Marisú Pavón is a soprano specialized in the repertoire of the 17th and 18th centuries. She has performed as a soloist at the major Baroque Music festivals in Spain, Belgium, the Netherlands, Switzerland, the United States, Colombia, and Mexico, and she was a member of the Elyma Ensemble (Switzerland), conducted by Gabriel Garrido.

Her discography dedicated to early music includes: "Selva Morale e Spirituale" by Claudio Monteverdi for the K617 label; "Duos of Motets and Villancicos from the 17th-18th Centuries" for the Etcétera label; "Opera Gli Amori D'Apollo e di Dafne" by F. Cavalli for the K617 label; "Motets and Madrigals from the 17th-18th Centuries" by Cristóbal Galán for the Lauda Música label; "Hippolyte et Aricie" and "Castor et Pollux" by J. F. Rameau for the French Opera Collection at the National Museum of Decorative Arts in Buenos Aires.

She has performed for Radio and Television at the Concertgebouw in Amsterdam, Kaaitheater, Concertgebouw in Bruges (Belgium), Rotterdamse Schouwburg (Netherlands), Stadsschouwburg Groningen (Netherlands), Palau de la Música in Barcelona, Salle Gaveau in Paris, Cathedral of Notre Dame, Arriaga Theater (Bilbao), Kursaal Auditorium (San Sebastián), Teatro Colón Buenos Aires, Kirchener Cultural Centre Buenos Aires, Teatro Mayor Bogotá, Sáo Paulo Municipal Theater (Brazil) among others. Her repertoire is extensive, encompassing both choral symphonic and operatic genres, ranging from Monteverdi to contemporary composers.

Marisú began her vocal studies at the Carlos López Buchardo National Conservatory of Music and continued her training with Marisa Albano, Mónica Capra, Rosa Domínguez (Netherlands), Xenia Meijer (Netherlands), Marta Blanco, and Elisabeth Canis.

She studied chamber music repertoire with Guillermo Opitz and opera repertoire with Susana Cardonnet and Juan Pablo Scafidi, as well as Traditional and Contemporary Theater under the guidance of Febe Chaves and Beatriz Catani.

"Margarita Xirgu was portrayed by the soprano who sang the role in the first production of the work in the city, with extensive experience in this role and singing it with analogous excellence, Marisú Pavón. (...)
Pavón embodies the character of the actress whose passions for her craft, for Lorca, and for the ideals he represents blend in a heart-wrenching manner. Margarita's character embarks on a carousel of emotions, abruptly switching from the most piercing drama to bittersweet humor. To navigate it, the work demands a vocal range that Marisú confidently maintains. Her vocal quality complements her dramatic prowess: every verse she sings has a well-defined intention."
Ainadamar, São Paulo Municipal Theater
Danielle Crepaldi Carvalho, 09/2023, notasmusicais.com

"Comfortable with a vocal style that alternates between the popular and the classical, with flamenco as a constant reference, Pavón creates a characterization of strong vocal and stage presence."
Ainadamar, São Paulo Municipal Theater
Joao Luiz Sampaio, Concerto Magazine, 09/2023

"However, it is our Marisú Pavón who stands out in the leading trio. Her dramatic expression and powerful voice recreate the misfortune of Euridice on her journey to the surface, when she tells Orfeo that she prefers death to living with him, viewing it as a betrayal that he does not look at her. Pavón expresses everything through her singing and delights in dancing towards the end with subtlety and substance."
Martin Wullich, Orfeo ed Euridice (2019)

"However, Marisú Pavón deserves a separate chapter in her portrayal of Despina, not only for her impeccable vocal work but also for her embodiment of the audacious character she never abandons and endows with a marked grotesque in her gestural expression. Clad in an apron with a red heart, visible garters, a headscarf, headdress, orange rubber gloves, and angel wings, she wields a broom or a menacing industrial vacuum cleaner and is capable of anything to achieve her goal. She is undoubtedly the most comical presence in this opera, which does not shy away from a nod to Don Giovanni when the harpsichord plays the notes of 'La ci darem la mano.'"
Martin Wullich