“She opened with Satie’s Je te veux, singing with lyrical ease, soaring to a bright soprano. In Dumont’s Mon Dieu, she incarnated a torch singer, pouring out both desperation and heartfelt feeling. This was followed by a rendition of another Piaf classic, Padam, padam, sung with captivating abandon, the text spat out fiercely, the unbearable tension of the waltz pulling us inexorably along for the ride. The coda of Padam, padam led straight into the harsh opening measures of La voix humaine, giving us both a musical shock and leading us into the darker place of the opera itself.”
“Despite the simplicity of the setting, the evening had significant impact due to the vividness of Viotti sœur’s acting and her remarkable use of text. Whether desperately folding herself over in mental pain singing into the phone, or lying on the chaise longue reflecting on physical closeness with her lover, Viotti sœur took us deep into the heart of Elle’s situation. She achieved this through employing a rainbow of vocal colour, and also precisely through that outstanding clarity of diction. Whether in the way she drained the colour from the tone in ‘bonsoir Joseph’, giving us a sense that she knew that this would be the last time she’d speak to her lover’s servant, or the numbness with which she recounted her overdose. Viotti was also alive to the lyricism of the role, pouring out streams of silvery tone, yet also negotiated the quickfire parlando with impeccable accuracy of pitching. Similarly, Viotti had clearly mastered the vocal range of the part, rising to an impressive high C and negotiating the passaggio with ease, the registers even throughout.”
“There was another unexpected surprise because following the Salve regina, Viotti sœur gave us an a cappella rendition of that old-time classic Smile, accompanied by the Orquestra Gulbenkian, this time singing rather than playing, in impeccably-tuned harmony. Viotti gave it a vulnerability combined with determination that felt so real and so necessary in these incredibly hard times”
“Je te veux by Eric Satie distilled with incredible charm by Marina Viotti, two songs by Edith Piaf Mon Dieu and Padam already torn create a singular atmosphere, of simple, deep emotions and feelings. Blonde hair, shimmering scarlet sheath, Marina Viotti imposes her elegant silhouette, her fruity voice, her articulation of exemplary French and her scenic authority.”
“To interpret this monodrama, you need a singer capable of tenderness, gentleness, but also cries, vehemence, and an actress. Marina Viotti manifests all of these qualities and more.”
“In her silences, her questions, she manages to bring the character of the absent lover to life, to bring out the tender waltz of happy memories. The singer’s commitment, dressed in a bright red negligee, never gives way, with a fierce desire to proclaim her love, making explicit the comment of an analyst: “It is a heartbreak, a sacrifice, which must be played permanently on stage, a little as if we took pleasure in tirelessly reopening a wound that is struggling to heal ”. The voice of the young mezzo is full, rich, nuanced, powerful, that of a lyrical tragedian.”
Mezzo soprano. Marina was born in Switzerland, her parents both being musicians, and grew up in France. Curious by nature, she did not only study classical music (flute), but also explored jazz, metal or chanson.
Marina is represented by Hilbert Artist Management (firstname.lastname@example.org)