Rut Codina Palacio started singing at the early age of 7 at the children’s choir affiliated to the Gran Teatre del Liceu, Barcelona. From that moment on, she combined her regular school with her music, choir and dance practice. She then moved to The Netherlands to further her studies at the Royal Conservatoire of The Hague, where she graduated her Master degrees in 2012.
During these study years, she sang roles such as Papagena in ‘Die Zauberflöte’ by W.A. Mozart, ‘Diana’ in J. Offenbach’s ‘Orphée aux Enfers’, ‘Amour’ in C.W. Gluck’s ‘Orfeo ed Euridice’, several roles in the first dutch version of H. Purcell’s ‘King Arthur’ , ‘Mrs. Jones’ in the opera ‘Street Scenes’ by Kurt Weill, Contessa from Le Nozze di Figaro by Mozart and Lisa in Bellini's La Sonnambula.
Despite building experience as a soprano, her vocal development lead her towards the Mezzo-Soprano repertoire. After a year of training with Maurits Draijer and exploring this brand new Fach, she started performing roles in opera productions such as Carmen in Bizet’s Carmen, Orfeo in Gluck’s Orfeo and Idamante in Mozart’s Idomeneo. She was recruited by The Fat Lady Operagroep in Haarlem where she performed the parts of Belinda and the Sorceress in Purcell’s Dido and Aeneas. Among others, she also performed Matilda in Händel's Ottone and Lola in Mascagni's Cavalleria Rusticana.
Since 2014 Rut has been performing with the pianist Jean-Baptiste Millon as part of the Duo Vert Obscur for private events, home concerts en festivals, as well as with the harpsichordist Olivier Garde under the name Children of Leto.
Since 2015 she has been working as a free-lance singer in the Groot Omroepkoor (The Dutch Radio Choir), where she got to work with conductors such as Simon Rattle, Sigvards Klava, Gustavo Dudamel, Daniel Gatti, Vladimir Jurowski, Edo de Waart, Eric Whitacre and Gustavo Gimeno among many others.
Since 2016 she has also been working as a free-lance singer in the choir of The Dutch National Opera and Ballet, in productions such as Tchaikovsky’s Pique Dame, with Mariss Jansons, Borodin’s Prins Igor with Stanislav Kochanovsky, Henze’s Das Floss der Medusa with Ingo Metzmacher, A.Schömberg’s Gurre-Lider with March Albrecht, and J.Offenbach’s Les contes d’hoffmann with Carlo Rizzi.
In the past year, she has found a new field of exploration in the oratorio repertoire, with A.Dvorák's Stabat Mater, Murray Wylie's Jerusalem Passion, Luis Bacalov's Misa Tango, Ariel Ramirez's Misa por la Paz y la Justicia, A. Vivaldi's Gloria and Magnificat and divers Bach Cantatas.