Composer and pianist born in Vigo, Borja Mariño's career unfolds along two closely intertwined paths — performance and composition — both deeply rooted in the world of the voice. Specialising in vocal accompaniment and opera coaching, he has worked at Spain's leading opera houses — Teatro Real, Teatro de la Zarzuela, Gran Teatre del Liceu, Palau de les Arts — and at festivals such as Peralada, Granada and the Quincena Musical Donostiarra, alongside singers including Saioa Hernández, Ainhoa Arteta, Carol Vaness, Dolora Zajick, Gregory Kunde and Benjamin Bernheim.

As a composer, his music has been performed in concert halls across the United States, the United Kingdom, France, Italy, Argentina, Brazil and Uruguay. In 2025, Vaqueros en Nueva York was recorded as part of the album Lorca de amor y muerte, a work performed in 2026 by the Brazilian Symphony Orchestra (Orquestra Sinfônica Brasileira). His principal recording, Mientras se borra el mundo, brings together five of his major chamber song cycles. His Cuatro canciones sefardíes, in their orchestral version, have been performed at the Auditorio Nacional de Madrid and, in December 2025, in Buenos Aires under the baton of Alejandro Jassán.

​​«… an inspired Borja Mariño responding in kind, asserting his own presence in this dramatic pianistic interlude.​​»

Benjamin Bernheim recital, 2026, Opera Actual: full review

​​«Mariño has captured the emotional atmosphere of each song — from the most withdrawn and intimate settings of Lamillar to the most joyful and effusive of García and Trujillo, by way of Jurado's more reflective pieces. Strong, modern-cut melodic writing, laced with chromaticism in a brilliant piano score, alongside vocal writing well suited to Moncada's voice. Particularly notable is the winding vocal line crafted for Mientras se borra el mundo…​​»

Campanas de sol y aire premiere, 2022, Scherzo: full review

«It is only fair to highlight Borja Mariño's outstanding work as musical director and pianist — remarkable less for sonic subtlety than for narrative drive, for building atmosphere and sustaining theatrical tension throughout, all delivered with impeccable musicianship and close rapport with the singers. From the unsettling, oppressive opening prelude, carefully shaped, to the rising and falling note sequences symbolising the spread of greed […], and the ability to build to genuine climaxes — all of this underpinned Mariño's remarkable achievement.»

El caballero avaro performances, 2022, Codalario: full review

«Borja Mariño's piano was exceptionally fine throughout, with much marcato and staccato playing that successfully imitated the guitar. […] Mr. Mariño's piano was particularly lovely in 'Mañanica era' […] His playing also stood out in 'La Boyra'…»

Voce di Meche, NYC, Las Tres Annas, 2015: full review