BIO
Lina Mendes, nascida no Rio de Janeiro, é considerada uma das principais sopranos brasileiras.
Na Itália, ela fez parte da Accademia Teatro Alla Scala; na Espanha, ela se juntou ao Centre de Perfeccionament del Palau de les Arts e, na Alemanha, ela participou do Schleswig Holstein Musik Festival.
Recentemente, estreou na Ópera de Tenerife, interpretando Rosalba na ópera "Florencia en el Amazonas", de Catán. Em Madri, interpretou canções de R. Strauss no Ciclo de Conferências de Piano com o maestro Pedro Halffter, apresentado pela Fundación BBVA. Interpretou o papel de Sophie na ópera "Der Rosenkavalier", de Strauss, no Theatro Municipal de São Paulo, e interpretou Polly na ópera "Die Dreigroschenoper", de Kurt Weill, no Theatro São Pedro.
Estreou-se no Palau de les Arts, na Espanha, com grande sucesso, interpretando Musetta em "La Bohème" (Puccini) e Ilia em "Idomeneo" (Mozart). Representou o Brasil no Festival Cultural BRICS, em Xiamen, China.
Outras apresentações notáveis incluem a Nona Sinfonia de Beethoven no TMSP sob a regência de Roberto Minczuk, a Oitava Sinfonia de Mahler na Sala São Paulo sob a regência de Marin Alsop, "Pulcinella" de Stravinsky sob a regência de Roberto Tibiriçá e o Réquiem de Mozart com a Sinfônica de Campinas. Ela também interpretou a Quarta Sinfonia de Mahler sob a regência de Stefan Geiger no Theatro São Pedro e interpretou Valencienne na opereta "A Viúva Alegre" (Lehar) no TMSP.
Em 2021, participou online do 23º Festival de Ópera do Amazonas, interpretando Laura na ópera "Três Minutos de Sol" de Leonardo Martinelli. Na Sala Cecília Meireles cantou Quartetos Vocais de Schumann e Brahms. Em Belo Horizonte, cantou no Stabat Mater de Pergolesi sob a direção de Silvio Viegas no Palácio das Artes. Interpretou Anne Trulove na ópera "The Rake's Progress" (Stravinsky) no Theatro Municipal de São Paulo e Sofia na ópera "Il Signor Bruschino" (Rossini) no Theatro São Pedro.
Em 2018, foi selecionada pela Broadway para estrelar como Christine Daaé no musical "O Fantasma da Ópera" no Brasil. Lina esteve no palco por quase dois anos, realizando 400 apresentações para um público de mais de meio milhão de pessoas.
Lina Mendes
[soprano]
"(...) Lina Mendes como Ilia, uma soprano com uma voz marcante, volume generoso, agilidade para coloratura e uma presença de palco perfeita. Talvez a melhor relação papel-cantora do elenco."
Idomeneu, Palácio das Artes
Robert Benito (Mundo da Ópera)
SIGA
TERRITÓRIO
América do Sul - exclusivo
CRÍTICAS
Opera World
"Lina Mendes, a soprano with a distinctive timbre, generous volume, ease with coloraturas, and a perfect stage presence."
Robert Benito
Idomeneo - Palau de les Arts Spain (Valencia)
"The cast is very remarkable in the main quartet. Gregory shines as Idomeneo, but perhaps more surprising is the clean and secure performance of Lina Mendes."
Jorge Fernández Guerra, El País 2016
La Vanguardia
"Lina Mendes, trained at the Centre de Perfeccionamento Plácido Domingo, offers a flawless Ilia, singing with precision, fluidity, and ease, with refined technique. (...) and in the refined Ilia, portrayed by Lina Mendes, with intense and emotional arias."
Joger Alier, 2016
El Mundo
"(...) and the charming Ilia, whom Lina Mendes embodies with all her simplicity and sweetness."
Álvaro Del Amo, 2016
La Razón/Beckmesser
"Stupendous the three female voices, with the revelation of Lina Mendes, (...)."
