Based in Basel, Argentine mezzo-soprano Florencia Menconi is celebrated for her richly colored, expressive, and powerful voice. She performs a repertoire ranging from the late Middle Ages to contemporary music, with a focus on Renaissance and Baroque works.

Her voice combines a resonant mezzo-soprano register with a flexible extension into the contralto range, which gives her versatility in solo and ensemble repertoire. A reviewer noted that her voice blends the grandiose warmth of a mezzo-soprano with the clarity and brightness of a soprano, creating an instantly recognizable timbre.

Born in Buenos Aires to an Italian family, Menconi first studied the transverse flute before turning to singing. She studied at the Schola Cantorum Basiliensis with Rosa Domínguez, Ulrich Messthaler, and received important impulses from Margreet Honig and Valérie Guillorit. She also received guidance from Rebecca Stewart and Anne Smith, which refined her approach to early vocal style and historical performance practice. At the moment she’s being coached by Camila Toro. She also studied drama and dance for several years and maintains a broad interest in philosophy, science, and artistic disciplines, which enrich her artistic interpretation and perspective.

She is a core member of Graindelavoix, Le Filigrane and Domus Artis. She also regularly collaborates with La Cetra Basel, Gli Angeli Genève, La Boz Galana, Huelgas Ensemble, Voces Suaves, Innsbrucker Hofmusik and La Grande Chapelle. She has performed under the direction of conductors such as Björn Schmelzer, Andrea Marcon, Ton Koopman, Paul Van Nevel, René Jacobs and Ivor Bolton.

Florencia has performed as a soloist works such as Mozart’s Requiem, Dvorák’s Mass in D Major, Monteverdi’s Vespro della Beata Vergine and Selva Morale, J. S. Bach’s Johannes Passion, C. P. E. Bach’s Magnificat, Vivaldi’s Gloria and Stabat Mater, Pergolesi’s Stabat Mater and Schumann’s Mass in E-flat Major. Her operatic roles include L’Enfant in Ravel's L'Enfant et les sortilèges, Osmida in Jommelli's Didone abbandonata, Rosina Caruccia in Scarlatti’s Il trionfo dell’onore, Speranza in Monteverdi's L'Orfeo, and Dafne and Proserpina in Peri's Euridice. These roles showcase her versatile range and expressive depth.

Her recordings include Ex Nihilo and Earthquake Mass with Graindelavoix; The Palacio Songbook with Da Tempera Velha; In Memoria Mea with Rebecca Stewart, Cantus Modalis, and Seconda Pratica; and a recently recorded album with Le Filigrane Imperial Arias featuring Viennese oratorio arias, which will be released soon.