Avgi- February 17th 2002



Marita Paparizou impressed us all with her dark and fearless contralto coloratura. She is soon to be a talent that we will applaud at the international theatres.

Kyriakos P. Loukakos


Vradyni- January 31st 2003

Orlando Furioso


Marita Paparizou was clearly and successfully the leader singer of the opera. She possesses a warm mezzosoprano voice and she overcame with easiness the difficult arias of the role that require excellent coloratura.

Alexis Spanides


Opera Now, November / December 2003, page 97

Island magic

Telemaco Gluck




…Circe was originally to be Della Jones, but Lalandi, using her native connections, gave us in the Greek mezzo Marita Paparizou, a formidable performer with an almost contralto vibrato, who has two Queen-of-the-Night, barnstorming arias of tremendous power. Bereft of her crown, she looked like the heroine of a Michael Cacoyannis film; wearing her golden headgear she was sufficiently imperious to make one want to see and hear her as Medea, despite the higher register needed. She alone was worth the price of admission. …

Tom Rosenthal


Eleftherotypia - August 3rd  2005

«Arianna» in Corinth

The evil pair was performed by Petros Magoulas (Minos-Somnus) and the mezzosoprano Marita Paparizou (Tauride) who sang a typical masculine «male» role, with edgy elements of passion and fury. Especially her war passionate aria accompanied with brass, was one of the best moments of the night!

Yannis Svolos


Vradyni -February 13th 2006

An Italian at GNO

Marita Paparizou at her second cast performance (that should have been first) is acquired with the proper vocal range and the perfect technique, as well as the gentle musicality, necessary for G. Rossini’s music, especially in the aria «per lui che adoro», where her singing touched the highest level of musicality, totally in control of her role.

Alexis Spanides


International Record Review, April 2006, page 72


Handel Arianna in Creta

…There is crispness in the tone of Marita Paparizou, rather as there was in Marilyn Horne’s, well suited to Tauride and given full rein in the vengeance aria ‘Qual Leon che   fere irato’, I should like to hear her as Arsace in Semiramide. She sails through her part with no smudging or fudging, a worthy opponent to…

John T. Hughers


Express, January 16th 2010, page 37


«Carmen» at Larissa: Decade Surprise!

…Marita Paparizou’s Carmen was vocally, musically and dramatically an archetypal Carmen, equal to a Carmen-tomboy (Agnes Baltsa, direction Jean-Pierre Ponnelle, Athens Herodeon, 1984)…

George Leotsakos


Avgi -January 17th 2010, page 47


A remarkable «Carmen» at Larissa

…from her first appearance on stage Marita Paparizou declared a non negotiable level of serving the edgy role of the so called femme fatale, with excellent French accent (in the original dialogue version), smooth singing without vulgarly pushing the chest register, or cheap exaggerations  at the fatal test of the duets with Don José…

Kyriakos P. Loukakos


Avgi February 15th 2012


Rossini by Marita Paparizou


…we could even argue that this appearance of single-issue contralto coloratura Marita Paparizou was pending for real musicians cultural institutions of Athens. The brief biography of the artist from Volos, as shown in accompanying plain quatrefoil programme, records performances even in works of Wagner and Bruckner, and confirms that the Parisian side to educate the experienced Janine Reiss, after Alexandra Trianti scholarship 1998 for studies in Milan, has yielded substantial results … The overall hearing highlights Paparizou as the predominantly Greek lyric artist specializing in Rossini. With the insolence, the illustrative singing and the timbral identity of a «pocket Horne”, the singer masters the demanding idiom of sovereignty challenging the depths of masculine roughness coloratura and diving in the low area, literally reserved for young military lovers in  opere serie of the Italian composer, as Neocles in the “Siege of Corinth”, the near-incestuous Arsace in  “Semiramide” or the eponymous hero of the two act  melodrama eroico «Tancredi” the great aria of which was performed perfectly for the needs of the recital. The exciting jumps at the octave, the sanguine and generous passion to announce, the measured pianissimos using the song as a counterweight to the demonic masterly writing requirements of the narcissist Pesarese, all contributed to an explosive result of identity … the first part of the evening finished, the artist barnstorming offering dynamism and determination scabrous in the opening aria from Isabella “L’Italiana in Algeri”, a role that has successfully performed on stage.
The evening ended with the cantata a voce sola «Giovanna d’Arco», project of 1832, when the Rossini again reworked for string accompaniment 20 years later. Sheet music with stochastic variations delirium and warlike uprising, this “Joan of Arc,” which the composer worked in Paris at the margin of litigation on the disputed remuneration had secured the meantime dethroned King Charles X ‘ (1824-1830), a real gift for a vocalist with the dramatic temperament of Paparizou: the rich emotional range of the rotation and the recitation of the militant recitativo declamato gave a sweeping finale to an important musical event that requires repetition…

Kyriakos P. Loukakos




Mezzo soprano Marita Paparizou is one of the most interesting voices in the current operatic firmament.  Even during her studies at the Athens Conservatoire, she shone for her unusual gifts.

After her debut in Genoa in a prestigious presentation of Niccolò Porpora’s Arianna a Nasso, recorded and distributed by Bongiovanni, she began an international career and concentrated on a repertoire ranging from the 17th century to Rossini and beyond, excelling in characters as diverse as Rossini’s Rosina, Isolier, Arsace, Isabella to Smeton in Donizetti’s Anna Bolena, to Verdi parts such as Fenena in Nabucco and Maddalena in Rigoletto and other 19th century works.

Marita Paparizou also distinguished herself as a refined concert artist both of oratorio and chamber music. She forged an important niche for herself in the Baroque repertoire and became one of its most important specialists around today.

This is confirmed  by her latest disc, in which one can hear arias such as «Nel profondo» and «Sorge l’irato nembo» from Orlando Furioso, Stabat Mater in e minor RV 728, «Gelido in ogni vena» from Farnace. At the opposite end from these famous Vivaldi pieces, the artist presents the arias «Morirò, ma vendicata» from Handel’s Teseo and «Addio, o miei sospiri» from Orfeo ed Euridice by Ferdinando Bertoni.

One is immediately struck by the big, beautiful, richly and subtly shaded mezzo soprano voice and its deep, dark colour.   Its shades adapt masterfully to different emotional situations, ranging from heroism to painful nostalgia. It’s a voice magnificently suited to “trouser roles” such as Orlando, (which was written for Lucia Lancett), possessing the necessary intensity for doing justice to pages such as «Nel profondo cieco mondo». Here, as in numerous passages in other pieces, Paparizou demonstrates a secure technique, both as far as breath support and voice emission are concerned, as well as a sound knowledge of florid singing: she endows the notes with the right weight the roulades with the required power;

In the Stabat Mater the soft, round sound suggests a profound religiosity,   in which the theatricality demanded by the sacred music of the seventeenth century is rightly not omitted. In addition, special mention must be made of the very beautiful piece by Bertoni, in which Paparizou shows a consummate mastery of the art of phrasing and a real talent for finding the colours and timbre that evoke the right atmosphere. She does this without forcing and with an obvious knowledge of style, supported by a superb musicianship, cultivated with refined precision.