Arsace in Aureliano in Palmira -Rossini in Wildbad

“The interest redoubles and turns into jubilation by discovering the qualitative steps that seem to have made Marina Viotti: we feared that for the role of Arsace the voice would be too clear and perhaps not vigorous enough, because even if the character is more sensitive than manly, agility of strength and marked accents require all their vigor to be well executed, technically and expressively. And it is a delectable faultless! Marina has not lost any bit of her elegance or her musicality while the emission has taken all the desirable firmness…the descent into the low register occurs without feeling a change of register, the total extension confirming an impeccable homogeneity, and the execution of agility a self-confidence that rejoices. As for the softness of the timbre, it is ideal for the character, and united to the above mentioned qualities it makes of her great aria of the second act a delight obviously savored by the public”
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“The newcomer in the international scene is the mezzo-soprano Marina Viotti (Arsace), especially in the deep and middle range, very impressive material of a darker color, armed with colorful technique, which can also include her among the rossinian specialists”
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“His Persian rival is a magnificent Marina Viotti, fleshy and colored mezzo, with a welded register, a model of technique and style : the great class in Rossini’s only role for a castrato”
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“The role of Arsace, initially composed by Rossini for castrates, found in Marina Viotti, young Swiss singer, an extraordinary interpreter. Her warm, nuanced mezzo voice has perfectly adapted to the complex requirements of the role, with a lightness virtuoso and an expressive energy.
Her great scene of the second act, nevertheless sown with vocal difficulties, provoked a thunderous applause and made of that moment the climax of the show as she performed it brilliantly !”
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