Alonso Gonzalo, 2016
El Periodico
"The heir to the throne is in love with the princess and Trojan slave Ilia (the crystal-clear Lina Mendes)."
César López Rosell, 2016
ABC Comunidad Valenciana
"Lina Mendes is another of the night's winners. (...) she demonstrated first-rate skills in Mozartian singing, full of taste and naturalness, without affectation."
Joaquín Guzmán, 2016
Brio Clasica
"(...) her pleasant timbre, along with good projection and excellent agility; and this was evident in each of her lyrical interventions: right from the start of the opera when she interpreted 'Padre, germani, addio' with expressiveness and delicate accents. She displayed excellent vocal control in her aria from Act 2, 'Se il padre perdei.' Her best moment occurs when facing the beautiful and delicate aria 'Zeffiretti lusinghieri,' from Act 3."
Diego Garcia Perez-Espejo, 2016
Las Provincias
"Lina Mendes was an effervescent Ilia with a crystal-clear voice."
César Rus, 2016
L’opera in casa
"Among them, Brazilian Lina Mendes, an Ilia full of sensitivity and with a beautiful vocal line."
Renato Verga, 2016
Rigoletto - Palácio das Artes Belo Horizonte
"Gilda was played by the young and talented Lina Mendes, who is forging a promising career (in São Paulo, Lina recently made a praised Cunegundis in Bernstein's 'Candide,' with Osusp, and later, as a replacement for an ailing soloist, with Osesp). The soprano has a privileged voice with good projection, and she knows how to imprint rich timbral nuances. With stage naturalness, Lina paired well with Giugliani's Rigoletto (both had already performed together at Theatro Municipal de São Paulo in 2011)."
Nelson Kunze, Concento Magazine 2014
Three Minutes of Sun - 23rd Online Amazon Opera Festival
"...special mention must be made of Mendes, who establishes herself as one of the most versatile Brazilian singers of the moment."
Irineu Franco Perpétuo, Concerto Magazine 2021
Three Minutes of Sun - 23rd Online Amazon Opera Festival
"The singers are magnificent: Lina Mendes, a young soprano who has been making her career known in recent years..."
Jorge Coli, Concerto Magazine 2021
Un Ballo in Maschera - Theatro Municipal do Rio de Janeiro
"Soprano Lina Mendes portrayed Oscar with great agility and displayed all her musicality (...). In passages like 'Volta la terrea' (in the first act), 'Di che fulgor, che musiche' (quintet in the first scene of the last act, where she sang and danced simultaneously), and 'Saper vorreste' (during the ballroom scene), the artist demonstrated stage mastery and balanced, resonant, and clear vocal delivery."
Leonardo Marques, Movimento Website 2018
VIÚVA ALEGRE – Theatro Municipal de São Paulo
"On the two days I was at the Theatro Municipal, Valencienne was interpreted by the same soprano, Lina Mendes ...And from the singer's interpretation, the memory of her stage presence and a voice that seems to have fully blossomed remains..."
João Luiz Sampaio, Revista Concerto 2019
UN BALLO IN MASCHERA. Theatro Municipal do Rio de Janeiro
"And Lina Mendes makes Oscar, both vocally and scenically, a counterbalance of lightness to the drama."
João Luiz Sampaio, Estadão 2018
ORFEU ED EURIDICE. Theatro Municipal do Rio de Janeiro
"As for Lina, (...), she confirmed everything that was expected of her: an irreproachable performance, exhibiting a voice that evolves every day, sonorous, musical, well-projected, endowed with refined technique. The soprano made the most of her great aria, Che fiero momento!, sung to perfection."
Leonardo Marques, Site Movimento 2016
ORFEU ED EURIDICE. Theatro Municipal do Rio de Janeiro
"In the role of Eurydice, soprano Lina Mendes only effectively sings in the third act, and it is worth waiting for the participation of the young and talented singer. Her projection is perfect and she uses her beautiful timbre with dramatic flair and in a way totally coherent with her character. The arioso Qual vita è questa mai and the subsequent aria Che fiero momento! were sung with musicality..."
