The Argentinean-born Swiss counter-tenor, Martin Orom was born into a family of Italian descent. He experienced his first lyrical emotions singing as member of the Teatro Colón Childrens' Choir. During the same period he studied viola, which he later perfected with Yuri Bashmet at the Tchaikovsky Conservatory in Moscow. Ultimately concentrating his musical studies on voice performance, he graduated with honours from the Conservatoire de Fribourg (Teaching degree), Conservatoire de Neuchâtel (Soloist degree) as well as at the prestigious Schola Cantorum Basiliensis (Specialization) in Switzerland. Professors of note were René Jacobs, Richard Levitt, Marie-Françoise Schuwey and Jeanne Roth. He was elected among one of the most significant counter-tenors at an international level, to be awarded with the "Velluti" prize in Italy, and well as with the Network Kulturpreis in Switzerland.
Martín Oro is a versatile counter-tenor, able to handle sacred, heroic or humorous roles with ease. Highly regarded for his warm, natural and powerful alto voice, he sang together with famous artists such as Cecilia Bartoli, María Bayo, Jennifer Larmore, Emma Kirkby or Sara Mingardo, under the direction of Nikolaus Harnoncourt, Marc Minkowski, Rinaldo Alessandrini, Alessandro de Marchi, Jean-Christophe Spinosi, Christophe Rousset, René Jacobs, Christophe Coin, Jordi Savall, Joshua Rifkin, Helmuth Rilling, Michel Corboz, Chiara Banchini, Martin Gester, Gabriel Garrido, Eduardo López-Banzo, Paul Goodwin, among other personalities.
Martín Oro was Orpheus in Orfeo ed Euridice by Ch.W. Gluck (Teatro Guaira, Brasil); Arnalta and Anfinomo in L’incoronazione di Poppea (Teatro Massimo di Palermo-Liceo de Salamanca) and Il Ritorno d’Ulisse in Patria (Zürich Opernhaus) by C. Monteverdi; Cesare (Opernhaus Bern), Tolomeo (Zürich Opernhaus) and Nireno (Cité de La Musique de Paris) in Giulio Cesare, Dardano in Amadigi (Teatro Olimpico di Roma), Dydimus in Theodora (Opéra de Montpellier), as well as Joad in Athalia (Teatro Colón de Buenos Aires) by George Frideric Handel; Fedra in Arianna by Benedetto Marcello (Stadt Theater Basel), Oberon in A Midsummer Night’s Dream by Benjamin Britten (Opéra de Fribourg), Fernando in Don Chischiotte della Mancia (Liceo de Salamanca) by Conti, Emone in Antigona by Traetta (Stadt Theater Biel), Grifone in Orlando Finto Pazzo and Aristea in Olimpiade by Antonio Vivaldi (Théâtre des Champs Elysées-Teatro Regio di Torino); among others.
Martín Oro can heard in the following recordings: Orlando Finto Pazzo by A. Vivaldi (Grifone) for Opus 111, Athalia (Joad) by G.F. Handel for MDG, La Giuditta (Oloferne) and Colpa, pentimento e Grazia (Pentimento) by Alessandro Scarlatti for Harmonia Mundi and Ambronay Editions, La Nemica d’Amore (Tirsi) by G. Bononcini for Zig-Zag Territoires, L’Incoronazione di Poppea (Arnalta) and Il Ritorno d’Ulisse in Patria (Anfinomo) by C. Monteverdi for K617 and Arthaus Musik (DVD), Stabat Mater by G. Abos per Cyprès, Cantatas and duos by Benedetto Marcello for TACTUS; S.Agnese by Pasquini, Il trionfo by G.F. Handel (Disinganno), Davidis pugna e vittoria by A. Scarlatti, Le disgrazie d’amore by A. Cesti for Hyperion; Armida by A. Vivaldi (Tisaferno) for Naïve; L’Ormindo by Cavalli for Pan Classics; “Romances” (Solo recital with luth) for Arsis, etc.
Martin Oro dedicates his intense musical activity to solo performances with ensembles like Stradivaria, Academia Montis Regalis, Ensemble 415, Matheus, and recitals with lutenist Mónica Pustilnik and pianist José