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| | Pentcheva Mariana | | mezzosoprano |   
| Born in Bulgaria, Mariana Pentcheva attended the Conservatory in Sofia where she studied singing with Alexandrina Milcheva. She was the winner of several international competitions, such as «Viotti» competition in Vercelli, «Concorso Voci Verdiane» in Busseto and «Luciano Pavarotti International Voice Competition» in Philadelphia. |
| From her debut in 1991 at the Teatro Comunale di Firenze, Mariana Pentcheva has been a regular guest in the world?s most important opera houses and festivals performing with such conductors as Riccardo Chailly, Daniele Gatti, Vladimir Jurowski, Gustav Kuhn, Riccardo Muti, John Neschling, Daniel Oren and Zoltan Pesko. |
| In 1993 she made her debut at the Teatro alla Scala with Spontini's La Vestale and with Rigoletto, both with Riccardo Muti. |
| In 1994/5 season she made debuts in Naples at the Teatro di San Carlo in Un ballo in maschera with Luciano Pavarotti and in Tokyo at the Suntory Hall in Rigoletto with Renato Bruson. |
| In 1995/6 Mariana Pentcheva made her debut at the Wexford Opera Festival with Pacini's Saffo, that has also been recorded for Naxos, then returned to the Teatro alla Scala for Madama Butterfly with Riccardo Chailly and for Nabucco with Riccardo Muti and sang at the Rossini Opera Festival of Pesaro Ricciardo e Zoraide and in Tokyo Il trovatore. |
| In 1996/7 Mariana Pentcheva sang La Gioconda at the Teatro alla Scala, Falstaff at the Accademia Nazionale di Santa Cecilia in Rome, Cavalleria Rusticana at the Teatro di San Carlo in Naples and La favorita in Tokyo. She was invited again at the Rossini Opera Festival for Möise et Pharaon with Vladimir Jurowski. |
| In 1997/8 she performed in Respighi's La fiamma at the Teatro dell'Opera di Roma, staged by Hugo de Ana, and Tannhäuser at the Teatro di San Carlo in Naples with Werner Herzog. She also took part in the first world performance of Tutino's La lupa at the Teatro Massimo di Palermo. |
| 1999 brought her to the Teatro alla Scala for La forza del destino (Petrosilla), to the Teatro Massimo di Palermo for Evgenij Onegin (Olga), to the Ravenna Festival with Daniele Gatti for Aleksandr Nevskij, to the New National Theatre in Tokyo for Un ballo in maschera and to the Teatro De La Maestranza in Sevilla for Lohengrin, this last re-proposed at the San Diego Opera. Engagements in Trieste (Adriana Lecouvreur) and at the Arena di Verona (Fenena in Nabucco) have followed. |
| During 2000/1 season, Mariana Pentcheva appeared in the role of Quickly in Falstaff at the Théâtre Royal de La Monnaie de Bruxelles, as Ortrud in Lohengrin al Teatro Regio di Torino, and returned to the Teatro alla Scala to perform in Un ballo in maschera and Rigoletto. In Summer 2001, she made her successful debut at the Associazione Sferisterio di Macerata, singing as Adalgisa in Norma. |
| The last seasons brought her to the Teatro Massimo Bellini di Catania for a new production of Aida, to the Teatro Regio di Parma for La forza del destino, to the National Opera of Sofia as Princess of Eboli in Don Carlo. She also successfully revisited the role of Quickly in Buenos Aires, at the Teatro Comunale di Bologna and at the Teatro Real in Madrid. |
| Mariana Pentcheva has just returned to Bologna to perform as Ulrica in Un ballo in maschera, and sang in the role of Adalgisa in Norma at San Diego Opera. |
| In concert Mariana Pentcheva has been heard at the Teatro alla Scala in Händel's Die Schoepfung in 1994 and she sang in numerous occasions Verdi's Messa da Requiem: in Lyon with Emmanuel Krivine, at the Suntory Hall in Tokyo with Gustav Kuhn, at the Teatro di San Carlo in Naples with Luciano Pavarotti and Daniel Oren (with world-wide Tv broadcasting), in Bologna with Daniele Gatti, and n Tel Aviv. She has also sung Scriabin's Symphony n.1 with Orchestra «Giuseppe Verdi» conducted by Riccardo Muti, Mahler?s Symphony n.3 and n.8 at the Teatro La Fenice di Venezia with Isaac Karabtchevsky, Mahler's Symphony n.2 with the Symphonic Orchestra of São Paolo under the baton of John Neschling for the opening of the concert hall. |
| Highlights of her future engagements, Don Carlo at the San Diego Opera, Un ballo in maschera in Parma, Las Palmas, at the Teatro Massimo di Palermo and at Oper Frankfurt, Adriana Lecouvreur at the Teatro di San Carlo di Napoli, Il trovatore at the Teatro Regio di Torino, I cavalieri di Ekebù at the Teatro Verdi di Trieste. |
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