Reviews : Stephano in Teatro alla Scala
“Marina Viotti is increasingly asserting herself as an exceptional talent (after notably her Rosina and her Olga, both at the OnR last year). Her dark voice is lightened with flexibility and shines with all his brilliance in the high notes, which allows her to play with relaxation at the trying final turn of Stéphano’s aria”
“Most outstanding among the supporting singers was Marina Viotti in the trouser role of the page Stéphano. Her rendition of “Depuis hier, je cherche en vain mon maître” was elegant, her voice was appealing and she easily convinced one of her being a timid young male through her posture and movement. Curiously, she performed while walking with a crutch. It was thought to be the stage director’s way of rendering the young page vulnerable. However, it turned out that Marina Viotti had had an accident during rehearsals.”
http://www.concertonet.com/scripts/review.php?ID_review=14394
“Another notable element, Marina Viotti’s Stephano : with a luminous, assertive mezzo, with clear diction, a powerful voice that does not lack intensity, her successfull aria “Que fais-tu blanche tourterelle” is rather one of the beautiful moments of the evening.”
http://wanderersite.com/2020/02/plus-interessant-musicalement-que-sceniquement/
“Marina Viotti embodies an excellent Stephano. She brings all the enthusiasm of the sassy youngster and takes the path of the great tradition of beautiful transvestite roles written in the 19th century”
https://toutelaculture.com/spectacles/opera/vittorio-grigolo-romeo-assoluto/
“Marina Viotti, sings Stéphano’s Chanson with a crutch (due to injury), with swag and unconscious lightness, with fluid coloratura and irreproachable trill.”
http://www.operaclick.com/recensioni/teatrale/milano-teatro-alla-scala-roméo-et-juliette-0
” Marina Viotti is Exquisitely mocking in : “Que fais-tu, blanche tourterelle?”, she stands out for her beautiful timbre and homogeneous emission.”
https://www.gbopera.it/2020/01/milano-teatro-alla-scala-romeo-et-juliette-2/
“Elegant and super musical despite of the leg injury that limited her in action, is the Stephano of Marina Viotti”
Roméo et Juliette di Gounod alla Scala: bravi tutti ma Viotti di più
“Marina Viotti, plays the role of Stéphano and also for the mezzo an indisposition is announced before the start of the show which does not in any case preclude a very good performance thanks also to a medium equipped with good volume and nice clear tone ”
http://www.operalibera.net/joomla/recensioni/spettacoli1/1971-romeo-et-juliette-milano-2020
“Marina Viotti a Stéphano with a crutch but with a beautiful and loud voice in her delicious “chanson” of the third act”
“Among the other characters we will remember the page Stèphano by Marina Viotti, sang with virtuosity and self-sacrifice for the theater. The crutch with which she wanders on stage is not a habit of directing, but the consequence of a foot injury.”
https://www.notonlymagazine.it/il-ritorno-di-romeo-et-juliette-di-charles-gounod-alla-scala/
“Very well characterised both vocally and scenically, the Stephano of Marina Viotti”
“The rest of the cast is certainly promoted by the Stéphano of Marina Viotti, with a beautiful vocal timbre and involving musicality”
“Among other roles, we want to mention an excellent Marina Viotti, as contrasted and elevated Stefano”
https://teatro.persinsala.it/romeo-et-juliette-3/57655/
“Marina Viotti, singing with a crutch, was a good or very good page, maybe something clear in the sound (I remember her excellent Melibea in the Viaggio a Reims of Barcelona as more interesting for her), but even in her situation she managed to move with agility.”
https://www.mundoclasico.com/articulo/33195/Romeo-Julieta-y-Mercucio
“Marina gives a lively characterization of the part of Stéphano”
“Excellent all the other characters, with a note of merit for Marina Viotti, perfect in the Chanson de Stéphano in the third act.”
http://www.audioclasica.com/2020/02/02/02-02-2020-romeo-et-juliette-con-pocas-luces/
“Special mention for the mezzo-soprano Marina Viotti, vocally and acting wise, fresh and embodied”
Il Manifesto
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 (krause@hilbert.de)