville in a concert performance Adriana Lecouvreur at La Monnaie in Brussels.

In 2016, Ms Fiselier joined the ensemble of Komische Oper Berlin, where she has since appeared as Magdalena in Die Meistersinger of Nürnberg, Mercédès in Carmen, Zweite Dame in Die Zauberflöte, Ottone in L’incoronazione di Poppea, La Chatte/L’ecureuil in L’enfant et les Sortileges, Proserpina/Silvia in Orfeo  and 2. lesní žínka in Rusalka, Orest in Offenbach’s Die schöne Helena, Chava in Anatevka, Olga in Tchaikowski’s Jewgeni Onegin and Zweite Dame in Die Zauberflöte.

Other engagements include Suzuki in Madama Butterfly and Serena in Wolf-Ferrari’s I Gioielli della Madonna at Opera Holland Park in London, Zweite Magd in Strauss' Daphne and Alto in Wolfgang Rihm’s Jakob Lenz at La Monnaie, Nancy in Britten’s Albert Herring, conducted by Steuart Bedford, at the Aldeburgh Festival, Delia in Rossini's Il Viaggo a Reims at De Nationale Opera, La Contessa di Ceprano in Rigoletto at the Concertgebouw Amsterdam, highlights from Carmen at the Miyazaki International Music Festival in Japan and Susie in Bernstein's A quiet place in a production of Ensemble Modern at the Konzerthaus Berlin, Konzerthaus Dortmund and the Dresdner Musikfestspiele, conducted by Kent Nagano.

Her concert repertoire includes Duruflé’s Requiem, Vivaldi’s Gloria, Rossini’s Petite Messe Solennelle, Honegger’s Le Roi David, Beethoven’s Symphony no 9, Mendelssohn’s Elias and Bach´s Weihnachtsoratorium, Matthäus Passion and Magnificat. With the Royal Flemish Philharmonic she recorded Benoit’s Lucifer in 2017.

She has already worked with orchestras including The Hague Philharmonic, the Rotterdam Philharmonic Orchestra, Residentie Orkest, Orchestra of the 18th century, the Netherlands Radio Philharmonic Orchestra, the City of London Sinfonia and conductors such as James Gaffigan, Kenneth Montgomery, Evelino Pidò, Michael Brandstätter, Franck Ollu, Jan Willem de Vriend, Lothar Koenigs and Stefano Montanari.

In the season 2018/19, Ms Fiselier returns to Komische Opera as Chava, La Chatte/L’ecureuil  and Zweite Dame and adds Paquette in Barrie Kosky’s new production of Candide, Clarisse/Love for Three Oranges and Brigitta in a new production by Robert Carsen of Die Tote Stadt to her repertoire. She will also appear at Vlaamse Opera in the world premiere of Hector Parra’s new opera Les Bienveillantes, conducted by Peter Rundel and directed by Calixto Bieito.

Ms Fiselier graduated from the Royal Conservatory in The Hague with distinction and participated in master-classes with John Fisher, Brindley Sherratt, Rudolf Jansen and Joyce DiDonato. In 2011 she won the audience price at the Grachtenfestival Conservatorium Concours and received six prizes, including the Young Talent Award, at the 2012 International Vocal Competition in s’Hertogenbosch.
She is a former member of the National Opera Studio in London and of the prestigious Britten-Pears Young Artists programme.

MARIA FISELIER: C. Debussy, Le tombeau des Naïades

"In the remaining cast, we had a mellifluous quartet [...] Maria Fiselier added spice with a fruity mezzo [...].", Opera Vlaanderen - Hèctor Parra, Les Bienveillantes, April 2019
"Überdurchschnittlich gut besetzt ist die sonst oft farblose Rolle der Brigitta mit Maria Fiselier [...]", Komische Oper Berlin - Die tote Stadt, October 2018
"[...]positive presence on stage [...] Maria Fiselier’s Brigitta. She coped most admirably with the role’s extreme tessitura, soaring easily in the higher reaches of the part.", Komische Oper Berlin - Die tote Stadt, September 2018
"[...] Maria Fieselir eine betörend souveräne Brigitta.", Komische Oper - W. Korngold, Die tote Stadt, September 2018
"Maria Fiselier, mezzo somptueux : à suivre!", Grand-Théâtre de Genève, Der Vampyr, November 2016
"La voix est claire et ronde, la diction impeccable, le timbre est chaud, c’est une Magdalene convaincante et juvénile. On n’en demande pas plus."
Le Monde, Komische Oper Berlin, Die Meistersinger von Nuernberg, October 2016
"Maria Fiselier est une belle découverte en Oreste. Cette jeune chanteuse Néerlandaise séduit par son beau mezzo et son abattage scénique impressionnant faisant apprécier de solides qualités de danseuse.", Grand Theâtre de Genève, La Belle Helene, October 2015
“The stand-out performances came from the Suzuki of the Dutch mezzo Maria Fiselier and the Sharpless of Ben McAteer; Maria’s is an exceptionally warm, opulent voice, used with sensitivity.”
Music OMH, about the role of Suzuki in Madama Butterly at Opera Holland Park, June 2013
“Maria Fiselier has a lovely rich mezzo-soprano voice, evenly produced and her Suzuki was a miracle of discreet poise.”
Planet Hugill, about the role of Suzuki at Opera Holland Park, June 2013

Maria Fiselier

Bio English

Maria Fiselier

Photo Credit: Sarah Wijzenbeek

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