MariaKosovitsa

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  • Soprano

About Maria

In 2025-26, Maria made her role debut in the title role of Anna Bolena in a new production at the Greek National Opera, following her highly successful house debut with Liù Turandot last season. On the concert scene she sings Beethoven's Ninth Symphony at the Athens Philharmonic International Peace Concert and Eurydice in a concert version of Orpheus and Eurydice at the Ancient Messina Theatre.

A former member of the Accademia Verdiana at the Teatro Regio di Parma, previous highlights include debuts of Leonora Il Trovatore at the Teatro Mancinelli, Orvieto and covering the title role of Giovanna d'Arco and Desdemona Otello in Parma. She will return to Parma later this season for Anna Nabucco

Maria won Best Opera Soprano Artist at the 2026 Grand Prix Maria Callas Monaco and second prize at the Verdian Voices competition in Busetto. She won first prize at the 5th 'Giancarlo Aliverta- Voce all' International Opera competition 2025 and that same year was a guest soloist at the International Opera Awards in Athens.

Maria is based in Athens

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Contact

Seb Mallet

Seb Mallet

Artist Manager
Elan Fryar

Elan Fryar

Assistant Artist Manager

Representation

Worldwide general management with Askonas Holt

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Press

  • Anna Bolena

    Greek National Opera
    Mar 2026 - Apr 2026
    • Dans le role-titre, la jeune Maria Kosovitsa reste la révélation de cette production, maîtrisant à la perfection les arcanes du bel canto avec une belle longueur de voix, un aigu argentin et une grande expressivité. Elle se montre remarquablement investie dans son personnage, et donne à sa scène finale, le poing dressé et brandissant l'Union Jack, une puissance impressionnante. [Translated] In the title role, the young Maria Kosovitsa remains the revelation of this production, mastering the intricacies of bel canto to perfection, with a beautifully sustained vocal line, a silvery high register, and great expressiveness. She proves remarkably committed to her character and gives her final scene—fist raised and waving the Union Jack—an impressive dramatic power.

    • Anne’s mad scene is one of the highlights of the evening, with Maria Kosovitsa in her debut in the role, in excellent voice. The aria, ‘Al dolce guidami’, where she wants to return to the happiness of her youth, was beautifully done.

    • Gesanglich wird sie von ihrem weiblichen Ensemble getragen, allen voran von der vielversprechenden jungen Sopranistin Maria Kosovitsa im Rollendebüt als Anna. Sie verfügt über die nötige Stimme und das erforderliche Temperament Allen voran ein Triumph für die elektrisierende junge Sopranistin Maria Kosovitsa, die vor dieser fast mythischen Partie nicht zurückschreckte, über der noch immer der lange Schatten von Maria Callas liegt. [Translated] Vocally, it is driven by its female cast, with a promising role debut in the title part of the young soprano Maria Kosovitsa. She has both the voice and temperament required. Above all, it was a triumph for the electrifying young soprano Maria Kosovitsa, who did not shy away from this almost mythical role, still overshadowed by the long legacy of Maria Callas.

    • Schon auf der kargen Probebühne wird deutlich, dass Kosovitsa zu Recht hoch ge handelt wird in ihrer griechischen Heimat; ihre Stimme ist auffallend klangschön, far-benreich, bewegt sich geschmeidig durch. die Register, leuchtet silbrig in der Höhe, entfaltet im Gegenzug aber auch fast schon überraschend reiche Resonanzräume in der Mittellage, die die Anna Bolena ebenfalls einfordert. [Translated] Even on the bare rehearsal stage, it already becomes clear that Kosovitsa is rightly highly regarded in her native Greece; her voice is strikingly beautiful in tone, rich in colour, and moves smoothly through the registers, shining with a silvery brilliance in the upper range, while also revealing, in the middle register, almost unexpectedly rich resonating depths, which are likewise required for Anna Bolena.

      • Das Opernglass
      • 01 May 2026
    • The two leading ladies of the evening delivered exactly what you want from this opera: tension, vocal fire, and a sense of rivalry. From “Come, innocente giovane” to the final confrontations, there was a constant feeling that each was trying to outshine the other — in the best possible way. And that’s exactly what makes Anna Bolena exciting. Their voices blended beautifully in the duets, but there was always that edge, that competition. A real pleasure to watch and hear.

    • Ειδική μνεία, από όλους τους συντελεστές, αξίζει να κάνουμε στην εξαιρετική υψίφωνο Μαρία Κοσοβίτσα, η οποία έκανε ένα εκπληκτικό ντεμπούτο ως Άννα Μπολέιν, κλέβοντας την παράσταση με την υπέροχη φωνή της και την ισορροπημένη -άψογη- ερμηνεία της. [Translated] Special mention should be made, among all the contributors, to the outstanding soprano Maria Kosovitsa, who made a remarkable debut as Anna Bolena, stealing the show with her magnificent voice and her balanced, impeccable performance.

  • Turandot

    Odeon of Herodes
    Jun 2025
    • Η κορυφαία στιγμή της βραδιάς ήρθε από τη Μαρία Κοσοβίτσα στον ρόλο της Λιου. Η ερμηνεία της ξεχώρισε για το σπάνιο μέτρο και την ειλικρινή τραγικότητα. Ενσάρκωσε τη Λιου με αξιοπρέπεια, ευγένεια και θυσιαστικό πάθος, προσφέροντας μια σπαρακτική στιγμή που συγκίνησε βαθιά το κοινό – κάτι που φάνηκε και στο παρατεταμένο χειροκρότημα που τη συνόδευσε [Translated] The highlight of the evening came from Maria Kosovitsa in the role of Liù. Her performance stood out for its rare sense of restraint and genuine tragic depth. She portrayed Liù with dignity, grace, and self-sacrificing passion, delivering a heart-rending moment that deeply moved the audience—as was evident from the prolonged applause that followed her performance.

    • Neben ihr beeindruckt die junge Maria Kosovitsa als Liu. Ihr souverän geführter Sopran schwingt sich zu leuchtenden Höhen auf. [Translated] Alongside her, the young Maria Kosovitsa impressed as Liù. Her confidently controlled soprano voice rises effortlessly to radiant high notes.