Fabiano Gonçalves, Site Movimento 2016
ORFEU ED EURIDICE. Theatro Municipal do Rio de Janeiro
"The excellent soprano Lina Mendes also occupied the stage well, with a beautiful and clear voice, and made a consistent Eurydice."
Nelson Kunze, Revista Concerto 2016
IDOMENEO. Palau de les Arts Espanha (Valência)
"Lina Mendes, forged in the Centre de Perfeccionamento Plácido Domingo, offers an Ilia of clean, fluid and easy singing, of refined lyricism and with undoubted potential."
Alejandro Martinez, Platea Magazine 2016
THE MESSIAH. Theatro Municipal do Rio de Janeiro
"Soprano Lina, with a remarkable vocation for the baroque, enchanted with creative ornaments..."
Fabiano Gonçalves, Site Movimento 2015
LA BOHÈME. Palau de les Arts Espanha (Valência)
"The couple of the painter Marcelo and his coquettish Musetta were very well interpreted by Germán Olvera and Lina Mendes. (...) The soprano Lina Mendes knew how to infuse her Musette with the right doses of coquetry and tenderness, making her presentation waltz a delightful aria."
Robert Benito, Opera World 2015
LA BOHÈME. Palau de les Arts Espanha (Valência)
"Also noteworthy was the interpretation of Lina Mendes, in an uninhibited and crazy Musetta, (...)."
Joan Castelló, EFE 2015
UN BALLO IN MASCHERA. Palácio das Artes Belo Horizonte
"…a special highlight for the young soprano Lina Mendes, who played the demanding role of Oscar."
Nelson Kunze, Revista Concerto 2013
UN BALLO IN MASCHERA. Palácio das Artes Belo Horizonte
"...Lina Mendes (impecable in the masculine role of Oscar)."
Sidney Molina, Folha de São Paulo Ilustrada 2013
DIE ENTFUHRUNG AUS DEM SERRAIL. Theatro Municipal do Rio de Janeiro
"Soprano Lina Mendes was an excellent Blonde, singing with grace, lightness, good presence, and, especially, refined technique. Her two arias, Durch Zärtlichkeit und Schmeicheln and the exultant Leb wohl, guter Pedrillo!, were beautifully interpreted, leaving a desire for "more" in the ear. Lina Mendes is one of the best singers of the new national generation, and deserves special attention."
Leonardo Marques, Site Movimento 2013
DIE ENTFUHRUNG AUS DEM SERRAIL. Theatro Municipal do Rio de Janeiro
"...Owner of a beautiful timbre and exuding grace, soprano Lina Mendes made a perfect Blonde. Her youthful and colorful voice fit precisely the character's lines, as explicit in the arias Durch Zärtlichkeit und Schmeicheln, with clear high notes and impeccable emission, and in the exultant Welche Wonne, welche Lust, interpreted with joy. The performer's good stage presence came to light in the amusing duets with Omin and with Pedrillo."
Fabiano Gonçalves, Site Movimento 2013
ÇA IRA. Theatro Municipal de São Paulo
"...soprano Lina Mendes stands out for the sweetness in her solos, interpreting the voice of liberty and reason."
Katy Freitas, Território da Música 2013
ÇA IRA. Theatro Municipal de São Paulo
"The highlights were the sweet voice of soprano Lina Mendes (whose career deserves to be followed)..."
Sidney Molia, Folha de São Paulo Ilustrada 2013
L’AMOUR DES TROIS ORANGES. Teatro Municipal do Rio de Janeiro
"...In the quite homogeneous cast, the performance of soprano Lina Mendes should also be highlighted..."
João Luis Sampaio, Estadão Cultura 2011
RIGOLETTO. Theatro Municipal de São Paulo
"Gilda was taken by Lina Mendes..., what freshness in the timbre, what a delight to hear her ascend to dizzying heights in "Caro Nome"."
Jorge Coli, Folha de São Paulo Ilustrada 2011